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Yamaha Portatone PSR-220 Manual
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|6:02am on Saturday, October 2nd, 2010
|Yamaha PSRE213-K I bought this for my little brother, he is 14 and learning keyboard at school. Great value We have just taken delivery of this item (would definately recommend the proper Yamaha stand to put it on) and we are thrilled. Yamaha PSRE213-K I bought this for my daughter who has just started leaarning the piano and it was recommended to us by her teacher before we were to ... Just the ticket! As a final attempt to discover if I had any kind of music talent before I hit 40, I decided to try the piano.
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Music rest
Insert the music rest into the slots as shown.
Panel logos... 6 Supplied Accessories.. 6
Handy Performance Features
Setting Up
Power Requirements.. 8 Connecting headphones (PHONES/OUTPUT Jack). 9 Connecting a footswitch (SUSTAIN Jack).. 9 Using the MIDI Terminals.. 9 Turn on the power.. 9
Setting the Split Point... 36 Transpose... 36 Tuning... 37 One Touch Setting.. 37 Changing the tempo of the Song/Style.. 38 Adjusting the Main Voice Parameters. 38
Style (Auto Accompaniment) Functions
Panel Controls and Terminals
Front Panel.. 10 Rear Panel... 10
Various ways to start and stop Style playback. 39 Pattern Variation (Sections). 41 Adjusting the Style Volume.. 43
Playing Auto Accompaniment Chords
Quick Guide
Step 1
Easy Chords.. 44 Standard Chords... 44 Looking up Chords Using the Chord Dictionary. 46
Changing the Voices
Function Settings About MIDI
Turn the power on and adjust the volume. 12 Try playing a variety of instrument Voices.. 13 Playing the Grand Piano Voice.. 14 Drum kits... 14
Step 2
Select the item and change the value. 48
Fun Sounds
Step 3
What is MIDI?... 50 What You Can Do With MIDI.. 50 Transferring Performance Data To and From Another Instrument.. 51
Play With The Metronome
Step 4
Start the metronome.. 17
Playing Songs
Step 5
Select and Listen to a Specific Song.. 19
Play with a Style
Selecting a rhythm of a Style.. 21 Playing with a Style.. 22
Troubleshooting...53 Voice List...54 Maximum Polyphony.. 54 Drum Kit List...59 Style List..62 Effect Type List...63 MIDI Implementation Chart..64 MIDI Data Format...66 Effect map... 66 Specifications...67 Index...68
Basic Operation and Displays
Basic Operation.. 24 Display... 26
Song Lesson
Lesson 1 (Listen & Learn).. 27 Lesson 2 (Timing).. 29 Lesson 3 (Waiting)... 30
Front Panel Song List (page 20)
!4 !5 !6 !7
Rear Panel
@4 MIDI IN/OUT terminals..page 50 @5 SUSTAIN jack..page 9 @6 PHONES/OUTPUT jack...page 9 @7 DC IN 12V jack..page 8
Style List (page 62)
Voice List (page 54)
Display (page 26)
001 GrandPno
u i o !0 !1
!3 @0 @1 @2
Turn the power on and adjust the volume
Turning the power on
Press the [STANDBY/ON] switch to turn on the power. Press the [STANDBY/ON] switch again to turn the power off.
Adjusting the volume
When turning the power on, bars appear at the left side in the display to indicate the value of the master volume.
The volume increases as indicated by the bars in the display.
When you rst turn on the power, make sure to turn down the volume of the instrument by pressing the MASTER VOLUME [-] button several times. While playing the keyboard, adjust the volume level by using the MASTER VOLUME [+] and [-] buttons.
Press the [+] button to increase the volume.
The value of master volume cannot be saved.
Press the [-] button to lower the volume.
When the power is turned on, the initial value is automatically set to 12 (indicated by six bars in the display). If you are using the instrument in a quiet place and want a lower volume setting to start with, simultaneously hold down the MASTER VOLUME [-] button and turn on the power with the [STANDBY/ON] switch. This automatically sets the value to 4 (indicated by two bars).
Try playing a variety of instrument Voices
Quick Guide
13 In addition to the piano Voice, a wide variety of other instrument Voices can be selected and played, including guitar, trumpet and ute. The Voice selected here becomes the Main Voice.
Press the [VOICE] button.
The Voice number and name are displayed.
Voice number Voice name
Appears when the Voice mode.
Select a Voice.
Select the desired Voice by using the number buttons [0][9], [+], [-]. Refer to the Voice List on page 54.
The Voice shown here becomes the Main Voice for the instrument.
Press the [SOUND EFFECT KIT] button.
Try out each key and enjoy the sounds. Dont forget the black keys! Youll be able to play various sound effects from the keyboard: barking, braying, yelling, and much more. After trying out these sounds, press the [PORTABLE GRAND] button to reset the instrument Voice to the default setting of Voice 001 Grand Piano1.
Start the metronome
The instrument includes a metronome with adjustable tempo and time signature. Play and set the tempo that is most comfortable for you.
Starting the metronome
Turn the metronome on and start it by pressing the [METRONOME ON/ OFF] button.
To stop the metronome, press the [METRONOME ON/OFF] button again.
Displays the current beat.
Setting the metronome tempo
Press the [TEMPO/TAP] button to display the tempo.
Tempo value
Set the metronome tempo by using the number buttons [0][9], [+], [-].
The tempo can be adjusted between 32280.
Step 3 Play With The Metronome
Setting the Metronome Time Signature
A chime will sound on the rst beat of each measure, while a metronome click will sound on all others. You can also set the time signature to 00, in which case the chime will not sound and the click sound will be heard on all beats.
Press and hold the [METRONOME ON/OFF] button for longer than a second
The time signature appears in the display.
Time signature
Hold for longer than a second.
Set the time signature by using the number buttons [0][9], [+], [-].
The metronome can be set for time signatures of 0 to 15 beats.
The time signature cannot be changed for Songs and Styles, because each has a xed time signature.
Setting the Metronome Volume
Press the [FUNCTION] button a number of times until MetroVol appears.
Metronome Volume
Set the metronome volume by using the number buttons [0][9], [+], [-].
Song name Appears when the Song mode is active.
Select and Listen to a Specic Song
This instrument has 102 built-in Songs. Listening to a Song
Press the [SONG] button.
The Song number and name are displayed.
Song number
Select the desired Song by using the number buttons [0][9], [+], [-].
Refer to the Song List on next page.
Press the [START/STOP] button.
The Song will begin playing. You can stop playback at any time by pressing the [START/ STOP] button.
Step 4 Playing Songs
Other Operations
[REW] button. Fast-reverses the Song if pressed during playback (no sound is heard during fast reverse). Decreases the measure number if pressed while playback is stopped. [FF] button. Fast-forwards the Song if pressed during playback. Increases the measure number if pressed while playback is stopped. [PAUSE] button. Temporarily stops playback. Press this button a second time to resume playback from the point at which it was stopped.
Select a Song for your lesson. Select the part you want to practice. Select the practice method. Start the Lesson!
The practice methods: Lesson 1 (Listen & Learn). Listen and learn the melody or rhythm of a selected Song. Lesson 2 (Timing).. Learn to play the notes at the correct timing along with the Song. Lesson 3 (Waiting). Learn to play the correct notes.
Lesson 1 (Listen & Learn)
Theres no need to play the keyboard in Lesson 1. The model melody/chords (in other words, the musical material you should learn) of the part you selected will sound. Listen to it carefully and learn it well.
Select the desired Song for your lesson. Press the [SONG] button, and then select a Song (referring to the Song list on page 20) by using the number buttons [0][9], [+] and [-].
You cannot select the part during Song playback before Lesson 1 starts. If a Song is currently being played back, stop the Song rst, then continue from Step 2.
Select the part you want to practice. Press the [R] button for a right-hand lesson, [L] button for a left-hand lesson, or press both the [R] and [L] buttons simultaneously for a bothhands lesson. The selected part is displayed.
Left-hand lesson Right-hand lesson
Both-hands lesson
Start Lesson 1. Press the [LISTEN & LEARN] button to start Lesson 1. The melody of the part you selected in Step 2 will sound. Listen to it carefully and learn it well.
r1 LISTEN
Even after Lesson 1 has started and the Song is playing, you can still select the part. When the melody Voice of the Song is changed, the key position shown in the display may be shifted (in octave units), depending on the Voice selected. You can select Lessons 13 by pressing the [LISTEN & LEARN], [TIMING] and [WAITING] buttons, respectively.
The notation and key positions of the model melody are shown in the display.
Stop the Lesson mode. You can stop the Lesson mode at any time by pressing the [START/ STOP] button.
Lesson 2 (Timing)
In this lesson, try playing the notes with the correct timing. Simply concentrate on playing each note in time with the rhythmic accompaniment. The correct notes sound even if you play wrong notes as long as you play in time with the rhythm.
The Split Point is xed and it cannot be changed. For the left-hand lesson, it is xed at 59 or B2; for the left-hand chord lesson, it is xed at 54 or F#2.
You can change a Songs melody Voice to any other Voice you prefer.
Select the Song and play it. Refer to the section Playing Songs on page 19. Select the voice. Select a desired Voice by using the number buttons [0][9], [+], [-].
004 HnkyTonk
The selected Voice sounds when you play the keyboard. If a Song has played through and stopped during this procedure, press the [START/STOP] button to start playback again.
Press and hold the [VOICE] button for longer than a second. SONG MELODY VOICE appears in the display for a few seconds, indicating that the Voice selected in Step 2 has replaced the Songs original melody Voice.
Song Volume
This procedure allows you to adjust the balance between Song playback and the notes you play on the keyboard by setting the volume of the playback sound.
Press the [FUNCTION] button a number of times until SongVol appears.
Current Song Volume Song Volume
Set the Song Volume by pressing the number buttons [0][9], [+], [-].
Press the [+] and [-] buttons simultaneously to instantly reset the value to its default setting (100).
The Song is made up by several tracks. You can mute Track 1 or Track 2 during Song playback. Track 1 can be muted by pressing the [R] button during Song playback. Track 2 can be muted by pressing the [L] button during Song playback. You can cancel the mute function by pressing the corresponding track buttons, [R] or [L] again during Song playback, or by selecting any other Song.
