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Electone is the trademark used for electronic organs produced by Yamaha.

History of the Electone

After Hammond pioneered the electronic organ in the 1930s, other manufacturers began to market their own versions of the instrument. By the end of the 1950s, familiar brand names of home organs in addition to Hammond included Conn, Kimball, Lowrey, and others, while companies such as Allen and Rodgers manufactured large electronic organs designed for church and other public settings.
The Yamaha Electone series debuted in 1959 with the D-1, a home instrument. This was a bad moment to enter the market; as early “home entertainment centers,” electronic organs were facing heavy (and strengthening) competition from both television and high fidelity audio systems, neither of which required any musical skill, unlike the electronic organ. But by 1970, with the market waning sharply, and some manufacturers ceasing production, the Electone line, as did its competitors, embraced digital technology. This would be the key to the Electone’s survival as the traditional home electronic organ market dried up.
By the 1980s, many of the most famous names had ceased home production, but the Electone successfully translated into the modern world of digital synthesizers, now competing with such new electronic products as Moog Music, Wersi, and later Kurzweil. Electones were to be found not only in homes, especially in Japan and elsewhere in the East Asia, but also in bands and other solo and group public performances.
While the traditional home electronic organ is a relative rarity today, the Electone's late 20th-century transformation into a true synthesizer, capability and portability led to its becoming, along with its competitors, the successor in many ways to the famous Hammond electronic organ models of mid-century.

[edit] Notable Electone models

Yamaha began importing Electones to the United States, starting with the D-2B in 1967. In 1968, Yamaha released the EX-21 prototype. This Electone was different from prior Electones, as it was expressly designed for stage performances. Two years later, the EX-42 became Yamaha's first commercially available stage model Electone. The EX-42 was also the first to use integrated circuits, although it was still based on analog technology. By 1974, Yamaha began designing Electones around synthesizers, instead of organs, starting with the CSY-1 that was based on the SY-1 synthesizer.
The GX-1, released in 1975, was the first polyphonic synthesizer in Electone form, bridging the gap between synthesizer and organ. The GX-1 utilized velocity-sensitive keyboards and the solo keyboard was even pressure, or aftertouch, sensitive. Some notable users of the GX-1 include:Richard D. James, Stevie Wonder, Keith Emerson, John Paul Jones of Led Zeppelin, and Benny Andersson of ABBA.
The E-70, from 1977, was one of the first home based organs to feature Yamaha's PASS (Pulse Analog Synthesis System) in a console cabinet.
The FC/FE/FS/FX series from 1983-1986 featured FM tone generators and the FX series featured the company's first digitally sampled sounds for the onboard percussion/rhythm units. The F series Electones were the first to allow users to digitally save registrations via pistons and then save them to RAM packs or an external disk drive unit: MDR-1.
With the HS/HX series, Electones became more digital. This series, released in 1987, used more integrated circuit technology to make components smaller, and allow for a sleeker design. The HX/HS series was the first to use AWM "sampling" technology for both voices and rhythm. The HX series also featured 16-operator FM voices.
In 1991, Yamaha released the EL series of Electones. They included an attached Music Disk Recorder (rather than the previous add-on MIDI-based units), which enabled players to record their registrations and performances. The EL series introduced new synthesis, filtering, and expression technologies that made instrument voices on the Electone even more realistic.

[edit] Modern Electones

Modern Electones and their competitors are best described as synthesizers rather than electronic organs, since they can imitate the sounds of many orchestral instruments, singly or in combination, through the use of digital sampling; nevertheless, in their basic configuration and operation they continue to resemble the organ. This is largely because the organ-style interface allows great flexibility and control, which is necessary given the Electone's vast capabilities. The interface includes three keyboards--two manuals and a pedalboard, each of which may be configured to play a different registration or emulate a different instrument.
The Electone may be configured both before and during playing to mimic a wide variety of instruments, up to and including a full orchestra. Various conveniently-located controls allow on-the-fly changes in configuration. Depending on their selections, the performer may produce the sounds of, for example, a piano at one moment and then a string section the next, followed by more exotic instruments. Most of these selections are ones that they have programmed in before playing.

