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PRA RAMADHAN
RM 5,280 |
AWAL RAMADHAN
RM 5,880 |
PERTENGAHAN RAMADHAN
RM 6,580 |
AKHIR RAMADHAN
RM 6,980 |
SEBULAN RAMADHAN
RM 8,880 |
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| PAKEJ CUTI SEKOLAH |
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23/05/08 - 04/06/08
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28/05/08 - 09/06/08
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11/06/08 - 23/06/08
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18/06/08 - 01/07/08
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15/08/08 - 26/08/08
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\\Pakej Umrah PLUS //
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*tertakhluk pada syarat-syarat tertentu. |
Muat Turun Borang pendaftaran.
(Sila fax ataupun e-mailkan borang yang telah siap di isi kepada kami)
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“Satu solat yang dikerjakan dimasjisdku ini (Masjid Nabawi di Madinah) adalah lebih utama daripada
1000 solat di masjid-masjid yang lain kecuali Masjidil-Haram. Dan satu solat di Masjidil-Haram adalah lebih utama daripada
100,000 solat di masjid-masjid lain. ”
(Riwayat Ahmad dan Ibnu Majah daripada sahabat Jabir r.a)
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//PICTURE GALLERY//
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| 1- When you reached the prescribed Station of Ihram (al-miqat), make ghusl (a shower or fall washing of the whole body), and then put on the tow-piece garment of Ihram (izar and ride), which preferably should be of white cloth. This applies to men only. A women also makes ghusl but she does not use makeup, and she may wear any clothes she has available as long as they do not display her adornments. She should be completely covered except of her face and hands. Then make your intention to perform Umrah by saying: “Labbayka Umra” or: “Labbayka Allahumma Umra”, as follows: Labbayka Allahumma Labbayk. Labbayka La Shareeka Laka Labbayk. Innal-hamda wan-n’imata Laka Wal-mulk La Shareeka Lak” (Here I am at your service. O Lord, here I am. Here I am. No partner do you have. Here I am, Truly, the praise and the favour is yours, and the dominion. No partner do you have.) Men should utter this aloud while women should say it silently. Repeat this talbiyyah frequently, and engage in the praise of Allah, in supplications for forgiveness, and in the enjoining of what is good and forbidding what is evil. During the state of ihram for Hajj or Umrah, the following are obligatory: 1. To faithfully observe all that Allah has made obligatory, such as the daily prayers at their proper times. 2. To avoid what Allah has prohibited, such as wrong-doing, quarrelling and committing sins. 3. To guard against injuring the Muslims by deed or by word. 4. To abstain from what is prohibited during Ihram, namely: a- Do not cut your nails or pull out hair. There is no blame on you if these break or come off by themselves without your intending it. b- Do not use scent, whether on the clothes or on the body, or in food or drink. There is no harm if the effect of scent applied before putting on Ihram remains. c- Do no kill, frighten or assist in hunting any land game as long as you are in Ihram. d- Within the precincts of Al-Haram, no one, in the state of Ihram or not, is allowed to cut trees, pluck vegetables or collect a lost property except for the sake of identifying it for its owner. For the Messenger of Allah (peace be upon him) said so. e- Do not propose to a woman or contract marriage either for yourself or on behalf of others. Sexual intercourse is prohibited too, so is touching the apposite sex with desire. All these actions are prohibited during the period of Ihram. All these prohibitions apply equally to men and women alike. In Particular: · A man may not put any covering on his head. However, the shade of an umbrella or the roof of a car is permissible. There is no harm in carrying something on the head. · A man may not wear a shirt or anything else which is sewn, such as a burnoose, turban, trousers, khuff (short, thin boot), on the whole or a part of his body. · It is forbidden for a woman to wear gloves on her hands or to cover her face with a face-veil (niqab) during the state of ihram. However, if male strangers are around her, she should conceal her face with her head-covering or something similar. These rules apply until she comes out of Ihram. · If a person wears a sewn garment or covers his head (for men), uses perfume, pulls out some hairs, or cuts his nails through forgetfulness or due to ignorance, there is no fidyah (Expiation) for him. He should stop doing such things as soon as he remembers or is reminded of them. · It is permissible to wear sandals, a ring, a pair of glasses, a hearing aid, a wrist watch, and a belt or a girdle which protects one’s money or documents. · It is permissible to change one’s clothes and to wash them, as well as to wash one’s hair and body, and it does not matter if some hair inadvertently falls out during washing. 