Iphone 3G - Things You Should Take Into Consideration

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by Doodler

IPhone 3G

Once the 3G iPhone is on the market, iSuppli plans to open one up to figure out the make and model of each component inside, to more exactly determine the cost of the handset. The 3G iPhone is "real" now no more being rumored again. It's been officially announced for the release date. The 3G iPhone is rated at 300 hours of standby time. It will be able to allow 5-6 hours of 3G browsing, 7 hours of video playback and 24 hours of audio playback.

The 3G iPhone is slightly thicker in the middle (12.3mm over 11.6mm before) but thinner on the sides. Apple are hoping to launch in 70 countries this year, with the 8gb going for $199 and the 16gb for $299 both coming in black and white. The 3G iPhone is finally here. I just finished watching the Keynote address through the Apple podcasts, and have made up my opinion on the news. The 3G iPhone is probably one of Apple's most-hyped products ever, after the original iPhone. There have been so many rumors of its launch, that it wouldn't make sense for it not to exist.

IPhone Bluetooth

The iPhone bluetooth functions have careful security management. Users are protected from using bluetooth to exchange files with other users (such files are risky) or accidentally printing or communicating with your computer. The iPhone Bluetooth headset can be used in either ear due to its innovative design. It has up to 5.5 hours of talktime while also achieving up to 72 hours of standby time. The iPhone Bluetooth Headset is one iphone accessory that gives you the full ability to make and receive telephone calls without ever having to pick.

IPhone WiFi

WiFi is still just a bit quicker at 17 seconds to finish That's not to say that they haven't still left the WiFi option in for those that aren't able to get a 3G connection. WiFi and 3G is all you need after you download the app and the new iPhone has got them both. The built-in GPS in the iPhone also figure in as the AOL Radio app uses GPS to tell users the closest radio station..

For more Insurance related information, please feel free to check out our Iphone Resource Informationyou may also be interested inIphone Bluetooth Technologyas well asIphone Wifi Technologyas well as this also goes hand in hand.

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Cobra 148 GTL CB Radio - Maybe the Best Mobile Rig Ever Made

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by CB Radio Guy

The Cobra 148 GTL CB radio has been the mobile rig of choice for all serious CB'ers for more than 30 years.

Historically, the best sets were always the ones manufactured in the Phillipines. I purchased mine in 1978 and was lucky to get one of these little gems. Manufacture of this particular model was halted in the late 1990's, but due to popular demand manufacture has been resumed and they are once again readily available.

Rugged construction has always been a hallmark of all Cobra CB radios, and the 148 is no exception. It can live in the harshest of environments that would quickly destroy lesser makes.

The newer units have remained in their original proven configuration. The only change has been a small cosmetic change that now has the microphone connector located on the front of the set, instead of on the side. This makes for very easy installation. Longer microphone cables are also now standard.

This model offers a total of 120 channels. It has 40 chanels on AM, and a further 80 channels on SSB (Single side band). The SSB channels are split into 40 each on the lower sideband and the upper side band.

Transmitter power output is the maximum allowable by FCC regulation - 4 Watts RF on AM, and 12 Watts RF on SSB.

The configuration is certainly feature rich -
1) Built in SWR meter, and SWR calibration control for the accurate matching to the antenna.
2) Adjustable Dynamike microphone boost control for maximum clarity on transmit.
3) Adjustable RF gain control allows for the optimum setting of the received signal in both strong and weak signal areas.
4) A noise blanking switch to further reduce the amount of received noise.
5) PA switch allows this unit to be used as a public address system with the addition of an external speaker.

There is another reason why this model has proven to be so popular. The casing has a lot of room inside for mods, and there are a range of add-on boards available at radio shops to boost performance. Some are legal, some are not.

If you are looking for a feature-rich, ultra reliable, mobile rig then you can do no better than choosing the Cobra 148 GTL CB Radio.

See our website for full details, as well as a large range of both new and used Cobra 148 GTL CB radios for sale.

