Triumph Triple (2009)

Technical Specifications

Engine Engine type Bore x Stroke Displacement Compression ratio Max power Max torque Transmission Clutch Final drive Starting system Fuel system Ignition	Liquid-cooled, DOHC, 12 valve, in-line 3-cylinder 79 mm x 71.4 mm 1050 cm3 (cc) 9.2:1 132PS (130bhp) at 9,250rpm 105Nm (771ft-lbf) at 7,550rpm Manual 6-Speed Wet, multi-plate X ring chain Electric starter Multipoint sequential electronic fuel injection with SAI Digital - inductive type
Dimensions Frame type Overall length Overall width Overall height Seat height Wheelbase Rake/trail Dry weight Fuel capacity Suspension (front) Suspension (rear) Tyre (front) Tyre (rear) Brake (front) Brake (rear)	Aluminium beam twin-spar 2115mm 780mm 1250mm 815mm 1429mm 23.5º 189kg 18 litres Showa 43 mm upside down with dual rate springs Showa monoshock with adjustable preload and rebound and compression damping, 134 mm rear wheel travel 120/70 ZR 17 180/55 ZR 17 Double dics 320mm disc, Brembo 4 piston caliper Single 220mm disc, Nissin 2 piston sliding caliper

Image: http://sheilawinston.wordpress.com

Gerantang (Bali)

Gerantang adalah nama instrumen yang terbuat dari bambu yang secara khas ada dan mendominasi pada barungan gambelan Joged Bungbung. Seperti alat-alat gambelan bambu lainnya, gerantang dibuat dari bambu khusus dan cara pembuatan yang khusus pula. Bambu yang dipakai adalah yang berukuran sedang dan agak tipis, yaitu tiing tamblang. Jenis bambu ini langka, biasanya didapati di daerah Bali Utara dan Buleleng.

Proses pengeringan dan penghalusannya sama seperti proses pembuatan suling dan rindik. Sedangkan cara pembuatannya jelas berbeda. Gerantang adalah termasuk instrumen pukul yang mempergunakan resonator tetapi dibuat dengan cara khusus, yaitu resonator tersebut tidak terpisah dari instrimen pokok gerantang itu sendiri atau dengan kata lain menjadi satu. Alat ini sebagian berupa tabung, yaitu dibagian bawahnya dan sebagian lagi berupa bilahan yang agak melengkung di bagian atasnya.

Sebatang bambu panjang sebagai bahan gerantang itu harus diperhatikan keadaannya yang menentukan seperti bagian pangkal dan ujungnya, ruas-ruasnya dan buku-bukunya. Batangan bambu gerantang sebagai bilahan instrumennya atau “bungbungnya” juga mempunyai bagian pangkal dan ujung yang tidak secara otomatis mengikuti pangkal dan ujung bahan bambu yang panjang. Bila pada ruas-ruas bahan cembungnya ke arah ujung muka bagian ujung itu sekaligus menjadi bagian ujung dari bilahan bungbung dan bagian bawahnya sebagai bukunya. Demikian pula sebaliknya bila bahannya cembung ke bawah maka di bagian itu yang dijadikan bilahan bungbung, sedangkan bagian atas sebagai bukunya.

Panjang bungbung gerantang berkisar antara satu ruas sampai dengan tiga ruas, atau kurang antara 45 cm sampai 95 cm dari nada tertinggi sampai dengan terendah. Alat-alat yang perlu dipersiapkan untuk membuatnya adalah gergaji untuk memotong, parang untuk menebas, dan pengutik untuk menghaluskan.

Berbeda dengan rindik atau bilahan gambelan yang dipakai, maka bilahan bungbung gerantang ini dipasang dengan digantung. Yang dilubangi hanya bilahan bagian ujungnya saja yang cara menggantungnya sama dengan pada rindik gandrung. Sedangkan bagian pangkal atau bungbungnya hanya diikat saja sedemikian rupa dengan tali berupa jalinan yang teratur, kemudian digantung pada selewahnya.