2- Upon reaching the Holy Mosque in Makkah, it is desirable that the pilgrim enter the Holy Mosque from Bab Al-Salam if possible. The pilgrim should advance his/her right foot first and say: “ A’udhu billahi-l-‘adheem wa wajhihi-l-kareem wa sultaanihi-l-qadeem min-ashaytaani-rrajeem; bismillah, Allahumma Salli ‘ala Mohammed wa ‘aalihi wa sallim; Allahumma ighfir lee dhnubi w-aftah lee abwaaba rahmatik.” (I seek refugee in Allah the Almighty and His noble countenance and His eternal power from Satan. In the name of Allah. O Allah, bestow Your peace and blessings on Mohammed and his family. O Allah, pardon my sins and open the gates of Your mercy for me.) The above supplication is not specific to entering the Holy Mosque in Makkah but can be said on entering all mosques. Upon entering the Holy Mosque, the pilgrim looks at the Holy Ka’bah and rising his arms in supplication, he/she says: “ Allahumma zid hadha-l-bayta tashreefan wa ta’dheeman wa takreeman wa mahaabatan, wa zid min sharafihi wa karamihi mimman hajahu aw i’tamarahu tashreefan wa ta’dheeman wa takreeman wa birran” (God Almighty, bestow more honour, glory, respect and awe on this House; bestow more honour and respect on whoever comes to it in Hajj or Umrah out of honour, respect, glory and devotion. ” Next, The pilgrim makes seven circuits around the Ka’bah, beginning at the Black Stone with takbir (utterances of “Allahu Akbar”), keeping the Holy Ka’bah to his/her left, and ending each at the same place . While making your tawaf you may praise Allah and make supplications to Him in any words you please. It is preferable to end each with the words. “Rabbana, atina fid-dunya hasanatan wa fil-akhirati hasanatan wa qina adhaban-nar.” (Our Lord, give us good in this world and good in the hereafter, and save us from the punishment of the fire.) The first three laps around the Ka’bah should be performed in hurried steps if it does not result in any harm or inconvenience to one’s self or to others. For the remaining four laps around the Ka’bah the pilgrim should walk. After completing the tawaf, the pilgrim should pray two rak’as behind the Station of Ibraheem (Maqam Ibraheem) if it is possible, even though you may be a little far from it. Otherwise at any other place within the Sacred Mosque. 3- You then go to as-Safa and climb on it. Facing the K’abah, praise Allah, raising your hands, say takbir (“Allahu Akbar”) three times. Then make supplication to Allah, repeating your supplication three times as this is the Sunnah. Then say: “La ilaha illal-lah, wahdahu la shareeka lah.” “Lahul-mulk wa lahul-hamd, wa huwa ‘ala kulli shayin qadeer.” “La ilaha illal-lah, wahdahu, anjaza wadehu wa nasara abdahu wa hazama al ahzab wahdahu.” (There is no deity except Allah, The One without a partner. He is the dominion and his is the praise, and He is powerful over everything. There is no deity except Allah, completed His promise, supported His slave and defeated the parties Alone.) It is preferable to utter this supplication three times, but there is no harm in saying it less than three times. You then descend from as-Safa and do the sa’ye of theDevelopment
The psycho-acoustic masking codec was first proposed, apparently independently in 1979, by Manfred Schroeder, et al.[2] from AT&T-Bell Labs in Murray Hill, NJ, and M. A.Krasner[3] both in the United States. Krasner was the first to publish and to produce hardware, but the publication of his results as a relatively obscure Lincoln Laboratory Technical Report did not immediately influence the mainstream of psychoacoustic codec development. Manfred Schroeder was already a well known and revered figure in the world wide community of acoustical and electrical engineers and his paper had influence in acoustic and source-coding (audio data compression) research. Both Krasner and Schroeder built upon the work of E. F. Zwicker [4], that in turn built on the fundamental research in the area from Bell Labs of Harvey Fletcher and his collaborators. [5] A wide variety of audio compression algorithms, mostly (but not completely) perceptual were reported in a refereed journal, the Journal on Selected Areas in Communications, [6]. That journal reported in Feb. 1988 on a wide range of established, working audio bit compression technologies, most of them using auditory masking as part of their fundamental design, and several showing real-time hardware implementations.