[edit] STAGEA

The newest model Electone, STAGEA (seen above) uses all AWM (Digitized) voices and features over 180 digital effects, built-in registration menu, VA voices, and a Style File compatible expanded rhythm and accompaniment section. There are four models currently including the ELB-01, ELS-01, ELS-01C and ELS-01X. The ELB-01, also called Stagea Mini, is the entry level model, the ELS-01 the standard model, and the ELS-01C the so called custom model, carrying a larger number of voices and other features. The ELS-01X takes the ELS-01C and adds 61-note keyboards, a full-sized 25-note pedal board and XLR external audio jacks.
Because STAGEA is officially distributed only in Asian countries, those wanting to update to the newest Electone model and living in other parts of the world must import the instrument. This is often called purchasing "grey market" goods.

[edit] D-Deck

Similar to the Stagea in software, the D-Deck is a portable keyboard with two manuals (double-deck) featuring 49 keys on the upper keyboard and 61 keys on the lower stretch. The D-Deck carries over the menu, registration buttons between keyboards, after-touch, and many other features from the Stagea which would be comparable to that as of the ELS-01 model. An optional pedalboard helps the D-Deck mimic a Stagea even more. It is also noted that the D-Deck STAGEA package is only known as DDK-7 in certain regions.

[edit] Playing the Electone

Playing the Electone is a physically engaging activity requiring considerable dexterity and coordination. The performer sits facing the console at a comfortable distance, with the lower manual at about elbow height and with their feet suspended slightly over the pedals. Their right hand typically plays the upper manual, while their left hand plays the lower manual, though in practice both hands may often play the same manual, especially if each mimics a different instrument or orchestral section. As they play, they may change registrations with conveniently-located finger controls located near the manuals. Their left foot plays the pedalboard with dancelike motions that can range from lively to languorous depending on the character of the music, Meanwhile, their outstretched right foot rests firmly on the expression pedal, which they pump gently in order to change the instrument's overall volume or to accent their music dynamics. When they wish to make more pronounced dynamic changes, they simply use firmer heel or toe pressure on the pedal. They may also occasionally play the pedalboard briefly with both feet. (Many Electone performers play barefoot so as to achieve greater precision with the pedals.) Some Electone models also include a second expression pedal, known as an effects pedal, which can produce changes in pitch or other effects; toe switches on the main expression pedal with which the performer can change registration; and a knee lever, operated with the right knee, with which the performer can sustain notes (as with a piano’s sustain pedal) or produce other effects. In addition to these controls, modern Electones also have data storage systems, LCD screens, and Internet connectivity.

Clavinova

The Clavinova is a long-running line of digital pianos created by the Yamaha Corporation. They are similar in styling to an acoustic piano, but with many features common to other digital pianos such as the ability to save and load songs, the availability of different voices, and, in more recent models, the ability to be connected to a computer via USB or wireless network.
The CLP range is aimed more towards those looking for a digital alternative to an acoustic piano and concentrates on accurately reproducing its touch and sound though most in the range also have a limited number of other voices available. The CVP range provides a greater variety of voices and also built-in rhythms and accompaniments enabling complete performances to be played and recorded using built-in sequencing software.

Technical information

Some Clavinovas (CLP and CVP-Series) feature graded hammer technology, a mechanical system of small metal hammers, weighted to be similar to those of a real pianoforte, which hit a digital pressure sensor that then translates into sound. This technology has contributed to the success of the Clavinova as a more affordable substitute for an acoustic piano. The 'Graded' action is intended to reproduce more accurately the varying weights of the hammers of an acoustic piano where the hammers vary in weight from the bass section to the treble. Newer Clavinovas, such as the CVP-407, incorporate real wood keys for added realism.
The built-in synthesizer produces the sound. The synthesizer contains samples of real instruments which are then selected and modified by the electronics to produce the desired sound. Information comes in a MIDI or similar format either directly from the piano keyboard or from a stored source (from within the piano or via a computer or external sequencer). The synthesizer can imitate a large array of acoustic instruments, electronic instruments and other sound effects. Recent models of CVP Clavinova have hundreds of such voices. These usually include many types of pianos and organs, string, percussion, brass and woodwind instruments, as well as modern and vintage synthesizer sounds, sampled effects etc. The more recent CVP models also feature many accompaniment styles, ranging from traditional dance and classical orchestration, through to more modern club, pop, rock, big band and jazz styles.
The latest currently available models of the Clavinova are the CLP-3XX range, the CVP-40X range and the CVP-50X range; the CVP-401 is the lower-end of the range, while the CVP-409 is the most expensive. The retail price of the CVP-409 is about US$12,000.