Track 2 Track 1
Pressing one of the Track buttons [R] or [L] will mute the corresponding track during Song playback.
Littrack contains data.
Unlittrack is muted or contains no data.
Practice Makes Perfect
You can repeatedly practice a section you nd difcult. This function lets you specify a section of a Song you want to practiceA is the start point and B is the end pointfor repeat playback.
Repeat playback of this section
Play the Song and press the [A-B REPEAT] button at the beginning of the section you want to repeat (the A point). A-REPEAT will be displayed.
The repeat start and end points can be specied in one-measure increments. You can also set the A-B Repeat function when the Song is stopped. Simply use the [REW] and [FF] buttons to select the desired measures, pressing the [AB REPEAT] button for each point, then start playback. If you want to set the start point A at the very beginning of the Song press the [A-B REPEAT] button before starting playback of the Song.
Press the [A-B REPEAT] button a second time at the end of the section you want to repeat (the B point). The specied A-B section of the Song will now play repeatedly, letting you practice the section over and over.
You can stop repeat playback by pressing the [A-B REPEAT] button. The A-B REPEAT mode will be canceled and normal playback of the Song will continue.
Main A/B
Auto ll
INTRO section
This is used for the beginning of the Song When the intro nishes playing, accompaniment shifts to the main section. The length of the intro (in measures) differs depending on the selected Style.
MAIN section
This is used for playing the main part of the Song. It plays a main accompaniment pattern, and repeats indenitely until another sections button is pressed. There are two variations on the basic pattern (A and B), and the Style playback sound changes harmonically based on the chords you play with your left hand.
Fill-in section
This is automatically added before changing the section A and B.
ENDING section
This is used for the ending of the Song. When the ending is nished, the auto accompaniment stops automatically. The length of the ending (in measures) differs depending on the selected Style.
Press the [STYLE] button and then select a Style. Turn auto accompaniment on. Press the [ACMP ON/OFF] button.
Turn SYNC START on. Press the [SYNC START] button.
Press the [MAIN/AUTO FILL] button.
The name of the selected sectionMAIN A or MAIN Bwill be displayed
Press the [INTRO/ENDING/rit.] button.
As soon as you play a chord with your left hand, the Intro of the selected Style starts. For this example, play a C major chord (as shown below). For information on how to enter chords, see Playing Auto Accompaniment Chords on page 44.
When the ll-in is nished, it leads smoothly into the selected main section A/B.
This switches to the ending section. When the ending is nished, the auto accompaniment stops automatically. You can have the ending gradually slow down (ritardando) by pressing the [INTRO/ENDING/rit.] button again while the ending is playing back.
Adjusting the Style Volume
This procedure allows you to adjust the balance between Style playback and the notes you play on the keyboard by setting the volume of the playback sound.
Press the [STYLE] button. Press the [FUNCTION] button a number of times until the StyleVol appears.
Press and hold the [WAITING] button for longer than a second. Dict. will appear in the display.
As an example, well learn how to play a GM7 (G major seventh) chord. Press the G key in the section of the keyboard labeled ROOT >. (The note doesnt sound.) The root note you set is shown in the display.
Keys for chord type dictionary
Keys for root dictionary
Press the M7 (major seventh) key in the section of the keyboard labeled CHORD TYPE >. (The note doesnt sound.) The notes you should play for the specied chord (root note and chord type) are shown in the display, both as notation and in the keyboard diagram.
Notation of chord
Major chords are usually indicated by the root name only. For example, the indication C in a score refers to a C Major chord. To look up the ngering for a major chord press the root key and then the M chord type key.
Chord name (root and type)
Individual notes of chord (keyboard)
To call up possible inversions of the chord, press the [+]/[-] buttons.
Try playing a chord in the auto accompaniment section of the keyboard, checking the indications in the display. When youve played the chord properly, a bell sound signals your success and the chord name in the display ashes.
About chords
Playing two or more notes together simultaneously creates a chord. Playing a note together with two other notes spaced three notes (steps) apartsuch as the notes C, E and Gcreates a harmonious sound. Chords like these are called triads and they play an important role in most music.
Taking the chord above as an example, the lowest note of this triad is called the root note. This is the central note sound, and it supports or anchors the rest of the notes chord. Youll notice that the middle note of the chord above (E) is the third step in the succession of scale notesC, D, then E. There are two types of thirds in chords: major thirds and minor thirds.
Major thirdfour half steps from the root Minor thirdthree half steps from the root
Well also alter the top note of our original chord and make three additional chords, as shown below. (The captions indicate the intervals between each of the notes.)
Major chord
Minor chord
Augmented chord
Diminished chord
Minor 3rd
Major 3rd
The basic characteristics of the chord sound are same, no matter if we change the order of the notes from bottom to top, or if we add other same name notes in different octaves. Beautiful sounding harmonies can be built in this manner, and emotional music can be created by playing different chords one after the other according to commonly accepted rules. Harmony determines the nature of chords, and music is created based on harmony.
Local On/Off External Clock Initial Setup Send Time Signature Metronome Volume Demo Cancel
Local ExtClock InitSend TimeSig MetroVol D-Cancel
About MIDI
The instrument features a MIDI terminals that can be connected to other MIDI instruments and devices for expanded musical functionality.
What is MIDI?
MIDI (Musical Instrument Digital Interface) is a world-standard interface for communication between electronic musical instruments and music devices. When MIDI-equipped instruments are connected via a MIDI cable, it becomes possible to transfer performance and setting data between them for signicantly enhanced performance and production potential.
Connect the PSR-E213/YPT-210 to external equipment only after turning off power for all devices. Then, turn on the power, rst to the PSR-E213/YPT-210, then to the connected external equipment.
What You Can Do With MIDI
Transferring performance and setting data between the PSR-E213/YPT210 and MIDI-equipped instruments or computers. (page 51)
Transferring Performance Data To and From Another Instrument
By connecting the PSR-E213/YPT-210 to other MIDI devices or a computer, the performance data of the instrument can be used on those other MIDI devices or computer, and also the performance data from other MIDI devices and computer can be received and sounded with the PSR-E213/YPT-210. When the instrument is connected with another MIDI device, it transmits/receives performance data.
MIDI device
When the instrument is connected with a computer, it transmits/ receives performance data.
A USB-MIDI interface (such as the Yamaha UX16)
A Yamaha UX16 or similar USB-MIDI interface (sold separately) will be necessary for MIDI connection between the PSR-E213/YPT-210 and a USB-equipped computer. Make sure to purchase a Yamaha UX16 or a quality USB-MIDI interface at a musical instrument store, computer store or electrical appliance store. If you use the UX16 interface, install the driver supplied with the interface on your computer.
MIDI settings
These settings should be made when transmitting/receiving performance data to a connected MIDI device or computer.
Local Settings
Local Control determines whether or not notes played on the instrument are sounded by its internal tone generator system; the internal tone generator is active when local control is on, and inactive when local control is off. On. This is the normal setting in which notes played on the instruments keyboard are sounded by the internal tone generator system. Data received via the instruments MIDI terminal will also be played by the internal tone generator. Off. With this setting the instrument itself produces no sound (keyboard performance, or Style playback), but the performance data is transmitted via the MIDI terminal. Data received via the instruments MIDI terminal will also be played by the internal tone generator. You can set the Local Control in the Function Settings (page 49).
If you cant get any sound out of the instrument, Local Control may be the most likely cause. Playing the keyboard results in no sound when Local is set to OFF.
External Clock Settings
These settings determine whether the instrument is synchronized to its own internal clock (OFF), or to a clock signal from an external device (ON). On. The instruments time based functions will be synchronized to the clock from an external device connected to the MIDI terminal. Off. The instrument uses its own internal clock (default). You can set the External Clock in the Function Settings (page 49).
If External Clock is ON and no clock signal is being received from an external device, the Song, Style, and metronome functions will not start.
PSR-E213/YPT-210 Panel Setting Transmission (Initial Send)
Sends the PSR-E213/YPT-210 panel settings to an external MIDI device. When recording a PSR-E213/YPT-210 performance to an external sequencer or similar equipment, you can use this function to send the current PSR-E213/YPT-210 panel settings so that when the sequence is played back the original panel settings are automatically restored. You can set Initial Send in the Function settings (page 49).
Problem When the instrument is turned on or off, a popping sound is temporarily produced. When using a mobile phone, noise is produced. There is no sound even when the keyboard is played or when a Song or Style is being played back. Playing keys in the right hand area of the keyboard does not produce any sound. The volume is too soft. The sound quality is poor. The rhythm stops unexpectedly or will not play. The Song, etc. does not play correctly. The Style or Song does not play back when the [START/STOP] button is pressed. Possible Cause and Solution This is normal and indicates that the instrument is receiving electrical power. Using a mobile phone in close proximity to the instrument may produce interference. To prevent this, turn off the mobile phone or use it further away from the instrument. Check that nothing is connected to the PHONES/OUTPUT jack on the rear panel. When a set of headphones is plugged into this jack, no sound is output. Check the Local Control on/off. (See page 52.) When using the Dictionary function (page 46), the keys in the right hand area are used only for entering the chord root and type.