The immediate predecessors of MP3 were "Optimum Coding in the Frequency Domain" (OCF),[7] and Perceptual Transform Coding (PXFM).[8] These two codecs, along with block-switching contributions from Thomson-Brandt, were merged into a codec called ASPEC, which was submitted to MPEG, and which won the quality competition, but that was mistakenly rejected as too complex to implement. The first practical implementation of an audio perceptual coder (OCF) in hardware (Krasner's hardware was too cumbersome and slow for practical use), was an implementation of a psychoacoustic transform coder based on Motorola 56000 DSP chips. MP3 is directly descended from OCF and PXFM. MP3 represents the outcome of the collaboration of Dr. Karlheinz Brandenburg, working as a PostDoc at AT&T-Bell Labs with Mr. James D. Johnston of AT&T-Bell Labs, collaborating with the Fraunhofer Society for Integrated Circuits, Erlangen, with relatively minor contributions from the MP2 branch of psychoacoustic sub-band coders.
MPEG-1 Audio Layer 2 encoding began as the Digital Audio Broadcast (DAB) project managed by Egon Meier-Engelen of the Deutsche Forschungs- und Versuchsanstalt für Luft- und Raumfahrt (later on called Deutsches Zentrum für Luft- und Raumfahrt, German Aerospace Center) in Germany. This project was financed by the European Community as a part of the EUREKA research program where it was commonly known as EU-147, which ran from 1987 to 1994.
As a doctoral student at Germany's University of Erlangen-Nuremberg, Karlheinz Brandenburg began working on digital music compression in the early 1980s, focusing on how people perceive music. He completed his doctoral work in 1989 and became an assistant professor at Erlangen-Nuremberg. While there, he continued to work on music compression with scientists at the Fraunhofer Society (in 1993 he joined the staff of the Fraunhofer Institute).[9]
In 1991, there were two proposals available: Musicam, and ASPEC - (Short excerpt on German Wikipedia) (Adaptive Spectral Perceptual Entropy Coding). The Musicam technique, as proposed by Philips (The Netherlands), CCETT (France) and Institut für Rundfunktechnik (Germany) was chosen due to its simplicity and error robustness, as well as its low computational power associated with the encoding of high quality compressed audio. [10] The Musicam format, based on sub-band coding, was the basis of the MPEG Audio compression format (sampling rates, structure of frames, headers, number of samples per frame). Much of its technology and ideas were incorporated into the definition of ISO MPEG Audio Layer I and Layer II and the filter bank alone into Layer III (MP3) format as part of the computationally inefficient hybrid filter bank. Under the chairmanship of Professor Musmann (University of Hannover) the editing of the standard was made under the responsibilities of Leon van de Kerkhof (Layer I) and Gerhard Stoll (Layer II).
A working group consisting of Leon van de Kerkhof (The Netherlands), Gerhard Stoll (Germany), Leonardo Chiariglione (Italy), Yves-François Dehery (France), Karlheinz Brandenburg (Germany) and James D.Johnston (USA) took ideas from ASPEC, integrated the filterbank from Layer 2, added some of their own ideas and created MP3, which was designed to achieve the same quality at 128 kbit/s as MP2 at 192 kbit/s.
All algorithms were approved in 1991 and finalized in 1992 as part of MPEG-1, the first standard suite by MPEG, which resulted in the international standard ISO/IEC 11172-3, published in 1993. Further work on MPEG audio was finalized in 1994 as part of the second suite of MPEG standards, MPEG-2, more formally known as international standard ISO/IEC 13818-3, originally published in 1995.
Compression efficiency of encoders is typically defined by the bit rate, because compression ratio depends on the bit depth and sampling rate of the input signal. Nevertheless, compression ratios are often published. They may use the CD parameters as references (44.1 kHz, 2 channels at 16 bits per channel or 2×16 bit), or sometimes the Digital Audio Tape (DAT) SP parameters (48 kHz, 2×16 bit). Compression ratios with this latter reference are higher, which demonstrates the problem with use of the term compression ratio for lossy encoders.