Graded Hammer

The various graded or progressively weight keys are

Graded Hammer Standard (GHS)
Graded Hammer (GH or sometimes GHE), somewhat heavier than GHS. GH is also more close to real piano keys weight
Graded Hammer Three (GH3), like GH, but GH3 also swings back faster, like high quality piano keys. GH3 allows the player to feel the weight of the key when depressed a second time, even when the player has not completely released the key after the first push of the key.

Drum and bass

Drum and bass (commonly abbreviated to D&B, DnB, dnb, d'n'b, drum n bass, drum & bass, dNb, deebee, D+B, d+b, DNB, d and b, D and B), is a type of electronic dance music which emerged in the mid 1990s. The genre is characterized by fast breakbeatsbpm, occasional variation is noted in older compositions), with heavy sub-bass lines. Drum and bass began as an offshoot of the United Kingdom rave scene of the very early 1990s. Over the first decade of its existence, the incorporation of elements from various musical genres lent to many permutations in its overall style. (typically between 160–190

History

Main article: History of drum and bass
See also: Oldschool jungle

In the late 1980s and early 1990s, a growing nightclub culture gave birth to a new electronic music style called Rave music, which combined regular beats alongside broken, syncopated beats, strong basslines and a faster tempo than that of house music . By 1991, musical tracks made up of only "broken" beats began to be known as "jungle", branching off into a separate musical genre (circa 1991-1992) popular at raves and on pirate radio in urban Britain .[citation needed]

These tracks often combined ragga vocal tracks with broken beats and bass lines. By 1994 jungle began to gain mainstream popularity and fans of the music (known as junglists ) became a recognizable part of British youth subculture.[citation needed] After being further developed, the sound took on a very urban, raggamuffin sound, incorporating dancehall ragga-style MC chants, dub basslines, but also increasingly complex, high tempo rapid fire breakbeat percussion.[citation needed] At this time jungle began to be associated with criminals and criminal activity and perhaps as a reaction or perhaps independently of this, producers began to draw away from the ragga style and create what they labeled drum and bass.[citation needed] There is no clear point at which jungle became drum and bass, though most jungle producers continue to produce what they call drum and bass.[citation needed]

As the music style became more polished and sophisticated, it began to shift from pirate to commercial radio and gain widespread acceptance (circa 1995-1997). It also began to split into recognizable subgenres such as jump-up .[citation needed] As a lighter sound of drum and bass began to win over the musical mainstream, many producers continued to work on the other end of the spectrum. This resulted in a series of releases offering a dark, technical sound which drew more influence from techno music and the soundscapes of science fiction and anime films, this subgenre became known as techstep (circa 1997-1998).[citation needed]

Towards the turn of the millennium, the UK garage sound emerged and quickly eclipsed drum and bass in popularity. Drawing a key part of its inspiration from drum and bass, it was commonly believed that UK garage was a replacement of the genre and statements were made to the effect that "drum and bass is dead".[citation needed] However, consistent development of the genre proved otherwise. The appearance of the liquid funk and other subgenres brought a wave of new artists with new ideas and techniques, supporting continual evolution of the genre. Drum and bass is perhaps not well-known as a genre, but makes frequent, unrecognized appearances in the mainstream such as in television commercials , as well as being a major influence for other musical styles and some of its artists (notably Goldie ).[1][cit^{ation needed]}

[edit] Musicology of drum and bass

Goldie , one of the most recognizable drum and bass artists.^[2]