Don't forget to download Indocquent's free social bookmark utility at http://www.indocquent.com/social_bookmark/social_bookmark_landingpage.html.

Future Psychediscorama With Koko Dozo's Illegal Space Aliens

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by Mark Kirby

Brothers and a Sister From Another Planet

One night several years ago at an Irish pub in the East Village of New York City, the discussion of music turned to disco. It involved musicians and people over 40 years-old, people who might know what they're talking about. Several of us were, in the heyday of Studio 54 and the disco era, into punk rock. Others of us were -- me especially -- strictly jazz heads. I reminded my friend of lonely nights in college smoking out of a four-foot bong and listening to Zappa and John Coltrane and wondering how to meet girls. They were at the campus disco parties, while we were above it all. And alone, getting in touch with ourselves.

Now a guy walked into the bar - no, this is not a joke, this is true - leans over and asks Nancy, the bartender, to put on a CD he brought. He had a box set called 100 Disco Hits and wanted to hear it. She put it on over a few protests and by the third cut half the bar was up dancing. "This s**t is great, what were we thinkin'?" What were we thinking? The cuts that he played -- "Boogie Nights," "Disco Lady," "Ain't No Stoppin' Us Now" -- were all songs with soul power. Killer musicians, great singers, and songwriters that had some skills were at work on these gems. So many of the songs that turned off the young cynic back in the day -- and I was one of them -- now sound like musical versions of the politics of hope. Besides the quality of the music and the infusion of beer and liquor, these cuts stood out because the party music of today consists of desperate, vapid consumer fantasies "sung" over prepackaged, overly mechanized "music." From Justin Timberlake to Mariah Carey, this is what dance music is all about. Like rap agitators Public Enemy asked back in the '90's "who stole the soul?"

These memories and thoughts came to mind while listening to Koko Dozo's new CD Illegal Space Aliens. The band members present themselves as bizarro characters. Chief producer Polarity/1, who created the beats and sounds that make the backbone of the music, dresses like a pro wrestling manager who is channeling Sun Ra. Though using synthesizer sounds, drum machines, and synth bass, his music has a distinctive, organic quality, a certain freshness and vitality. Rubio -- the self-described "multi-brained, Viking, Satanic wizard"; complete with Viking helmet and wizardly robe -- provides funky, jazzy keyboards that flesh out and add spice and musicality to the grooves. Singer Amy Douglas, the "Inter-Galactic Empress," looks like a grown up Punky Brewster turned dominatrix from Brooklyn by way of worlds beyond. But for all the outer spaceness of their image and electronic sounds, the music on Illegal Space Aliens is rooted in the organic soil of the disco, funk and soul of a bygone era.

The CD starts with dense electronic sounds that morph into a groove consisting of bass, a looped piano chord, and a beat made of these dense sounds, on the opening cut "Second Time." Amy Douglas brings flesh and soul to this cyborg of a song. With musical experience covering punk cabaret, funk with George Clinton and down-home jazz with Illinois Jacquet, she has the pipes. She also has the musicality and taste to do it just right. "Face on the Dance Floor" starts with disembodied female voices and a vocal loop of laughs. A house beat kicks in and Douglas busts out with a Donna Summers-like vocal blast: "You know you got that face... hold your face on the dance floor / wave your feet in the air / make us believe that you don't care / smash your face on the dance floor / put your kicks in the air / wave it some more put your f****n' face on the dance floor." The song grooves along with interesting musical riffs and keyboard counter melodies, as Douglas goes off. The backup group female voices come back and the song's next verse comes in. These little touches elevate this and other songs on the CD above average, boring house and dance music. You can dig this music without drugs or dancing.