Karlheinz Brandenburg used a CD recording of Suzanne Vega's song "Tom's Diner" to assess and refine the MP3 compression algorithm. This song was chosen because of its nearly monophonic nature and wide spectral content, making it easier to hear imperfections in the compression format during playbacks. Some jokingly refer to Suzanne Vega as "The mother of MP3". Some more critical audio excerpts (glockenspiel, triangle, accordion, etc.) were taken from the EBU V3/SQAM reference compact disc and have been used by professional sound engineers to assess the subjective quality of the MPEG Audio formats. It is important to understand that Suzanne Vega is recorded in an interesting fashion that results in substantial difficulties that arise due to Binaural Masking Level Depression (BMLD) as discussed in Brian C. J. Moore's book on the Psychology of Human Hearing, for instance.
[edit] Going public
This section does not cite any references or sources. (December 2007)
Please help improve this section by adding citations to reliable sources. Unverifiable material may be challenged and removed.
A reference simulation software implementation, written in the C language and known as ISO 11172-5, was developed by the members of the ISO MPEG Audio committee in order to produce bit compliant MPEG Audio files (Layer 1, Layer 2, Layer 3). Working in non-real time on a number of operating systems, it was able to demonstrate the first real time hardware decoding (DSP based) of compressed audio. Some other real time implementation of MPEG Audio encoders were available for the purpose of digital broadcasting (radio DAB, television DVB) towards consumer receivers and set top boxes.
Later, on July 7, 1994 the Fraunhofer Society released the first software MP3 encoder called l3enc. The filename extension .mp3 was chosen by the Fraunhofer team on July 14, 1995 (previously, the files had been named .bit). With the first real-time software MP3 player Winplay3 (released September 9, 1995) many people were able to encode and play back MP3 files on their PCs. Because of the relatively small hard drives back in that time (~ 500 MB) lossy compression was essential to store non-instrument based (see tracker and MIDI) music for playback on a computer.
[edit] Internet
From the first half of 1995 through the late 1990s, MP3 files began to spread on the Internet. MP3's popularity began to rise rapidly with the advent of Nullsoft's audio player Winamp (released in 1997), and the Unix audio player mpg123. The small size of MP3 files has enabled widespread peer-to-peer file sharing of music ripped from compact discs, which would previously have been nearly impossible. The first large peer-to-peer filesharing network, Napster, was released in 1999.
The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argue that this free sharing of music reduces sales, and call it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down) and eventually against individual users who engaged in file sharing.
Despite the popularity of MP3, online music retailers often use other proprietary formats that are encrypted (known as Digital rights management) to prevent users from using purchased music in ways not specifically authorized by the record companies. The record companies argue that this is necessary to prevent the files from being made available on peer-to-peer file sharing networks. However, this has other side effects such as preventing users from playing back their purchased music on different types of devices. The audio content of these files can be converted into an unencrypted format, however, because often the user permissions include "burn to audio CD". And even when that option is not available, many sound cards allow the user to record anything they play. Unauthorized MP3 filesharing continues on next-generation peer-to-peer networks, though some authorized services, such as eMusic, and Amazon.com sell unrestricted music in the MP3 format.
[edit] Encoding audio
The MPEG-1 standard does not include a precise specification for an MP3 encoder. Implementers of the standard were supposed to devise their own algorithms suitable for removing parts of the information in the raw audio (or rather its MDCT representation in the frequency domain). During encoding, 576 time domain samples are taken and are transformed to 576 frequency domain samples. If there is a transient, 192 samples are taken instead of 576. This is done to limit the temporal spread of quantization noise accompanying the transient. (See psychoacoustics.)
As a result, there are many different MP3 encoders available, each producing files of differing quality. Comparisons are widely available, so it is easy for a prospective user of an encoder to research the best choice. It must be kept in mind that an encoder that is proficient at encoding at higher bit rates (such as LAME) is not necessarily as good at lower bit rates.
[edit] Decoding audio
Decoding, on the other hand, is carefully defined in the standard. Most decoders are "bitstream compliant", which means that the decompressed output - that they produce from a given MP3 file - will be the same (within a specified degree of rounding tolerance) as the output specified mathematically in the ISO/IEC standard document. The MP3 file has a standard format, which is a frame that consists of 384, 576, or 1152 samples (depends on MPEG version and layer), and all the frames have associated header information (32 bits) and side information (9, 17, or 32 bytes, depending on MPEG version and stereo/mono). The header and side information help the decoder to decode the associated Huffman encoded data correctly.
Therefore, comparison of decoders is usually based on how computationally efficient they are (i.e., how much memory or CPU time they use in the decoding process).