There are many views of what constitutes "real" drum and bass as it has many scenes and styles within it, from the highly electronic, industrial sounds of techstep through to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. It has been compared with jazz where the listener can get very different sounding music all coming under the same music genre, because like jazz, it is more of an approach, or a tradition, than a style.^[3] The sounds of drum and bass are extremely varied - and to a person unfamiliar to them, there may seem to be little connection between the subgenres. One common, though by no means universal, element is a prominent snare drum falling on the 2nd & 4th beats, with a less regular kick pattern around it.^[^{citation needed]}

Drum and bass could at one time be defined as a strictly electronic musical genre with the only 'live' element being the DJ's selection and mixing of records during a set. 'Live' drum and bass using electric, electronic and acoustic instruments played by musicians on stage has appeared and is a growing aspect of the genre.^[4]^[5]^[6]

For the already mentioned reasons, the musicology of drum and bass is difficult to precisely define; however, the following key characteristics may be observed:

[edit] Importance of drum and bassline elements

The name "drum and bass" should not lead to the assumption that tracks are constructed solely from these elements. Nevertheless, they are by far the most critical features, and usually dominate the mix of a track. Despite the apparent simplicity of drum and bass productions to the untrained ear, an inordinate amount of time is spent on preparing tracks by the more experienced producers.^[^{citation needed]}

The genre places great importance on the "bass line", a deep sub-bass musical pattern which is felt physically as much as it is heard. There has also been considerable exploration of different timbres in the bass line region, particularly within techstep . Bass lines exist in many forms, but most notably they originate from sampled sources or synthesizers . Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass , are rare. An example of drum and bass played live with an electric bass can be found in the work of bands such as Squarepusher , Sonic Recreation , Sub Machena and STS9 . Sampled basslines are often taken from double bass recordings or from publicly available loops. Synthesized bass lines are however just as common.^[^{citation needed]}

In drum and bass productions, the bass lines are subjected to many and varied sound effects , including standard techniques such as dynamic compression, flanger, chorus, over-drive, equalization, etc. and drum and bass specific techniques such as the "Reese Bass", a distinctive synthesized bass sound comprising layered 'clashing' sawtooth waves. Kevin Saunderson 's 1988 classic "Just Another Chance" is widely recognised as the earliest example of the use of this technique.^[^{citation needed]}

Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.^[7]

These bass techniques are fully appreciated in a club or rave environments where high quality woofers and powerful amplifiers are required to fully reproduce the eponymous basslines at high volume levels.^[^{citation needed]} This has led to the creation of very large and intensely loud touring soundsystems by producers wishing to show off their tracks, such as dubs from Soundman and dubs from Dillinja's Valve Sound System.^[^{citation needed]} This does not mean, however, that the music cannot be appreciated at home or accurately reproduced on personal equipment.^{[citation needed]}

The complex syncopation of the drum tracks' breakbeat , is another facet of production on which producers spend a very large amount of time. A drum phrase lasting seconds may often take a day or more to prepare, depending on the dedication of the producer. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.^[8]

It would not be too much of an exaggeration to say that drum and bass (at least in its early days) was a style built around a single broken beat element which was a single sample, the Amen, but other samples have had a significant impact, including the Apache break, the Funky Drummer , and others.^[9] The Funky Drummer has perhaps superseded the Amen in modern productions.

A commonly used break is the Tramen , a combined beat that is perhaps the ultimate statement on the fusion of musical styles in drum and bass as it combines the Amen, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.^[10]

The very fast (objectively) drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. However, without a fast & broken beat, a drum and bass track would not be a drum and bass track but could be classified as a gabber , techno , breaks or house music track.^[11]

[edit] Tempo

Drum and bass is usually between 160-180 BPM, in contrast to other forms of breakbeat such as nu skool breaks which maintain a slower pace at around 130-140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155-165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 173 to 180 range. Recently some producers have started to once again produce tracks with slower tempos (ie. in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.[12][13]

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), would not be drum and bass but a drum and bass-influenced breakbeat track.[14]

The speed of drum and bass is not however only characterised by that of the broken beat. Drum and bass has a bassline, which will typically play at half the speed of the drums, bringing its speed down to that of, for instance, a laid back hip-hop track.[citation needed] A listener or dancer can concentrate on this element rather than the faster drums.[citation needed]