The batteries are low or dead. Replace all six batteries with completely new ones, or use the optional AC adaptor.
Is External Clock set to ON? Make sure External Clock is set to OFF; refer to External Clock Settings on page 52. Make sure that the Style Volume (page 43) is set to an appropriate level. Is the Split Point set at an appropriate key for the cords you are playing? Set the Split Point at an appropriate key (page 36). Is the ACMP ON indicator showing in the display? If it is not showing press the [ACMP ON/OFF] button so that it does show. This is not a malfunction. Style number 093100 (Pianist) have no rhythm parts, so no rhythm will play. The other parts will begin playing when you play a chord in the accompaniment range of the keyboard if auto accompaniment is turned on. The instrument is polyphonic up to a maximum of 32 notes. If a style or Song is playing back at the same time, some notes/sounds may be omitted (or stolen) from the accompaniment or Song. The polarity of the footswitch is reversed. Make sure that the footswitch plug is properly connected to the SUSTAIN jack before turning on the power. Always press the [STYLE] button rst when you are going to use any style-related function. Make sure that you are not pressing the [R] or [L] buttons while the Song is playing. If you press one of the part buttons while playing the Song and before starting the Lesson, these buttons serve to mute the corresponding Song tracks. Stop the Song rst, then select the desired part and start the Lesson. Since this keyboard does not have touch response, the level of the sound does not change in response to your playing strength.
The Style does not sound properly.
No rhythm accompaniment plays when the [START/STOP] button is pressed after selecting Style number 093100 (Pianist). Not all of the voices seem to sound, or the sound seems to be cut off. The footswitch (for sustain) seems to produce the opposite effect. For example, pressing the footswitch cuts off the sound and releasing it sustains the sounds. The ACMP ON indicator does not appear when the [ACMP ON/OFF] button is pressed. The part indications, such as Right, Left and Both Hands, do not appeareven when pressing the [R] or [L] buttons for the Lesson. Regardless of how strongly play the keys, the level of the sound does not change.
Prog Change
: True #
System Exclusive
Common o o x x x x o x o(120,126,127) o(121) o(122) o(123-125) o x o o
: Song Pos. : Song Sel. : Tune
System : Clock Real Time: Commands
:All Sound OFF :Reset All Cntrls :Local ON/OFF Mes- :All Notes OFF sages:Active Sense :Reset
*1 Refer to #2 on page 66. *2 Refer to #6 on page 66. Mode 2 : OMNI ON ,MONO Mode 4 : OMNI OFF,MONO o : Yes x : No
Mode 1 : OMNI ON , POLY Mode 3 : OMNI OFF, POLY
MIDI Data Format
1 By default (factory settings) the instrument ordinarily functions as a 16-channel multi-timbral tone generator, and incoming data does not affect the panel voices or panel settings. However, the MIDI messages listed below do affect the panel voices, auto accompaniment, and songs. MIDI Master Tuning System exclusive messages for changing the Reverb Type. 2 Messages for these control change numbers cannot be transmitted from the instrument itself. However, they may be transmitted when playing the accompaniment, song or using the harmony effect. 3 Exclusive <GM System ON> F0H, 7EH, 7FH, 09H, 01H, F7H This message automatically restores all default settings for the instrument, with the exception of MIDI Master Tuning. <MIDI Master Volume> F0H, 7FH, 7FH, 04H, 01H, ll, mm, F7H This message allows the volume of all channels to be changed simultaneously (Universal System Exclusive). The values of mm is used for MIDI Master Volume. (Values for ll are ignored.) <MIDI Master Tuning> F0H, 43H, 1nH, 27H, 30H, 00H, 00H, mm, ll, cc, F7H This message simultaneously changes the tuning value of all channels. The values of mm and ll are used for MIDI Master Tuning. The default value of mm and ll are 08H and 00H, respectively. Any values can be used for n and cc. <Reverb Type> F0H, 43H, 1nH, 4CH, 02H, 01H, 00H, mmH, llH, F7H mm : Reverb Type MSB ll : Reverb Type LSB Refer to the Effect Map (page 66) for details. 4 When the accompaniment is started, an FAH message is transmitted. When accompaniment is stopped, an FCH message is transmitted. When the clock is set to External, both FAH (accompaniment start) and FCH (accompaniment stop) are recognized. 5 Local ON/OFF <Local ON> Bn, 7A, 7F <Local OFF> Bn, 7A, 00 Value for n is ignored. 6 Since this keyboard does not have touch response, the level of the sound does not change in response to your playing strength. As a result, when you play the keyboard, the velocity value transmitted via MIDI is xed (set to the most suitable value for each Voice). However, the velocity of the accompaniment and song playback does change in response to performance data received via MIDI.
Optional Accessories AC Power Adaptor: Yamaha PA-130 or an equivalent USB-MIDI Interface: UX16 Footswitch: FC4/FC5 Keyboard Stand: L-2C/L-2L Headphones: HPE-150/HPE-30
* Specications and descriptions in this owners manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specications at any time without prior notice. Since specications, equipment or options may not be the same in every locale, please check with your Yamaha dealer.
A-B REPEAT button.. 33 ACMP ON/OFF button... 22 DEMO button... 20 FF button... 20 FUNCTION button... 25, 48 INTRO/ENDING/rit. Button.. 41 L button... 28 LISTEN & LEARN button.. 28 MAIN/AUTO FILL button.. 41 MASTER VOLUME +, - buttons.. 9, 12, 24 METRONOME ON/OFF button. 17 number buttons 09, +, -.. 25 PAUSE button.. 20 PORTABLE GRAND button. 14 R button... 28 REVERB ON/OFF button... 34 REW button... 20 SONG button.. 19, 25 SOUND EFFECT KIT button.. 16 STANDBY/ON switch. 9, 12, 24 START/STOP button.. 24 STYLE button.. 21, 25 SYNC START button.. 22 TEMPO/TAP button.. 38 TIMING button... 29 VOICE button.. 13, 25 WAITING button.. 30 DC IN 12V jack... 8 MIDI IN/OUT terminal... 50 PHONES/OUTPUT jack... 9 SUSTAIN jack... 9
Alphabetical Order
AB Repeat... 33 AC Power Adaptor.. 8 ACMP ON/OFF.. 22 Auto Accompaniment.. 22 Auto accompaniment range.. 2223
Battery... 8 Beat Display... 26
Chord... 23, 4445, 47 Chord Dictionary... 46 Chord Display.. 26, 45 Computer.. 5152
Demo... 20 Display... 26 Drum Kit... 14 Drum Kit List... 59
Ending... 40, 42 External Clock.. 49, 52
FF... 20 Footswitch (Sustain jack).. 9 Function Setting List.. 49
Grade... 29
Initial Send... 49 Intro... 39, 42
Keyboard Display.. 26
Lesson... 2730 Local... 49, 52
Main/Auto fill.. 4142 Master Volume Control.. 9, 24 Measure... 26 Melody Voice... 31 Metronome... 1718 Metronome Volume... 18
MIDI... 50 Music Rest.. 6 Mute... 32
XGlite... 6
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Music Houses of N.Z. Ltd. 146/148 Captain Springs Road, Te Papapa, Auckland, New Zealand Tel: 9-634-0099
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Time to get serious
Tuesday, May 07, 2013
So I tried this last summer with some luck. When I got back to school I was doing well for a month or two but then everything just got more busy and I got more lazy.
It is time to take control and get serious!
This summer I'm going to have a lot of alone time which means making my own decisions for once. Mondays through Thursdays I will be away from home taking a summer school course. This means, no parents or any of the junk food my dad always buys to tempt me!! They keep saying they want to lose weight but they don't seem to serious about it like ever. I also don't have my boyfriend around very much this summer since he is working full time during the week, and when I go back home on the weekends I will be working.
Don't get me wrong - I love my boyfriend to pieces. But, he seems to always tempt me out of being healthy. I don't think he understands how serious I want to be about this but it makes it so much harder when he wants to buy cookies and fries and pizza, etc.. And okay okay it's not alllll his fault because I do give in and go with it because during school those things are just so much easier after I've had classes and such.
So today I turn over a new leaf.
I went grocery shopping alone and I bought ALL healthy food. No bread, no fries, only one boxed dinner - it's salmon in a dill sauce (I think it's pretty healthy)
I went to the gym and I cycled and ran on the treadmill. I am NOT a runner but I really need to work on it. I can't run across the street without getting out of breath. I've always liked the bike though because it works one of my biggest problem areas - my legs.
So to end this first post, the reason I'm doing this is because I want to feel better about myself. Look good, feel good, right? I hate being an XL, size 14, and over 200 pounds. I need to do this for my health and my future. Like I said I get tired from running way too fast to be healthy. And when the zombie apocalypse happens, I don't wanna die because I've been too damn lazy to eat right and exercise.
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Hope he can understand how important this is to you and support you in your journey.
But if he doesn't, you can do it anyway! Don't let lack of support stop you! There are plenty of people here that will cheer you on!
1119 days ago
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1119 days ago
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Disclaimer: Weight loss results will vary from person to person. No individual result should be seen as a typical result of following the SparkPeople program.
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urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened - Tags - marketing Insights from the IBM Global CMO Study 8 2015-11-23T09:58:07-05:00 IBM Connections - Blogs urn:lsid:ibm.com:blogs:entry-300f9ff4-1e80-4613-ae16-36d80c67c066 A Marketer's Confession of Past Sins Tami Cannizzaro email@example.com 120000NJTY active Comment Entries application/atom+xml;type=entry Likes 2012-01-20T15:47:34-05:00 2012-01-20T17:38:40-05:00
Since the CMO study came out a few months ago, we have received many requests to tell IBM's marketing story. What are we doing differently today? How are we managing the data explosion? How are we using analytics to determine the best way to connect with empowered customers?