Cara membuat lubang pada bilahannya yaitu dengan memegang pada titik yang berjarak kira-kira seperempat bagian panjang bambu keseluruhan, terhitung dari ujung bilahan. Cara memegangnya dengan mengepit memakai ujung dua jari, biasanya jari manis dan jari ibu. Setelah dipegang, dicoba suaranya. Bila semuanya bagus titik yang dipegang itulah dilubangi. Bila suaranya masih kurang baik maka pegangan bisa dioper ke arah ujung atau pangkal sampai mendapatkan suara yang diinginkan.

Selawah gambelannya dibuat dari kayu berkaki empat seperti kaki meja. Karena bilahannya yan terpasang dari kiri ke kanan makin lama makin pendek sesuai dengan tinggi rendah nadanya, maka baik penampang bawah maupun atas yang kita andaikan ada, yang dibuat oleh kaki-kaki pelawah tersebut berupa trapesium. Jadi badan pelawah itu berupa prismatrapesium terpacung. Biasanya juga pelawah itu di cat, digambari, atau kadang-kadang diukir.

Satu tungguh gambelan dipukul oleh satu orang sambil duduk bersila dengan memakai panggul dua batang. Panjang panggul lebih kurang 40 cm, tangkainya dibuat dari bambu. Sedangkan ujungnya yang akan mengenai bilahan gambelan bentuknya bundar pipih, dibuat dari karet yang agak keras atau kayu yang agak lunak. Yang dari karet biasa untuk memukul “gerantang pangede” atau yang berukuran besar, sedangkan yang bahannya kayu untuk memukul gerantang kantil atau yang berukuran kecil. Dalam memukul gerantang pamade, tangan kiri yang memukul daerah nada yang rendah menghasilkan melodi pokok saja, sedangkan tangan kanan yang memukul daerah nada yang tinggi menghasilkan variasi-variasi pukulan kotekan.

Gerantang tiap-tiap tungguh memiliki sebelas bilah nada, yaitu yang berlaras selendro. Dalam satu set gambelan Joged Bungbung ada delapan tungguh gerantang, yaitu empat tungguh atau dua pasang gerantang pamade dan dua pasang gerantang kantil. Dibuat berpasang-pasangan karena seperti jenis gambelan yang lain, ada yang memakai teknis pukulan “polos” dan yang lain pukulan sangsih.

Di samping berkomposisi dalam satu barungan gambelan, secara tersendiri satu atau dua tungguh gambelan dimiliki oleh perseorangan, dan dibunyikan semata-mata sebagai hiburan waktu senggang. Barungan gambelan lengkap dipergunakan untuk mengiringi tari Joged Bungbung yang berfungsi sebagai hiburan yang berciri khas tari pergaulan.

Sumber:
Triguna, Ida Bagus Gde Yudha, dkk,. 1994. Peralatan Hiburan dan Kesenian Tradisional Bali. Denpasar: Departemen Pendidikan dan Kebudayaan.

Honda CBR 929RR Fireblade (2001)

Technical Specifications

Engine Engine type Bore x Stroke Displacement Valves Compression ratio Max Power Max Torque Fuel system Final drive Gearbox Clutch Ignition type Starting system Battery	Liquid cooled, four cylinders in line, 4-stroke 74 mm x 54 mm 929 cm3 4 valves per cylinder - 152 hp (113.3 kW) @ 11000 rpm 103 Nm (76 ft. lbs) @ 9000 rpm - Chain 6-speed - - - -
Dimensions Frame type Overall length Overall width Overall height Seat height Wheelbase Ground clearance Dry Weight Fuel capacity Suspension (front) Suspension (rear) Tyre (front) Tyre (rear) Brake (front) Brake (rear)	- - - - 815 mm 1400 mm - 170 kg 18 litres Telescopic forks Single Shock with rising rate linkage preload rebound 120/70-17 190/50-17 Dual 330 mm discs with 4-piston calipers Single 220 mm disc with 1-piston calipers

Image: http://www.fireblades.org

People of the Kilombero Valley

Author: Robert Palmer

A day on safari in the Kilombero valley

Wandamba means ''people of the valley'', indicative of this tribe's long relationship with it's homeland, Kilombero valley. Fishing is the primary occupation , and it is the calls of the fishermen returning from a night on the river which rouse me from my slumber. ''The catch is in'' explains Steve our safari cook, looking quite excited, ''let us go and choose lunch!''

