Generally, in the instrumentation of "drums, wind instruments, and metal percussion" in Ku-chhue, the function of the drums equals a conductor. The wind instrument play the melody. The metal percussion (mainly gongs and cymbals), under the drums' leadership, interacts with the winds, with its various rhythm and tone color. The metal percussion in Pak-kuan p?i-chi includes gongs and chhaus (cymbals), both of which are rhythmic percussions. It, along with large gongs, small gongs, flat gongs, and bossed gongs, can produce various, abundant tone colors. The metal percussion in gamelan, besides gongs (single bronze gongs and gongs laid-in-a-row), also includes metallophones. Gongs laid in-a-row and metallophones are tuned and play the melody. Thus the feature of gamelan lays on the metal percussion's pitch-plus-percussion function. Due to the different relationship between metal percussion vs. the main melody, and the different relationship among the various metal percussions themselves, the ensemble can produce different acoustics and atmosphere. Therefore, each different style shows up. Among the metal percussion in Pak-kuan pai-chi, the rhythm of "ro" (flat gong) and "ta-ro" (bossed gong) combines regular and irregular uses. These gongs, along with the rhythmic variation by large and small cymbals, and small gongs' decorative tone color, show a lot of variety. In Javanese gamelan, each gong with its stability, shows a sense of order, while the cymbals (cengceng rincik) in Balinese gamelan angklung emphasize the drums' rhythm; thus a sense of excitement takes place, which is quite different from the stability of Javanese gamelan.