As a marketer, it can be difficult to find the right asset, the right tactic, the right campaign to tap a nerve with your prospects. Given the changing landscape of media, advertising, social and multi-channel, this exercise is becoming increasingly complex... so what's a marketer to do? What's the magic equation for driving leads in an era when the funnel frankly seems to be an outdated paradigm? In my marketing role at IBM, I've realized that technologies like marketing automation, web analytics, ad attribution and re-targeting are some of the key drivers that can help to close the equation. The transformation from manual to automated, from guessing to analyzing, is taking root.

The first major breakthrough was implementing a marketing automation platform. I have to admit I've done my share of spray and pray campaigns. With the acquisitions of Cognos and Unica, we've learned a ton about the value of scientific, automated campaigns that can target customers in a more sophisticated manner. There was a learning curve, but one well worth the effort. We now have prospects queued into much more sophisticated "conversations" based on their preferences and buying behaviors, which has produced up to six-fold response improvements for our nurture campaigns.

The second major breakthrough has been the use of targeted web analytics, which are, in my humble opinion, one of the most powerful tools a marketer can utilize. Knowing who your prospects are on the web and why and how they are using your website is priceless in tapping into that precious organic interest. The capability now exists to retain live profiles of our prospects and customers. This profile provides us with the insight to run campaigns based on how/why/what to target based on past behavior. We can now strategically determine the "next best offer" based on this past behavior. This type of scientific targeting is priceless when it comes to driving digital lead conversions.

Another favorite tool of mine is Media Attribution. You know you are guilty. Expensive media buy. Boss is happy. Media Ad is gorgeous. But who were the interested customers? How did it perform on relative target audiences? Ok guilty. In the past, I'd sometimes get very busy and forget to check back on my media buy. Big mistake, as Media optimization can double media spend efficiency. This goes hand in glove with ad re-targeting, which is a technology that can also goose conversion rates by following customers where they live on the web and essentially reminding them of what a great offer you have for them.

I've always been inclined to the creative, the creative versus the scientific... but these days, at IBM, I realize that marketing can be more science than art, more mathematical than ethereal. I'm learning to live with it and to use technology to raise my game, and the great part about it is that my conversion rates are starting to prove it!
 Since the CMO study came out a few months ago, we have received many requests to tell IBM's marketing story. What are we doing differently today? How are we managing the data explosion? How are we using analytics to determine the best way to connect with... 2 1 2159 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-03317fd0-438e-4105-b37c-7d6b99818584 CMO Study Reactions: What's Resonating Most? Carolyn Baird email@example.com 27000387R2 active Comment Entries application/atom+xml;type=entry Likes 2011-11-22T10:23:22-05:00 2011-11-22T10:43:21-05:00
In the past few weeks since the IBM CMO Study launched, as the CMO Study Director, I've had the privilege of sharing the findings with numerous clients and have attended panel discussions, roundtables and forums. Here are three key take-aways that are resonating with CMOs:

If you are struggling, you're in good company.

The marketing executives I've met feel validated by the study's findings. "At least I'm not alone," is the typical response.

The change and complexity CMOs face today is unprecedented. If awareness is the first step of the transformation journey, then CMOs are well along the path. But with numerous forks in the road and increasing pressure to demonstrate success, it's completely understandable that so many are feeling underprepared on so many fronts.