[edit] Audio quality
When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio, for example, when ripping a compact disc to this format. The lower the bit rate used, the lower the audio quality will be, but the smaller the file size. Likewise, the higher the bit rate used, the higher the quality, and therefore, larger the resulting file will be.
Files encoded with a lower bit rate will generally play back at a lower quality. With too low a bit rate, "compression artifacts" (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bitrate provides a good example of compression artifacts.
Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even when targeting similar bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s,[11] one scored 3.66 on a 1–5 scale, while the other scored only 2.22.
Quality is heavily dependent on the choice of encoder and encoding parameters. While quality around 128 kbit/s was somewhere between annoying and acceptable with older encoders, modern MP3 encoders can provide adequate quality at those bit rates[12] (January 2006). However, in 1998, MP3 at 128 kbit/s was only providing quality equivalent to AAC-LC at 96 kbit/s and MP2 at 192 kbit/s.[13]
The transparency threshold of MP3 can be estimated to be at about 128 kbit/s with good encoders on typical music as evidenced by its strong performance in the above test, however some particularly difficult material, or music encoded for the use of people with more sensitive hearing can require 192 kbit/s or higher. As with all lossy formats, some samples cannot be encoded to be transparent for all users.
The simplest type of MP3 file uses one bit rate for the entire file — this is known as Constant Bit Rate (CBR) encoding. Using a constant bit rate makes encoding simpler and faster. However, it is also possible to create files where the bit rate changes throughout the file. These are known as Variable Bit Rate (VBR) files. The idea behind this is that, in any piece of audio, some parts will be much easier to compress, such as silence or music containing only a few instruments, while others will be more difficult to compress. So, the overall quality of the file may be increased by using a lower bit rate for the less complex passages and a higher one for the more complex parts. With some encoders, it is possible to specify a given quality, and the encoder will vary the bit rate accordingly. Users who know a particular "quality setting" that is transparent to their ears can use this value when encoding all of their music, and not need to worry about performing personal listening tests on each piece of music to determine the correct settings.
In a listening test, MP3 encoders at low bit rates performed significantly worse than those using more modern compression methods (such as AAC). In a 2004 public listening test at 32 kbit/s,[14] the LAME MP3 encoder scored only 1.79/5 — behind all modern encoders — with Nero Digital HE AAC scoring 3.30/5.
Perceived quality can be influenced by listening environment (ambient noise), listener attention, and listener training and in most cases by listener audio equipment (such as sound cards, speakers and headphones).
[edit] Bit rate
Several bit rates are specified in the MPEG-1 Layer 3 standard: 32, 40, 48, 56, 64, 80, 96, 112, 128, 144, 160, 192, 224, 256 and 320 kbit/s, and the available sampling frequencies are 32, 44.1 and 48 kHz. A sample rate of 44.1 kHz is almost always used, because this is also used for CD audio, the main source used for creating MP3 files. A greater variety of bit rates are used on the Internet. 128 kbit/s is the most common, because it typically offers adequate audio quality in a relatively small space. 192 kbit/s is often used by those who notice artifacts at lower bit rates. As the Internet bandwidth availability and hard drive sizes have increased, 128 kbit/s bitrate files are slowly being replaced with higher bitrates like 192 kbit/s, with some being encoded up to MP3's maximum of 320 kbit/s. It is unlikely that higher bit rates will be popular with any lossy audio codec as higher bit rates than 320 kbit/s encroach on the domain of lossless codecs such as FLAC.
By contrast, uncompressed audio as stored on a compact disc has a bit rate of 1,411.2 kbit/s (16 bits/sample × 44100 samples/second × 2 channels / 1000 bits/kilobit).
Some additional bit rates and sample rates were made available in the MPEG-2 and the (unofficial) MPEG-2.5 standards: bit rates of 8, 16, 24, and 144 kbit/s and sample rates of 8, 11.025, 12, 16, 22.05 and 24 kHz.
Non-standard bit rates up to 640 kbit/s can be achieved with the LAME encoder and the freeformat option, although few MP3 players can play those files. According to the ISO standard, decoders are only required to be able to decode streams up to 320 kbit/s.[15] |
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//TRAVEL & TOURS PACKAGE // |
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©2007 Warith NY Travel & Tours Sdn. Bhd. | All Right Reserved |
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