Some of the album's cuts resemble the classic disco of the'70's and '80's. "Boomchi" has that signature four-on-the-floor drum beat, offbeat funk bass lick, and soulful strings. The vocals come in like Chic's classic "Good Times." Busting out in Spanish, Douglas lets fly some wailing diva vocal blasts. The song's break down features bass drum, breathy, chanting vocals, and an over-the-top spew in Spanglish by Rubio. Euro disco brought in the dominance of synthesizers and more mechanical rhythms. "Shine" is in this mold, but the piano licks and, once again, Douglas' voice gives the song a human face: "Shine a light / I need to know that I'm alive / Shine a light / guide me to your secret side / give me breath that can revive."

Koko Dozo mines other types of music, particularly the expansive side of soul and funk, on the slow jam "Down." This features sweet lead and backup vocals, as well as chords that move and glide in an extended middle part that seems to drift away. Then, from silence, the song starts up with vocals that remind one of soul diva's like Chaka Khan. "D.C. Whore" combines political satire and discordant, complex funk. "Fulano de Tai" is dirge-like, with music that evokes the image of an emotional desert and recalls one of Ennio Morricone's more psychedelic soundtracks.

One of the strengths of Illegal Space Aliens, and my regular readers please forgive me, is that there are nine choice cuts on this record. No fluff, just a statement. This should be the new trend. This should also be an example of how to make dance music that is intelligent and cool, not dumbed down to the level of morons in too-tight $90 designer jeans.

http://www.kokodozo.com http://www.myspace.com/kokodozo

Don't forget to download Indocquent's free social bookmark utility at http://www.indocquent.com/social_bookmark/social_bookmark_landingpage.html.

Future Psychediscorama With Koko Dozo's Illegal Space Aliens

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by Mark Kirby

Brothers and a Sister From Another Planet

One night several years ago at an Irish pub in the East Village of New York City, the discussion of music turned to disco. It involved musicians and people over 40 years-old, people who might know what they're talking about. Several of us were, in the heyday of Studio 54 and the disco era, into punk rock. Others of us were -- me especially -- strictly jazz heads. I reminded my friend of lonely nights in college smoking out of a four-foot bong and listening to Zappa and John Coltrane and wondering how to meet girls. They were at the campus disco parties, while we were above it all. And alone, getting in touch with ourselves.

Now a guy walked into the bar - no, this is not a joke, this is true - leans over and asks Nancy, the bartender, to put on a CD he brought. He had a box set called 100 Disco Hits and wanted to hear it. She put it on over a few protests and by the third cut half the bar was up dancing. "This s**t is great, what were we thinkin'?" What were we thinking? The cuts that he played -- "Boogie Nights," "Disco Lady," "Ain't No Stoppin' Us Now" -- were all songs with soul power. Killer musicians, great singers, and songwriters that had some skills were at work on these gems. So many of the songs that turned off the young cynic back in the day -- and I was one of them -- now sound like musical versions of the politics of hope. Besides the quality of the music and the infusion of beer and liquor, these cuts stood out because the party music of today consists of desperate, vapid consumer fantasies "sung" over prepackaged, overly mechanized "music." From Justin Timberlake to Mariah Carey, this is what dance music is all about. Like rap agitators Public Enemy asked back in the '90's "who stole the soul?"

These memories and thoughts came to mind while listening to Koko Dozo's new CD Illegal Space Aliens. The band members present themselves as bizarro characters. Chief producer Polarity/1, who created the beats and sounds that make the backbone of the music, dresses like a pro wrestling manager who is channeling Sun Ra. Though using synthesizer sounds, drum machines, and synth bass, his music has a distinctive, organic quality, a certain freshness and vitality. Rubio -- the self-described "multi-brained, Viking, Satanic wizard"; complete with Viking helmet and wizardly robe -- provides funky, jazzy keyboards that flesh out and add spice and musicality to the grooves. Singer Amy Douglas, the "Inter-Galactic Empress," looks like a grown up Punky Brewster turned dominatrix from Brooklyn by way of worlds beyond. But for all the outer spaceness of their image and electronic sounds, the music on Illegal Space Aliens is rooted in the organic soil of the disco, funk and soul of a bygone era.