The interconnectedness of social, mobile and big data means these aren't point solutions.

Whenever I present the study findings, inevitably someone asks, "If CMOs are aware of what they need to do, why haven't they acted?" CMOs know the "what" – it's the "how" that's confounding everyone.

You can hear it in the discussions about social, mobile and big data. Explore the potential power of social media, and you are quickly talking about how best to incorporate mobile, which then leads to questions about managing and interpreting mountains of data. How does this impact marketing's strategies, teams, tools, processes, partners, investments, and so on? This shift to digital requires interdependent, systemic changes, which can't be implemented overnight….but must be started.

Chief Marketing Officers need to be Chief Collaboration Officers.

A marketing executive jokingly referred to IT as "the Department of 'No'". To him, and many other CMOs, IT is perceived as a gate keeper, determining what marketing can and can't do.

Today, there are some technology options CMOs can employ without IT's involvement. However, marketing's growing technology imperative -- and the data it will generate -- is inextricably tied to enterprise-wide IT considerations. CMOs need to establish stronger relationships with CIOs, not move further away. Likewise, the emphasis on ROI requires a tight alliance between CMOs and CFOs. And because a company's corporate character has so much impact on the brand, CMOs and CHROs need to be in sync.

If you haven't read the study report yet, register to get a free copy and join in on the conversation with professionals who are passionate about the future of marketing. Follow the dialog on Twitter #IBMCMOStudy and become a member of our LinkedIn IBM CMO Study community.
 In the past few weeks since the IBM CMO Study launched, as the CMO Study Director, I've had the privilege of sharing the findings with numerous clients and have attended panel discussions, roundtables and forums. Here are three key take-aways that are... 0 0 3168 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-773d3bb0-0719-4363-b3c6-b7b0bafc2100 From Stretched to Strengthened – IBM CMO Study Launches Today Peter Korsten firstname.lastname@example.com 2700035UYE active Comment Entries application/atom+xml;type=entry Likes 2011-10-11T11:20:57-04:00 2011-10-11T11:45:33-04:00
The inaugural IBM CMO Study launches today, after nine months of primary research, analysis and report development. The CMO Study is the latest addition to our thought leadership series for the C-suite. And with over 1,700 participants, it is the largest face-to-face study of marketing executives ever conducted.

It is also one of our richest in terms of data—we analyzed more than 230 discrete factors, and among many other tools, employed IBM's sophisticated text analysis tools to examine 10,000 quotes captured during the interviews. These quotes provide the context and color that bring the quantifiable data to life, and they shed light on what CMOs around the world are thinking, feeling and doing.

We titled the report, From Stretched to Strengthened, to underscore the overwhelming evidence that CMOs everywhere are sitting in the eye of the storm. The vast majority of them told us they are underprepared for the deluge of data and related change and complexity they are facing – from the influx of streaming data, to the rise of social media, the rapid adoption of new channels and devices, and behavioral changes driven by shifts in demographics and markets.

But this is also a story about creative and practical steps taken by CMOs who have turned these turbulent times into opportunities for innovation and growth. We learned that the most effective CMOs are building relationships with customers that go beyond the point of sale. They access new digital sources to develop their strategies and use customer analytics to turn data into insights on which they can act.

On our CMO Study website, you can register to download the report and watch videos of marketing executives from around the world as they share candid views about marketing. Check out study events for virtual panel discussions and simulcasts, tweet jams, and in-person events. Follow the ongoing #IBMCMOStudy dialog on Twitter and join our lively LinkedIn IBM CMO Study community, which has attracted hundreds of professionals who are further exploring topics raised in the study.

Of course, none of this would be possible were it not for the marketing executives who generously gave us their time and offered us a fascinating view into their world. We are all greatly appreciative of their support and enthusiasm. We hope they—and you—will find the report insightful, thought-provoking and useful for defining marketing strategies for this transformative digital age.
 The inaugural IBM CMO Study launches today, after nine months of primary research, analysis and report development. The CMO Study is the latest addition to our thought leadership series for the C-suite. And with over 1,700 participants, it is the largest... 1 1 3920 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-6af0a055-f72b-458a-b00d-65eb50442c13 Transforming the CMO and the Organization through Analytics Katharyn White firstname.lastname@example.com 270001AAVE active Comment Entries application/atom+xml;type=entry Likes 2011-10-07T10:12:58-04:00 2011-10-07T10:19:44-04:00
My experience with analytics is that it simplifies my job.

In my role as CMO of IBM's Global Business Services business, complexity is increasing, both internally and externally. I have long believed analytics will forever change the role of the CMO, but I am now experiencing it, in fact leading it.

We all know the velocity, variety and volume of data is met only by the increasing empowerment and expectations of our constituencies. The question is: how do we meet the increasing complexity with increased effectiveness?

Analytics. We cannot run the treadmill faster. We have to be smarter. Smarter analytics is a transformational journey that teams CMO/CFO, CMO/CIO, CMO/Agencies, CMO/CEO, and CMO/Customers.

Moving beyond the traditional to the transformed CMO and, in fact, the transformed organization requires new skills, relationships and capabilities. There are key learnings along the way. Let me share a few. And I hope you will do the same. I have learned that:

Having the right question is more important than having all the data.

Relationships are even more important in an analytically transparent world/organization, as it is not the data or even the insight you have, but who does what with that data to deliver business impact.

Analytics helps me focus on the right things, instead of everything.

Governance and change management are as important as tools and capabilities.

The transformation of my role begins with my leadership, how I empower the organization and change the effectiveness of the ecosystem.

What have you learned? Share your thoughts in our LinkedIn discussion.

 My experience with analytics is that it simplifies my job. In my role as CMO of IBM's Global Business Services business, complexity is increasing, both internally and externally. I have long believed analytics will forever change the role of the... 2 0 1783 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-a262d289-f73e-4b4d-8c1c-2d5beb1d0abf CMOs in the world of high-growth markets John Gallagher email@example.com 270003E59S active Comment Entries application/atom+xml;type=entry Likes 2011-10-06T10:57:54-04:00 2011-10-06T11:29:08-04:00
It has never been more exciting to be in Marketing especially if you are in one of the growth markets. I recall it was three days after I arrived into the growth markets that I attended a significant event that we hosted in one of our largest markets. There was a lot of buzz and excitement. We had over 1,000 clients attending the event live. At the same time, there were more than 100,000 people joining the 'virtual event' that was running simultaneously.100,000+! That gave me an immediate buzz and a sense of the enormous energy in the growth markets, and the related potential for our clients and our own business working with them.

In my few years subsequently working as a Marketing Executive in high-growth markets, I observed that one key challenge that most CMOs are dealing with is "Talent and Skills". This is especially true in the digital era when we are presented with unprecedented opportunities to reach and engage with customers. Do we have the "Talent and Skills" to understand our customers, to drive continuous interactions and foster relationships, and to measure value and capture results?

Let me share a few thoughts about developing talent and skills in this marketing/digital era…CMOs:

must develop a better understanding of social media and its effect on clients

explore and drive the application of technology in marketing

become leaders across their businesses, influencing the entirety of the brand experience given the explosion of media

With the rise of social media, growth in devices and changing demographics, it has brought us to an era of the "empowered" customers. These customers are much better connected and well-informed. They get what they want when they want it. And they can make their opinions known - positive or negative - to thousands or even millions of other customers. It is, therefore, important for marketers to raise their digital IQs and deploy user-friendly technology like smart phones, the web, social networks and search engines to engage with their customers and build effective digital strategies to nurture relationships and grow their businesses.

Technology has become a key enabler in marketing. By introducing new levels of automation to the ways we buy, sell and secure greater customer loyalty, it helps us open up new opportunities and deliver better customer experiences. With the huge volume of data we get from these customer interactions, it becomes critical for us to deploy appropriate tools and technology to mine the data, from demographics, to purchase histories, to on-line conversations, in order to better understand the customers' needs and preferences, and turn it into real value in real time.