An aggressively produced track with a complicated beat and synthesizer sounds may 'sound faster' than one with a sampled double bass bassline, guitar riffs and simpler beat, however the second track may be in strict BPM terms faster. Radio friendly tracks like Shy FX's "Shake Ur Body" often have higher BPMs than ominous techstep productions which might eject the uninitiated very quickly from a dancefloor.[citation needed]

The faster a track is in BPM terms, the less complex its drum patterns can be because at higher step the elements cease to be heard separately, turning them into a wall of sound. A faster drum and bass track will therefore generally have a less complex drum pattern than a slower one. These rules do not apply to a production from single drums (i.e., drum machines, sequencers, sliced beats.)[citation needed]

Live performances of drum and bass music on electric and acoustic instruments will often entail a drop in relative BPM (though not necessarily), unsurprising in light of the complexity of drum patterns and the high exertion required of a drummer.^{http://optimamusic.comcitation needed]}

piano yamaha

From Wikipedia, the free encyclopedia

Jump to: http://optimamusic.com/

"Pianoforte" redirects here. For earlier versions of the instrument, see Fortepiano . For other uses of "Piano", see Piano (disambiguation).

Piano
Keyboard instrument
Steinway grand piano
Hornbostel-Sachs classification	314.122-4-8 (Simple chordophone with keyboard sounded by hammers)
Inventor(s)	Bartolomeo Cristofori
Developed	Early 18th century
Playing range

The piano is a musical instrument which is played by means of a keyboard . Widely used in Western music for solo performances, ensemble use, chamber music , and accompaniment , the piano is also very popular as an aid to composing and rehearsal . Although not portable and often expensive, the piano's versatility and ubiquity have made it one of the world's most familiar musical instruments.
Pressing a key on the piano's keyboard causes a felt covered hammer to strike steel strings. The hammers rebound, allowing the strings to continue vibrating at their resonant frequency .^[1] These vibrations are transmitted through a bridge to a sounding board that couples the acoustic energy to the air so that it can be heard as sound. When the key is released, a damper stops the string's vibration. Pianos are sometimes classified as both percussion and stringed instruments . According to the Hornbostel-Sachs method of music classification, they are grouped with chordophones .
The word piano is a shortened form of the word pianoforte, which is derived from the original Italian name for the instrument, clavicembalo [or gravicembalo] col piano e forte (literally harpsichord with soft and loud). This refers to the instrument's responsiveness to keyboard touch, which allows the pianist to produce notes at different dynamic levels by controlling the speed with which the hammers hit the strings.

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	Rp 1,010,000		18	1.5%	Rp 74,000	Rp 74,700
	Rp 1,010,000		24	1.5%	Rp 59,000	Rp 66,600

	F-340 W/C	Rp 1,050,000	6	1.5%	Rp 199,000	Rp 199,500
	F-340 W/C		12	1.5%	Rp 107,000	Rp 112,000
	Rp 1,050,000		18	1.5%	Rp 76,000	Rp 91,500
	Rp 1,050,000		24	1.5%	Rp 61,000	Rp 75,000

	F-350 W/C	Rp 1,150,000	6	1.5%	Rp 217,000	Rp 218,500
	F-350 W/C		12	1.5%	Rp 117,000	Rp 120,000
	Rp 1,150,000		18	1.5%	Rp 83,000	Rp 99,500
	Rp 1,150,000		24	1.5%	Rp 67,000	Rp 73,000

	F-360 TBS W/C	Rp 1,250,000	6	1.5%	Rp 235,000	Rp 237,500
	F-360 TBS W/C		12	1.5%	Rp 127,000	Rp 128,000
	Rp 1,250,000		18	1.5%	Rp 90,000	Rp 107,500
	Rp 1,250,000		24	1.5%	Rp 72,000	Rp 94,000

DRUMS	GM2F5	Rp 8,395,000	6	1.5%	Rp 1,533,000	Rp 1,535,550
	GM2F5		12	1.5%	Rp 829,000	Rp 837,100
	Rp 8,395,000		18	1.5%	Rp 595,000	Rp 596,650
	Rp 8,395,000		24	1.5%	Rp 477,000	Rp 496,200