The CD starts with dense electronic sounds that morph into a groove consisting of bass, a looped piano chord, and a beat made of these dense sounds, on the opening cut "Second Time." Amy Douglas brings flesh and soul to this cyborg of a song. With musical experience covering punk cabaret, funk with George Clinton and down-home jazz with Illinois Jacquet, she has the pipes. She also has the musicality and taste to do it just right. "Face on the Dance Floor" starts with disembodied female voices and a vocal loop of laughs. A house beat kicks in and Douglas busts out with a Donna Summers-like vocal blast: "You know you got that face... hold your face on the dance floor / wave your feet in the air / make us believe that you don't care / smash your face on the dance floor / put your kicks in the air / wave it some more put your f****n' face on the dance floor." The song grooves along with interesting musical riffs and keyboard counter melodies, as Douglas goes off. The backup group female voices come back and the song's next verse comes in. These little touches elevate this and other songs on the CD above average, boring house and dance music. You can dig this music without drugs or dancing.

Some of the album's cuts resemble the classic disco of the'70's and '80's. "Boomchi" has that signature four-on-the-floor drum beat, offbeat funk bass lick, and soulful strings. The vocals come in like Chic's classic "Good Times." Busting out in Spanish, Douglas lets fly some wailing diva vocal blasts. The song's break down features bass drum, breathy, chanting vocals, and an over-the-top spew in Spanglish by Rubio. Euro disco brought in the dominance of synthesizers and more mechanical rhythms. "Shine" is in this mold, but the piano licks and, once again, Douglas' voice gives the song a human face: "Shine a light / I need to know that I'm alive / Shine a light / guide me to your secret side / give me breath that can revive."

Koko Dozo mines other types of music, particularly the expansive side of soul and funk, on the slow jam "Down." This features sweet lead and backup vocals, as well as chords that move and glide in an extended middle part that seems to drift away. Then, from silence, the song starts up with vocals that remind one of soul diva's like Chaka Khan. "D.C. Whore" combines political satire and discordant, complex funk. "Fulano de Tai" is dirge-like, with music that evokes the image of an emotional desert and recalls one of Ennio Morricone's more psychedelic soundtracks.

One of the strengths of Illegal Space Aliens, and my regular readers please forgive me, is that there are nine choice cuts on this record. No fluff, just a statement. This should be the new trend. This should also be an example of how to make dance music that is intelligent and cool, not dumbed down to the level of morons in too-tight $90 designer jeans.

http://www.kokodozo.com http://www.myspace.com/kokodozo

Don't forget to download Indocquent's free social bookmark utility at http://www.indocquent.com/social_bookmark/social_bookmark_landingpage.html.

Future Psychediscorama With Koko Dozo's Illegal Space Aliens

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by Mark Kirby

Brothers and a Sister From Another Planet

One night several years ago at an Irish pub in the East Village of New York City, the discussion of music turned to disco. It involved musicians and people over 40 years-old, people who might know what they're talking about. Several of us were, in the heyday of Studio 54 and the disco era, into punk rock. Others of us were -- me especially -- strictly jazz heads. I reminded my friend of lonely nights in college smoking out of a four-foot bong and listening to Zappa and John Coltrane and wondering how to meet girls. They were at the campus disco parties, while we were above it all. And alone, getting in touch with ourselves.

Now a guy walked into the bar - no, this is not a joke, this is true - leans over and asks Nancy, the bartender, to put on a CD he brought. He had a box set called 100 Disco Hits and wanted to hear it. She put it on over a few protests and by the third cut half the bar was up dancing. "This s**t is great, what were we thinkin'?" What were we thinking? The cuts that he played -- "Boogie Nights," "Disco Lady," "Ain't No Stoppin' Us Now" -- were all songs with soul power. Killer musicians, great singers, and songwriters that had some skills were at work on these gems. So many of the songs that turned off the young cynic back in the day -- and I was one of them -- now sound like musical versions of the politics of hope. Besides the quality of the music and the infusion of beer and liquor, these cuts stood out because the party music of today consists of desperate, vapid consumer fantasies "sung" over prepackaged, overly mechanized "music." From Justin Timberlake to Mariah Carey, this is what dance music is all about. Like rap agitators Public Enemy asked back in the '90's "who stole the soul?"