It's still quite early, the air is cool and fresh outside my tent. I stroll over to join the cook, avoiding the mounds of fresh Elephant dung that scatter the path. Down at the river bank there is a hive of activity of fishermen clean and sort their catch, filing the baskets woven out of banana leaves. The women take over, carrying the baskets on their heads up into the village, where the fish will be smoked in the special huts. The children are keen to get involved too helping out where they can. A large fish, Nile Perch. I am informed, is at the centre of a debate. Eventually Steve negotiates a price and returns to camp, fish in hand, grinning broadly!

I remain down by the river, a vast expanse of water. The Kilombero River is the main regulator of the Rufiji Delta .one of the kids throws a stick he has been playing with as far as he can and watches as it gets carried quickly downstream. In the distance the Udzungwa Mountains loom up out of the floodplain. Only the before we were up in those Mountains, with an incredible 180 degree view of the Kilombero valley stretched out before us, the sun rising with smoke from numerous cooking fires in the village below.

Our camp is situated next to the fishing village,which is slowly coming to the life as i return for fresh coffee and breakfast. Whilst waiting for sausages to cook ,Stella,a beautiful little girl accompanies me to the village bar, which doubles as the local caf� in the morning. Neat rows of un -cooked 'maandazi' {like donuts}await their turn in the pan, whilst the freshly cooked ones cool off on the opposite bench we buy half a dozen.

After a delicious and very filling breakfast we head out on a canoe safari down the river ,before it gets too hot . I feel a little a little apprehensive as i climb into the large dug -out , but i soon realize how stable our vessle is and i sit back on my cushion and relax .said Kabonga, the boatman, gently punts us upstream.

My camera is ready but the kingfishers prove to quick for me. However the numerous bee-eaters flirting with each other in the reeds are much more accommodating models and i get some good shots. Suddenly we pick up pace. ''Tembo'' exclaims Kabonga pointing off into the distance. Carefully standing up with my binoculars stuck to my face i spot the Elephants some way off. Sweat is now tricking down our poor boatman's face, he is determined to get closer. We get a few more glimpse of Elephants but they are moving away from us and disappear in the long grass

Kabonga perches himself at the back of the dugout and lets the current carry us back down toward the village. without a noise of an engine to scare anything off we get close to the various waterbirds on the low sandbanks. This has to be the most serene way to experience a safari.

Back at the village we are taken on a tour. The fish that was caught that night is now spread out on racks in the smoking huts, Whilst the fisherman stoke the fires underneath. I can only think they must be really hot! In the shade outside sit, delicately untangling the nets strung between the low straw roofs of the huts. Stella wants us to see her house, where her mother preparing lunch of fish stew and ugali,her youngest is strapped to her back.

Steve has once again out done himself in his primitive mobile bush kitchen. Back at our camp we feast on tasty fish kebabs served with pasta salad. Some of the kids are sitting under nearby tree, examining the field guides we brought with us, pointing out to each other the species they recognise. It's siesta time after lunch and i make my self comfortable up on the tree -platform, enjoying the faint breeze that stirs the branches around me.

Late in the afternoon, the heat of the day has subsided and we get back in the canoe for another safari on the river. This time Kibonga takes us in the opposite direction. No Elephants this time, but we are rewarded with one of the most amazing sunsets i have ever seen. The burning red orb sinks below the horizon ,the sky is flushed pink and the mountains in the distance range from powder blue through to a deep lilac.

Visit Wild Things Tanzania Safaris for more information on visiting the Kilombero.

--

Zoe J Hinde is a former biodiversity researcher who now operates http://www.wildthingsafaris.com.