As marketers, we all play an important role as brand ambassadors. With the market shift, it gives us a unique opportunity to build our personal or business brand on social networks. What we need is to determine the best forum and discussion that could bring our corporate character to life and deliver our brand experience to customers and influencers.

Do you see "Talent and Skills" as the most important factor that could make a huge impact on your marketing organization in fast-growth countries? Share your opinion in our LinkedIn discussion.
 It has never been more exciting to be in Marketing especially if you are in one of the growth markets. I recall it was three days after I arrived into the growth markets that I attended a significant event that we hosted in one of our largest markets. There... 0 1 1595 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-372908a5-e3e9-4f26-a639-7c3606893479 Marketing in the 21st Century: The Science of the Probable Stephen Gold email@example.com 270003CA58 active Comment Entries application/atom+xml;type=entry Likes 2011-09-30T12:46:24-04:00 2011-10-03T15:56:06-04:00
If there is one unifying discipline within the enterprise, it's arguably marketing. Across the organization, individuals from finance to operations are quick to offer their perspectives on everything from marketing tactics and tag lines to media mix and strategy. What many in the enterprise don't realize is that marketing in the 21st century has become a highly personalized, analytically driven, outcome oriented science, or at least it should be. Many CMOs are still coming to grips with the onslaught of available customer and client data and the new tools and technology that can afford strategic insight.

Big data holds the promise of understanding customer propensities, creating customer intimacy, and building long-term customer loyalty. But first, CMOs will have to wrestle with the fact that information is doubling every two years. It resides in countless blogs, billions of e-mails and tweets (200B and 147M sent daily, respectively), volumes of call center and customer service records, surveys and comment cards, and countless other sources. Fortunately, the advent and advances in technology afford CMOs a new arsenal capable of addressing the changing variety (i.e., unstructured information now makes up ~80% of all new information), velocity (i.e., real time processing), and volume of data (i.e., now measured in zetabytes).

Technology has also delivered a new analytical frontier. Capabilities now exist to tackle everything from customer sentiment in social media and predicting future outcomes, to faster insights with in-memory processing and greater understanding of web behavior. Each of these analytical areas is able to provide a different but highly synergistic understanding of what makes up the perfect customer experience. I am looking forward to reading the upcoming IBM Global Chief Marketing Officer Study to see what's on the minds of CMOs across industries, geographies, and organizational orientations.

From my vantage point as a former CMO, perhaps it's time for marketers to evolve from the art of the possible to the science of the probable. How are you putting analytics to work? What impact will big data and the wealth of available unstructured information have on marketing? Please share your thoughts in our CMO Study LinkedIn discussion group.
 If there is one unifying discipline within the enterprise, it's arguably marketing. Across the organization, individuals from finance to operations are quick to offer their perspectives on everything from marketing tactics and tag lines to media mix and... 0 0 5174 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-c2ab10fc-0529-4971-bf7f-13110b5c778e Device Proliferation: How much does it matter to Marketing? Alisa Maclin firstname.lastname@example.com 270001AQHH active Comment Entries application/atom+xml;type=entry Likes 2011-09-13T10:43:36-04:00 2011-09-13T10:43:36-04:00
I've been to a number of conferences lately, and I am amazed by the proliferation of tablets in use. In the audience, on stage, in meetings. And not to mention smartphones being used to tweet, share pictures and videos. When I walk down the aisle of a plane, everywhere I look, these devices are being used by business people across a wide demographic spectrum.

To me, this trend is incredibly apparent, but not so to all marketers, judging from Today's CMO: Innovating or Following. As a precursor to the IBM Global Chief Marketing Officer (CMO) Study to be published this October, the Economist Intelligence Unit (EIU), in cooperation with the IBM Institute for Business Value, conducted an online survey of nearly 300 executives to assess which trends are impacting CMOs and how CMOs are responding to today's complex business environment.

It is clear that CMOs are facing shifting marketplace conditions as well as a customer base that increasingly relies upon digital communications tools and has heightened expectations for quality, service and corporate transparency. The question is whether CMOs are proactively responding to the challenges and changes before them. According to the IBM/EIU study, only one in four CMOs sees "the growth of channel and device choices" as significant, although smart phone and tablet device sales will eclipse PC sales over the next year. I've heard senior marketing leaders say they don't think their customers use these devices. With the amazing growth of tablets and smart phones and their apps among many different demographics, including both consumers and business professionals, this seems shortsighted.

I recently sat next to a gentleman on a plane who was using his tablet. He was the CEO of an office furniture manufacturer. He commented that he needed to find the right talent to help his firm truly leverage tablets and smart phones for marketing to the trade. He envisioned architects and designers walking into his show rooms, pausing in front of a piece of furniture and finding out everything they wanted to know about the furniture on their devices. He asked me "where do you find marketing talent that understands how to leverage this stuff?" Seems he is further ahead than many in his thinking.

Why do you think the majority of marketing executives don't appear to see the growth of channel and device choices as significant? Share your opinion in our LinkedIn discussion.
 I've been to a number of conferences lately, and I am amazed by the proliferation of tablets in use. In the audience, on stage, in meetings. And not to mention smartphones being used to tweet, share pictures and videos. When I walk down the aisle of a plane,... 1 1 1821 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00 urn:lsid:ibm.com:blogs:entry-c3463348-664e-4539-9439-eecc74e8dff1 CMOs: We are all pioneers Jon Iwata email@example.com 100000J43Y active Comment Entries application/atom+xml;type=entry Likes 2011-09-01T18:04:38-04:00 2011-09-01T21:10:05-04:00
I am fascinated in two different ways by the findings of the inaugural CMO study from IBM's Institute for Business Value – as an IBMer, and as a CMO.

The study won't be released until October, but at the risk of scooping it, I want to share a couple of my own initial reactions.

First, it's interesting to see the degree to which CMOs identify technology as a primary driver of change. We're excited by the vast knowledge available to us about customers and by the means to reach and serve them in new ways. Yet we're daunted by this era of "big data." And understandably so. The new analytic skills required, the policy issues we will have to navigate, retooling our organizations so we can serve individuals, not just markets – we are all pioneers.

Second, in part because of the disruptive rise of social media, we're starting to recognize that our work must go beyond the funnel, the four Ps and the basket. Indeed, the answer to the fundamental question of "what are we marketing?" is changing. The study shows a growing awareness among CMOs that it is the actual values and purpose of the enterprise – its unique corporate character – that drives everything we do. Customers and prospects – and employees, investors, governments and citizens – see our actual behavior as companies and it strongly influences their opinions and actions. This may be common sense, but defining and activating a company's Corporate Character is a new mandate for most CMOs.

These shifts are, frankly, stretching us as marketing executives – roles are changing, expanding. That's why we launched this new study – and its results far exceeded our expectations. Our initial goal was to speak with at least 1,000 CMOs from around the world, but by mid-year, we had far surpassed our interview targets. In the end, we met face-to-face with more than 1,700 CMOs.

Along with the entire IBM team, I am deeply appreciative of the time my fellow CMOs have invested in sharing their insights. We're excited about sharing the study findings in October. (And I'm really looking forward to seeing how my own answers compare to everyone else's.)