These memories and thoughts came to mind while listening to Koko Dozo's new CD Illegal Space Aliens. The band members present themselves as bizarro characters. Chief producer Polarity/1, who created the beats and sounds that make the backbone of the music, dresses like a pro wrestling manager who is channeling Sun Ra. Though using synthesizer sounds, drum machines, and synth bass, his music has a distinctive, organic quality, a certain freshness and vitality. Rubio -- the self-described "multi-brained, Viking, Satanic wizard"; complete with Viking helmet and wizardly robe -- provides funky, jazzy keyboards that flesh out and add spice and musicality to the grooves. Singer Amy Douglas, the "Inter-Galactic Empress," looks like a grown up Punky Brewster turned dominatrix from Brooklyn by way of worlds beyond. But for all the outer spaceness of their image and electronic sounds, the music on Illegal Space Aliens is rooted in the organic soil of the disco, funk and soul of a bygone era.

The CD starts with dense electronic sounds that morph into a groove consisting of bass, a looped piano chord, and a beat made of these dense sounds, on the opening cut "Second Time." Amy Douglas brings flesh and soul to this cyborg of a song. With musical experience covering punk cabaret, funk with George Clinton and down-home jazz with Illinois Jacquet, she has the pipes. She also has the musicality and taste to do it just right. "Face on the Dance Floor" starts with disembodied female voices and a vocal loop of laughs. A house beat kicks in and Douglas busts out with a Donna Summers-like vocal blast: "You know you got that face... hold your face on the dance floor / wave your feet in the air / make us believe that you don't care / smash your face on the dance floor / put your kicks in the air / wave it some more put your f****n' face on the dance floor." The song grooves along with interesting musical riffs and keyboard counter melodies, as Douglas goes off. The backup group female voices come back and the song's next verse comes in. These little touches elevate this and other songs on the CD above average, boring house and dance music. You can dig this music without drugs or dancing.

Some of the album's cuts resemble the classic disco of the'70's and '80's. "Boomchi" has that signature four-on-the-floor drum beat, offbeat funk bass lick, and soulful strings. The vocals come in like Chic's classic "Good Times." Busting out in Spanish, Douglas lets fly some wailing diva vocal blasts. The song's break down features bass drum, breathy, chanting vocals, and an over-the-top spew in Spanglish by Rubio. Euro disco brought in the dominance of synthesizers and more mechanical rhythms. "Shine" is in this mold, but the piano licks and, once again, Douglas' voice gives the song a human face: "Shine a light / I need to know that I'm alive / Shine a light / guide me to your secret side / give me breath that can revive."

Koko Dozo mines other types of music, particularly the expansive side of soul and funk, on the slow jam "Down." This features sweet lead and backup vocals, as well as chords that move and glide in an extended middle part that seems to drift away. Then, from silence, the song starts up with vocals that remind one of soul diva's like Chaka Khan. "D.C. Whore" combines political satire and discordant, complex funk. "Fulano de Tai" is dirge-like, with music that evokes the image of an emotional desert and recalls one of Ennio Morricone's more psychedelic soundtracks.

One of the strengths of Illegal Space Aliens, and my regular readers please forgive me, is that there are nine choice cuts on this record. No fluff, just a statement. This should be the new trend. This should also be an example of how to make dance music that is intelligent and cool, not dumbed down to the level of morons in too-tight $90 designer jeans.

http://www.kokodozo.com http://www.myspace.com/kokodozo

Don't forget to download Indocquent's free social bookmark utility at http://www.indocquent.com/social_bookmark/social_bookmark_landingpage.html.