Source: http://www.a1articles.com

History of the Native American Flute – Modern Times

Author: RyanC

The turn of the 20th century saw an unfortunate period of attempts to assimilate most Native American peoples into mainstream America. The Indians were faced with incredibly harsh assimilation rules and there was further relocation as treaties and reservations were illegally modified. Simple survival as a people and as individuals became forefront in the activities of Native Americans, especially during the 1930s and 1940s. As a result, many cultural aspects were forbidden or prohibited and their practice went "underground."

Beginning in the late 1940s, as assimilation rules began to disappear, the flute tradition was among the cultural aspects that began to resurface. Native flute players increased and gained some prominence. Belo Cozad (Kiowa), Dan Red Buffalo (Lakota), Dick Foolbull (Lakota), George Watchetaker (Comanche), Abel Big Bow (Kiowa), Woodrow Haney (Seminole), and Doc Tate Nevaquaya (Comanche), among others, reacquainted both natives and non-natives alike with the native flute. Non-natives, such as Dr. Richard Payne, Thurlow Lieurance and Vernon McNeal also played a significant role the revitalization of the flute tradition.

The 1970s marked the beginning of the period when flute makers shifted from primarily making flutes for their own use to primarily making flutes in quantity for use by others. Many began deriving, at least partially, their livelihood from their work.

The renaissance of the native flute was still in its infancy and only a relatively few makers emerged during the 1970s. Some learned their craft from relatives in previous generations. Hawk Littlejohn (who actually began making flutes in the 1950s), and Tim Spotted Wolf learned from their Grandfathers, while Sonny Nevaquaya learned from his father, Doc Tate. Others met Dr. Payne and discovered his wealth of knowledge, including Dr. Oliver Jones and Michael Graham Allen. Many turned to historic flutes for their inspiration including Raven Charles King and Arnold Richardson. And there were a number that taught themselves, including Carl Running Deer, Zacciah Blackburn and Lew Paxton Price. The early 1980s added a few more makers including Lakota George Estes and Ken Light.

The 1980s saw the emergence of two influences that had a dramatic impact on flute making. The first was R. Carlos Nakai, who has become perhaps the most prominent player in modern times. He not only influenced countless people to take up the instrument as players, but also quite a number of people to make them. His impact became most apparent in the early 1990s. The second was the release of a dozen books by Lew Paxton Price, covering every facet of constructing native flutes. They have become the foremost reference on the subject and many contemporary makers consider his books an important influence in their work.

This period also saw the introduction of numerous innovations in the crafting of native flutes. Power tools began to supplement hand tools to in some cases improve precision work and reduce crafting time. Makers began using more than cedars, cane and bamboo. Flutes were made in a wide variety of softwoods and hardwoods as well as domestic and foreign exotic woods. Plastic and metal tubes also found their way into flute making.

A significant modification to emerge at this time was the carving of the flue into the block directly, thus creating a style that needed no nest/roost. This has become a standard feature on what is now referred to as the "Plains" flute, or what should perhaps be called the "Contemporary Plains" flute.

Other innovations included the use of Western music tunings, such as pentatonic minor, diatonic and chromatic major. This led to the introduction of over two octaves of keys that flutes were tuned to. Multiple tone chamber flutes (usually referred to as drones or dual-chambered) began appearing as well as double bass designs (those of Michael Allen) that required additional mouthpiece fixtures.

As the 20th century drew to a close, flute makers offering their flutes to the public numbered over one hundred. There is indeed a receptive market. Professional and amateur players now number in the upper hundreds, flute circles have sprung up nation-wide and internationally, web-clubs and list servers abound on the internet, and hospitals and other service centers are recognizing the benefits of flute music.

Flute making, as well as flute playing, has crossed all cultural bounds and has ensured the flute tradition will survive well into the 21 century.

Zadjik Productions. “Modern Times History.” Native American Flutes. 27 Aug. 2009 [http://www.zadjik.com/flutes/].

Source: http://www.a1articles.com