In the meantime, we want to continue these discussions with you. To that end, I'd like to welcome you to this marketing blog – a platform for sharing topics that we can collectively analyze, dissect and debate. To get the collaborative juices flowing, we invite you to join the conversations going on now in our LinkedIn group.
 I am fascinated in two different ways by the findings of the inaugural CMO study from IBM's Institute for Business Value – as an IBMer, and as a CMO. The study won't be released until October, but at the risk of scooping it, I want to share a couple of my... 1 1 6409 urn:lsid:ibm.com:blogs:entries-bbe72804-51e7-4912-a849-fdf7a350bb21 From Stretched
 to Strengthened 2015-11-23T09:58:07-05:00


text:
Moderators: Pertex, sgreig, Cryophile, jaynabonne, Alex
Also, wondering if there is any game which I could download where I can still 'open for editing' where I can see how another made their introduction to wait and overall learn how they made their game.
Code: Select all
game.displayroomdescriptiononstart = false
Code: Select all
<object name="intro">
<inherit name="editor_room" />
<usedefaultprefix type="boolean">false</usedefaultprefix>
<description type="string"></description>
<descprefix type="string"></descprefix>
<objectslistprefix type="string"></objectslistprefix>
<enter type="script"><![CDATA[
SetObjectFlagOn (wallet, "scenery")
SetObjectFlagOn (smartphone, "scenery")
SetFontSize (30)
PrintCentered ("Mallcrawler

")
SetFontSize (12)
wait {
msg ("Welcome to the Reeshman Mall! This two-level structure boasts many fine retailers and restaurants, as well as some of the most luxurious decor one could ever find in a shopping mall. Anything you could possibly want can be found here at Reeshman Mall. We've got boutiques, jewelry stores, electronics, household wares, bookstores, fine dining, everything under the sun is right here! Relax by the beautiful Ivy Dream fountain in our Central Plaza, or treat yourself to a day at the spa. At Reeshman Mall, shopping is more than an excursion. It's an experience!
")
wait {
msg ("Now, some of you may have heard of the urban legend surrounding this beautiful shopping mall. The story goes that Reeshman Mall is haunted by ghostly shoppers who appear just after the doors close at the end of the business day. Anyone caught inside the mall during this time will be whisked away to join the ghosts, or at least that's what the story says. While it's true that some mallcrawlers have disappeared over the past few months, it would be ridiculous to think that they all became victims of this urban legend.
")
wait {
msg ("Then again, even if someone went into the Reeshman Mall to debunk this myth, no one's ever come back to say different....")
wait {
MoveObject (player, frontentrance)
<object name="player">
<inherit name="defaultplayer" />
Code: Select all
game.displayroomdescriptionstart = false
Code: Select all
game.displayroomdescriptiononstart = false
Users browsing this forum: No registered users and 5 guests


text:
News + Resources: 2010-2011
Members in the News
- Dr. Lori Caplan, cohort II member, named Superintendent of Schools for Watervliet CSD. Dec. 2011.
- Elizabeth Wood, cohort IV member, named Assistant Superintendent for Curriculum, Instruction and Assessment for Shenendohowa CSD. November 2011.
- Dr. Paul Padalilno, cohort I member, executive coach and adjunct faculty, named Superintendent of Schools for Kingston CSD. Nov. 2011.
- Peter Hughes, cohort III member, named CFO of the year by The Business Review, October 2011.
- Dr. Peter DeWitt collaborates on children's book published by The Record on April 3, 2011 features cohort member Peter DeWitt.
- Hadley-Luzerne school pushing for excellence published by The PostStar on Jan. 19, 2011 features cohort member Steven Danna securing a $850,000 grant for his school district, Hadley-Luzerne.
- Troy educators know higher learning published by The Times Union on Jan. 11, 2011 features cohort members Dr. Fadhilika Atiba-Weza, Dr. Tracy Ford, and Dr. Casey Parker.
- Troy principal receives scholarship published by The Record on Sept. 29,2010 features cohort member Tracy Ford receiving the New York State Council of School Superintendents (NYSCOSS) Raymond R. Delaney Annual Memorial Scholarship.
- Local Author Spotlight: Peter Dewitt published by The Examiner.com features cohort member Peter DeWitt.
- Comparative Analysis of Instructional Language Issues in Ethiopia and the United States, co-authored by Dr. Daniel Alemu, Assistant Professor, Educational Leadership, published in Creative Education, October 2011.
- Surviving a School Closing published in Educational Leadership, May 2011 written by cohort member Dr. Peter De Witt and executive coach Dr. Josephine Moccia.
- The Role and Impact of Interim Superintendents published in the School Administrator, April 2011 written by Dr. Michael Mugtis.
- Find ways to rescue N.Y. school districts. published in the Times Union on March 27, 2011. Co-authored by cohort members Dr. Maureen A. Long and Dr. Jerome D. Steele.
- The Effects of Bullying on GLBT Students, ASCD Express, The Association of Supervision and Curriculum Development, March, 2011 written by Dr. Peter DeWitt
- The Advocate: Looking for the School Librarian: What are the Qualifications? Co-authored by cohort member Jill Berkowicz; School Library Monthly, February 2011
- "Smart Leaders Develop Talent" presented by Dr. Robert Bradley, 2011 New York State Council of Superintendents Fall Summit, September 25, 2011.
- "Students that "Get into Trouble for Breaking the School Rules": A Self Reported Answer. A Quantitative Study Using the NCES' National Longitudinal Data (ELS:2002)" presented by Dr. Daniel S. Alemu (Assistant professor of Educational Leadership) and Jennifer Span (a candidate in EDD from cohort 4) at the 2011 NCPEA (National Council of Professors of Educational Administration) Summer Conference Portland, OR, August 3, 2011.
- "Communication and Media Survival Tips for Turbulent Times" webinar sponsored by the Leadership for Educational Achievement Foundation (LEAF, Inc.) and Capital Region BOCES, presenters included cohort member Doug Huntley, May 12, 2011.
- "Increasing the Pool of Administrative Talent" presented by cohort members Dr. Charles Dedrick, Dr. Ryan Sherman, Dr. Lynne Wells
- Four County School Boards Association, Geneva, NY, April, 2011
- Adirondack Area School Boards Association, Glens Falls, NY, March 2011
- New York State School Boards Association, New York City, October 2010
- Rural Schools Association of New York, Cooperstown, NY, July 2010
- "Developing and Maintaining a Great Faculty in Your Schools" presented by cohort member Kimberly Wilkins at the Capital Area School Development Association (CASDA), April 6, 2011
- "Fireside Chat" with Dr. Ann Myers, Associate Professor, at the NYSAWA Spring Conference, March 13, 2011
- "Using Data to Improve Instruction" co-presented by cohort member Elizabeth Wood at the Capital Area School Development Association (CASDA), March 9, 2011


text:
Hello everyone..
I have a problem.. The main idea of my project is a server that accept client connections and everytime someone connects it checks if the client is available for reading or for writing with select() function.
If is ready for writing then is send a buffer.. Well, this is a sample of code..
FD_SET(fdmax, &master);
for(; {
read_fds = master;
write_fds = master;
if(select(fdmax + 1, &read_fds, &write_fds, NULL, NULL) == -1) {
return -1;
for(i = 0; i <= fdmax; i++) { // check through all socket
if(FD_ISSET(i, &read_fds) != 0) {
bla bla bla
if(FD_ISSET(i, &write_fds)) { // teh client is ready for writing
printf("send bytes: %ld\n", sizeof(jobs[counter]) );
bytes = send(i, &jobs[counter], sizeof(jobs[counter]), 0);
also the client source is..
while(f == 0) {
memset(&jobs, 0, sizeof(jobs));
if((bytes = recv(sockfd, &jobs, sizeof(jobs), 0)) == -1) {
printf("Error recving\n");
bla bla bla
the problem is that the server althougt is was supposed to send the msg only 1 time it is send it 10-15 times... it is like finds the client client all the time available for writing ( maybe i am doing sthng wrong with select and fds?).. Also the client exiting with segmentation fault JUST AFTER the printf function and i dunno why.. i suppose it is from the "oversending" of the packets from the server
What should i do ? Thanks in advance..
(i compiled it with gcc on Ubuntu distro)


text:
I have a bean with 5 properties.In which user has to enter the values and save the values.The saved values are displayed in a datatable by ajax functionality.It is working fine.The problem is when i want to edit the record, i have the edit button associated with every row of the table.When edit button is clicked i have to get the record and show the record in editable format above the datatable.What component i have to use to populate the data for editing ? Edit button is also an ajax request.I used panelGrid for that but i did not get them. could you suggest the right way to solve this one. Thank you all.........
Use the same datatable for editing.
If you click edit button, store the selected value or index in the backing bean and
in your dataTable.
Here is an example:


text:
Nuxeo teams with Liferay, uses CMIS integration
Today, Nuxeo announced an alliance with Liferay. Both are open source products taking advantage of the CMIS standard to integrate the two systems.
Nuxeo is an enterprise content management platform, while Liferay is a portal package. Both have the advantage of being Java-based, CMIS-compliant and are each open source, making integration between the two systems even easier. The way it should work is Nuxeo will act as a content repository for the Liferay portal.
That means that users can create, edit and manage content in Nuxeo and add it seamlessly to the Liferay portal using the CMIS standard to share data across repositories. What's more, the content stays in the Nuxeo repository, meaning companies just have to manage it in one place, yet have it available in the portal where users can access it and share it easily.
What's more, both Liferay and Nuxeo support the OpenSocial standard from Google (NASDAQ: GOOG), which means they can share social gadgets to help make better use of the content across the two systems. Nuxeo CEO Eric Barroca sees this as a big advantage for users of both systems.
"The Nuxeo Platform is optimized for handling documents and content-centric business processes that are internal to an organization. With Liferay Portal, we offer our clients more options for how to manage documents and deliver them to portals, websites, and applications," Barroca said.
For more information on this deal:
- see the Nuxeo press release
Related Articles:
Nuxeo Platform 5.5 goes social and mobile
Liferay opens Liferay Marketplace to developers
New report attempts to measure open source CMS popularity


text:
- Age / Gender:
- 25, Male
- Location:
- Lulz
- Joined:
- 2/17/09
- All Stats >
Ragdoll games are the best.
User Statshot
- Community Stats
Level 4 Blank Slate
Normal Whistle
Ranked as Civilian
Contact Info / Websites
Recent Game Medals
Private 5 Points Hit the sand. Medal Stats.
Messenger 5 Points Notified someone after taking your turn. Medal Stats.
Junior Artist 5 Points Finished your first drawing. Medal Stats.
Randomizer 5 Points Started a game with a random user. Medal Stats.
SECRET MEDAL 10 Points Unlock this medal to see it's details. Medal Stats.
COVER BAND 5 Points Get a silver on 'In Love With Myself'. Medal Stats.
Total Medals Earned: 291 (From 22 different games.)
Favorite Audio
|Popcorn [EON Remix]
|Techno Song
|Heaven's Storm (A->N)
|Techno Song
|Final Redemption
|Heavy Metal Song
|Azarthian Girl {=MMD=}
|Pop Song
Favorite Movies
Aqua HD Rated 4.3644 Stars A cat wakes up surrounded by water and must learn to survive. Action Narwhals Rated 4.4326 Stars Narwhals!! Music Video Left 4 Speed Rated 4.4270 Stars Left 4 Dead is sweet. Comedy - Parody LEFT4LOL Rated 4.4298 Stars Left4dead is a great game only one problem: the game HATES you Comedy - Parody


text:
- Text Size:
- ASmall Text
- AMedium Text
- ALarge Text
Six people were honored in Harrisburg on Wednesday night at WGAL's annual Jefferson Awards banquet.
The banquet honored individuals for their achievements and community service.
The Jefferson Award winners were:
Jillian Rockey Forbes of Cumberland County
Shirley Nolt of Dauphin County
Kennedy Jet Kulish of Lancaster County
Helen Meiser of Lebanon County
Donna Watkins of York County
Mark Shuttlesworth of Adams County
The views expressed are not those of this site, this station or its affiliated companies. By posting your comments you agree to accept our terms of use.blog comments powered by Disqus


text:
ClarksvilleNow.com Reporting
CLARKSVILLE, Tenn. – A motorcycle rider was injured in a crash Friday, Oct. 25 around 6:51 p.m. on Madison St.
According to Officer Natalie Hall with the Clarksville Police Department, a station wagon driven by Michael Vicars left the Burger King parking lot and checked westbound traffic before making a left turn, heading east on Madison St. Vicars told police as soon as he pulled into the roadway, he was struck by a motorcycle on the driver's side. The motorcycle rider, Dane Vinson, was on his way to a Bikers Who Care (BWC) event when he collided with the vehicle. He was traveling west in the right lane.
Vinson suffered severe head trauma and a broken leg and was transported by Lifeflight to Vanderbilt Medical Center. Vinson's mother told police he had internal bleeding but is in stable condition.
There is no further information at this time.


text:
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text:
Find the cure for non-compliance with with Harley-Davidson® safety glasses from Northern Safety. Choose from HD100, HD500, HD700, HD800, and the HD1000. Rugged good looks and cool styles make eye protection and compliance easy with safety glasses from Harley-Davidson®. Feel the freedom – a wide variety of Harley-Davidson® eye protection is just a click away. Stock up and save money with Northern Safety today.
There are several different factors involved in choosing a pair of safety glasses. You have a wide variety of eye protection options available, including choice of frame styles, temples, lens tints, coatings, and sizes. With the right combination, workers will be happy to comply.
Need Help With Harley-Davidson® Safety Glasses?
Please Call Toll Free at 1-800-571-4646


text:
Illinois Mens Basketball Inks Houston Guard Quintan Lipkins
To National Letter of Intent
DeKalb, IL Houston, we have our point guard of the future.
Northern Illinois Universitys mens basketball coaching
staff may catch themselves uttering that same phrase with the signing
of highly-touted point guard Quintan Lipkins of Houston, TX, (Sharpstown
HS) to a National Letter of Intent on Wednesday.
The No. 3 scorer
in Texas Class 4A last season (24.5 ppg), the 5-foot-9, 160-pound
speedster terrorized opposing defenses in leading Sharpstown to
an 18-12 overall record. An outstanding creator for his teammates,
Lipkins dished out a Sharpstown single-season record 296 assists
last year en route to earning All-District 22 accolades for the
second consecutive season. The three-year starter earned Second
Team All-District honors as a sophomore and First Team recognition
as a junior.
While his 9.9
assists per game shattered the Sharpstown school record, his 24.5
ppg scoring average ranked third in the state behind current University
of Texas freshman and former McDonalds All-American Daniel
Gibson and Baylor University commit Henry Dugat. Lipkins will enter
his senior season as the states No. 2 returning scorer (at
Class 4A) and has scored over 1,500 points in his three prep seasons,
including 735 tallies in 2003-04 (junior season).
A durable performer,
Lipkins has started 85-of-91 career games including all-60 of Sharpstowns
contests each of the past two seasons. A three-year regular for
the Apollos, Lipkins averaged 12.1 points and 4.9 assists in 25
starts (31 games) as a freshman, while leading his team to a 26-5
mark and a District 22 title. As a sophomore, the 5-foot-9 guard
poured in 15.2 points and handed out 5.3 assists.
We are
excited to be adding a player of Quintans quality, head
coach Rob Judson said. Texas is a talent-rich state and they
play the game at a high level down there. Quintan will add to our
team speed and quickness, but we are also excited about his ability
to shoot the basketball.
We saw
Quintan at a few places over the summer and identified him as a
player who could help this program, Judson continued. I
saw him at a tournament in Las Vegas, NV, and Rick Ray (NIU assistant
coach and recruiting coordinator) saw him at the Great American
Shootout. We are pleased with his decision to be a Huskie.
In addition
to being a talented offensive penetrator, Lipkins also possesses
the ability to burn opponents with his jump shot. As a junior, Lipkins
hit 48-of-114 three-point attempts (42.1 percent) to lead the team
and complete one of the top offensive campaigns in the Lone Star
State in 2003-04.
During the summer,
Lipkins was the starting point guard for the AAUs Houston
Swoosh and led his club to all four of Mike Kunstadts Summer
Texas Shootouts titles, which had never been done in the 30 years
of the tournaments existence.
I think
hes the best in the state of Texas, Sharpstown head
coach Adrian Jones said. I cant talk about national
rankings because I havent seen everyone play, but I can talk
about this state. Hes played against Gulf Shores, which has
some nationally-ranked players, but they didnt stop him. That
speaks volumes in my opinion.
been the sparkplug in our offense, Jones continued. He
pushes the ball, hes a good shooter and a snappy passer. One
things for sure, his teammates need to be ready to catch the
ball, because hell fire it over to them with some authority.
Hes a fiery competitor that hates to lose and if he needs
to take the ball at a big man to win a game, he will do it.
Lipkins signed
with Northern Illinois after receiving heavy interest from Oklahoma
State University, the University of Tulsa, and the University of