	GM2F5+CYMBALS	Rp 9,890,000	6	1.5%	Rp 1,805,000	Rp 1,805,100
	GM2F5+CYMBALS		12	1.5%	Rp 976,000	Rp 984,200
	Rp 9,890,000		18	1.5%	Rp 700,000	Rp 710,300
	Rp 9,890,000		24	1.5%	Rp 562,000	Rp 574,400

	TC2FS5	Rp 13,719,500	6	1.5%	Rp 2,500,000	Rp 2,504,255
	TC2FS5		12	1.5%	Rp 1,350,000	Rp 1,389,010
	Rp 13,719,500		18	1.5%	Rp 970,000	Rp 983,765
	Rp 13,719,500		24	1.5%	Rp 779,000	Rp 791,520

	TC2FS5+CYMBALS	Rp 15,211,500	6	1.5%	Rp 2,771,000	Rp 2,775,535
	TC2FS5+CYMBALS		12	1.5%	Rp 1,499,000	Rp 1,510,570
	Rp 15,211,500		18	1.5%	Rp 1,076,000	Rp 1,076,605
	Rp 15,211,500		24	1.5%	Rp 864,000	Rp 865,640

GUITAR AMPLY	GA 15H	Rp 1,070,000	6	1.5%	Rp 202,000	Rp 206,300
	GA 15H		12	1.5%	Rp 109,000	Rp 113,600
	Rp 1,070,000		18	1.5%	Rp 78,000	Rp 82,900
	Rp 1,070,000		24	1.5%	Rp 62,000	Rp 79,200

MIXER	MW 8CX	Rp 2,100,000	6	1.5%	Rp 389,000	Rp 394,000
	MW 8CX		12	1.5%	Rp 210,000	Rp 218,000
	Rp 2,100,000		18	1.5%	Rp 150,000	Rp 167,000
	Rp 2,100,000		24	1.5%	Rp 121,000	Rp 123,000

	MW 12CX	Rp 3,300,000	6	1.5%	Rp 607,000	Rp 612,000
	MW 12CX		12	1.5%	Rp 328,000	Rp 336,000
	Rp 3,300,000		18	1.5%	Rp 235,000	Rp 246,000
	Rp 3,300,000		24	1.5%	Rp 189,000	Rp 191,000

ELECTONE	ELB-01	Rp 22,500,000	6	1.25%	Rp 4,039,000	Rp 4,042,500
	ELB-01		12	1.25%	Rp 2,160,000	Rp 2,165,000
	Rp 22,500,000		18	1.25%	Rp 1,534,000	Rp 1,534,500
			24	1.10%	Rp 1,187,000	Rp 1,189,000
			36	1.10%	Rp 873,000	Rp 905,000

	ELS-01	Rp125,000,000	6	1.25%	Rp 22,404,000	Rp 22,405,000
			12	1.25%	Rp 11,983,000	Rp 11,987,000
			18	1.25%	Rp 8,509,000	Rp 8,522,000
			24	1.10%	Rp 6,585,000	Rp 6,595,000
	Rp 125,000,000		36	1.10%	Rp 4,848,000	Rp 4,870,000


JACK_WTP 2009						2
LEASING TRANSACTION

JENIS BARANG	TYPE & HARGA	HARGA	TENOR	BUNGA	CICILAN BULANAN	CICILAN PERTAMA
JENIS BARANG	TYPE & HARGA	HARGA	TENOR	BUNGA	CICILAN BULANAN	CICILAN PERTAMA


CLAVINOVA	CLP 340	Rp 19,500,000	6	1.25%	Rp 3,502,000	Rp 3,502,500
	CLP 340		12	1.25%	Rp 1,872,000	Rp 1,883,000
	Rp 19,500,000		18	1.25%	Rp 1,329,000	Rp 1,344,500
			24	1.10%	Rp 1,029,000	Rp 1,031,000
			36	1.10%	Rp 757,000	Rp 777,000

	CVP 403	Rp 27,000,000	6	1.25%	Rp 4,845,000	Rp 4,850,000
			12	1.25%	Rp 2,591,000	Rp 2,599,000
			18	1.25%	Rp 1,840,000	Rp 1,845,000
			24	1.10%	Rp 1,424,000	Rp 1,426,000
	Rp 27,000,000		36	1.10%	Rp 1,048,000	Rp 1,062,000