Zune or iPod – A Comparison

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by Robert Mecenas

If you were to buy a portable music player, what would you look up? iPod or Zune? Chances are you would automatically think of the iPod. There's a reason for that – iPods have been getting unbelievable marketing over the last few years and Apple has done a good job of getting people to think iPods are the only portable music player out there. This is not the case. Microsoft's Zune is a recent addition to the portable player market and is worth taking a look. So, let's compare:

Navigation – iPod's click-wheel is a "love it or hate it" sort of thing. Some love it, some hate it. The newer models feature a split-screen interface, which is nice. Zune offers a touch sensitive pad, making it feel like a laptop pad, to some degree. iPod's click-wheel navigation isn't as intuitive as the Zune's touch pad.

Visual Appeal – Apple knows visual design. Their line of computers and computer accessories is real eye-candy. It's no exception when it comes to the iPod – its sleek, smooth and modern looking player. Microsoft Zune team needs to work on their visual design.

Compatibility – Microsoft is known for having 'issues'. The Zune is no exception. No Mac support and incompatibility with Microsoft's own protected WMA format. The iPod is cross-platform and iTunes score big for the Apple team.

Quality – The Zune offers great sound quality, an FM tuner, Wi-Fi and wireless synchronization. The iPod also has great sound quality and a solid battery.

Price – Apple is known for its pricey products. Compare any laptop to a similar Apple laptop and you'll see Apple simply charges more. It's no exception when it comes to the iPod. For what you get with the Zune, the price of the iPod is too much. If the iPod offered FM and Wi-Fi support, it'd be a different call.

It's great to see the Zune on the market. Competition is good for consumers, so we can expect to see more from both design teams and it should be fun to watch what they dream up.

Robert's Zune Music Download blog offers advice on some of the best sites to use when you need to download music for a Zune player.

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The Benefits To Purchasing A Business Projector For Your Office

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by Craig Thornburrow

Those who run their own business or find themselves frequently in their office will need a variety of supplies and one such item which may come in handy is a business projector. A business projection machine is an item which enables you to project images onto the wall or a screen in your office. This type of item comes in handy for many reasons and some of the benefits to purchasing and using this type of projector will be highlighted below.

By purchasing a business projector, the owner thereof will have a handy way of making information available for all employees to view, whether it is in a small gathering setting or a large scale conference room meeting. A projector of this type provides a way for the individual to project information so that others can easily view it and then take notes from the projection of the information. All in all, if you find yourself heading up meetings then using this type of projection machine is the way to go.

Secondly, a projector which is best suited for businesses provides a way for the company to save money on copies and handouts. Some company officials will need to hand out materials to their employees so that the individuals have something to consult during the meeting. However, by using a projector for business purposes, these handouts and copies are unnecessary which means less time spent on making copies as well as less money which needs to be spent due to the paper and ink which is needed for making the handouts. Since most companies operate on a tight budget, getting rid of this overhead cost is quite an attractive option for business owners to consider.

Using a projector in an office setting is also beneficial in that the person in charge of the meeting can keep the employees and attendees occupied throughout the meeting. When simply having to listen to someone speak for an hour, the crowd may become restless. However, those business owners who provide visual aids throughout the meeting are more likely to keep everyone interested and attentive throughout the conference. Buying a projector for business purposes will truly help out in this fashion and make the overall meeting that much more interesting overall.

Business projectors are also quite affordable when viewed in the grand scheme of things. Depending on the size and quality of the projector, many business owners can purchase one of these items for around $1,000 on average. Although the price will vary depending on the different facets of the projector itself, spending this much money on a projector for your business venture is well worth it when you consider the benefits of doing so. As mentioned above, projectors for business purposes will provide cost saving features due to lack of paper and ink from handouts and keep the meeting attendees attentive throughout the conference. All of these wonderful factors make purchasing a business projector to aid in meetings and conferences a wise choice for business owners everywhere.

Widen your knowledge on projector rental at http://www.topbusinessprojectors.com - Free information and impartial advice on digital projectors.

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