	CVP 405	Rp 34,000,000	6	1.25%	Rp 6,100,000	Rp 6,100,000
			12	1.25%	Rp 3,262,000	Rp 3,268,000
			18	1.25%	Rp 2,316,000	Rp 2,328,000
	Rp 34,000,000		24	1.10%	Rp 1,792,000	Rp 1,810,000
	Rp 34,000,000		36	1.10%	Rp 1,319,000	Rp 1,349,000

PIANO UPRIGHT	JU109-PE	Rp 35,000,000	6	1.50%	Rp 6,366,000	Rp 6,370,000
	JU109-PE		12	1.50%	Rp 3,445,000	Rp 3,455,000
	Rp 35,000,000		18	1.50%	Rp 2,472,000	Rp 2,476,000
	Rp 35,000,000		24	1.50%	Rp 1,985,000	Rp 1,995,000

PORTABLE KEYBOARD	PSRE-313 + PA3	Rp 2,450,000	6	1.50%	Rp 453,000	Rp 455,500
			12	1.50%	Rp 245,000	Rp 246,000
			18	1.50%	Rp 175,000	Rp 186,500
			24	1.50%	Rp 140,000	Rp 162,000

	PSRE-413 + PA3	Rp 3,800,000	6	1.50%	Rp 698,000	Rp 702,000
			12	1.50%	Rp 377,000	Rp 387,000
			18	1.50%	Rp 270,000	Rp 286,000
			24	1.50%	Rp 217,000	Rp 227,000

	PSR-450 + PA5	Rp 5,600,000	6	1.50%	Rp 1,025,000	Rp 1,029,000
			12	1.50%	Rp 554,000	Rp 564,000
			18	1.50%	Rp 397,000	Rp 413,000
			24	1.50%	Rp 319,000	Rp 329,000

	PSR-550B + PA3	Rp 7,250,000	6	1.50%	Rp 1,325,000	Rp 1,327,500
			12	1.50%	Rp 717,000	Rp 718,000
			18	1.50%	Rp 514,000	Rp 519,500
			24	1.50%	Rp 412,000	Rp 434,000

	PSR-S 700 (+PA300)	Rp 8,750,000	6	1.50%	Rp 1,597,000	Rp 1,602,500
			12	1.50%	Rp 864,000	Rp 871,000
			18	1.50%	Rp 620,000	Rp 622,500
			24	1.50%	Rp 497,000	Rp 519,000

	DGX 230 + PA5	Rp 4,800,000	6	1.50%	Rp 880,000	Rp 882,000
			12	1.50%	Rp 476,000	Rp 478,000
			18	1.50%	Rp 341,000	Rp 349,000
			24	1.50%	Rp 274,000	Rp 276,000

	DGX 630 + PA	Rp 9,800,000	6	1.50%	Rp 1,788,000	Rp 1,792,000
			12	1.50%	Rp 967,000	Rp 977,000
			18	1.50%	Rp 694,000	Rp 698,000
			24	1.50%	Rp 557,000	Rp 567,000
			24	1.50%	Rp 557,000	Rp 567,000
						3

OPTIMA MUSIC

Jumat, 11 Desember 2009

From Wikipedia, the free encyclopedia

History of the Electone

[edit] Notable Electone models

[edit] Modern Electones

[edit] STAGEA

[edit] D-Deck

[edit] Playing the Electone

Contents

Technical information

Graded Hammer

See also

[edit] Musicology of drum and bass

[edit] Importance of drum and bassline elements

[edit] Tempo

Sabtu, 10 Oktober 2009

Senin, 05 Oktober 2009

Rabu, 30 September 2009

Jual alat musik Cash & Credit Keyboard, Clavinova, piano, guitar, alat tiup, biola, aksesoris musik, Drum, bass elektrik dll klik http://jackwtp.webs.com/tokomusiconline.htm. syarat mudah/proses cepat

Jumat, 25 September 2009

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Sabtu, 05 September 2009

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