Electronics : Fellowes Powershred C-220 18-20 Sheet Strip Cut Shredder

Electronics : Fellowes Powershred C-220 18-20 Sheet Strip Cut Shredder

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Fellowes Powershred C-220 18-20 Sheet Strip Cut Shredder

from: Fellowes



Fellowes Powershred C-220 18-20 Sheet Strip Cut Shredder
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Piece Availability: Usually ships in 24 hours

Street Price: $749.00
Gaunz Org Price: $471.99
Savings!: $277.01 (37%)
Prices subject to change.

Average Buyer Rating:  out of 5 stars
Sales Rank:





Binding: Electronics
Product Brand: Fellowes
Label: Fellowes
Product Manufacturer: Fellowes
Model: C-220
Publisher: Fellowes
Release Date: September 01, 2006
Studio: Fellowes


Piece facts:
  • Turbo Jam release clears jams quickly and safely
  • Can process CDs, paperclips, credit cards and staples
  • Shreds 18 to 20 sheets per pass, at a rate of 20 feet per minute
  • 9.5" paper entry width; 15-gallon pull-out basket
  • Creates 7/32"-wide strips; includes 20-year warranty on cutter and two-year warranty on machine




Shredder Cut Strip Sheet 18-20 C-220 Powershred Fellowes






0ur opinion:

:
Powershred C-220 Continuous Use Strip-Cut Paper Shredder, Light Gray/Black

:
The Fellowes Powershred 220 strip-cut shredder is packed with convenient features for your office shredding needs. A shredder provides the security and privacy you need by destroying your personal and confidential documents. The Powershred 220 can dispose of 14 to 16 sheets at a time. lt has a large entry of 9 inches to accommodate wider documents and shreds at 22 feet per minute. Plus, the paper clips and staples that you leave in your documents will not damage its hardened-steel blades.

The Powershred 220 includes an integrated stand and removable 18.24-gallon wastebasket. lt features an electronic automatic start/stop activated by a sensor on the blade mechanism. The full-bag indicator light alerts you when the waste bin needs to be emptied and helps you avoid paper jams. Electronic overload protection ensures that the shredder does not overheat, by automatically turning off the blade operation and allowing it to cool when necessary.

The Powershred 220 is protected by a full one-year warranty and includes a five-year warranty on the hardened-steel cutters. --Megan Dugan


Some more accessories for this product for you:
UNIVERSAL PRODUCTS / UNV35947 / Recycled/Recyclable 3-Ply Shredder Bags, 13w x 13d x 28h, 100 Bags/carton / Sold as 1 CT Recycled/Recyclable 3-Ply Shredder Bags, 26w x 18d x 48h, 100 Bags/Carton UNV35952 Recycled/Recyclable 3-Ply Shredder Bags, 28w x 22d x 48h, 100 Bags/Carton UNV35945 Recycled/Recyclable 3-Ply Shredder Bags, 15w x 11d x 30h, 100 Bags/Carton UNV35948 Recycled/Recyclable 3-Ply Shredder Bags, 18w x 17d x 38h, 100 Bags/Carton click 4 more

Some more accessories for this product for you:




Piece Availability: Usually ships in 24 hours


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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 5 out of 5 stars - * Strip Cut Shredders Offer The Best Value ...
Strip cut shredders work much faster and last longer than confetti shredders. The latter ones are very delicate. On the other hand, strip cut shredders require little maintenance except for a little oil lubrication from time to time. Security is not an issue because shredded papers are not distinguisable from each other.



Buyer's feedback: 2 out of 5 stars - Not best for confidentiality
Strip-cut shredding is not recommended for applications where true confidentiality is desired. A cross-cut shredder, on the other hand, produces large confetti-type paper bits that cannot be puzzle-pieced back together. It would seem to be the better choice. This shredder is heavy-duty, which is a good thing, but strip-cutting does not ensure nearly the degree of confidentiality in your destroyed papers as does cross-cutting, and for that reason yopu might want to avoid this shredder in favor of an equally heavy-duty cross-cutting one.



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Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous The Curse of the Black Pearl, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

On the DVD
Here's something you can't say about just any DVD extras: There appears to be more of Keith Richards in the outtakes, interviews, and other special features on the At World's End disc than in the actual film. For those scenes alone, this special edition is well worth the price. Richards looks as woozy and gamey as all the rumors suggested, and answers questions he's not asked, with Johnny Depp sitting next to him, almost acting as a translator. Richards offers pithy comments like, "Everything I do is original, you better believe," and smiles when other cast members call him "Two-Take Richards" for supposedly nailing his scenes.

The packed second disc also includes a terrific mini-doc on how the filmmakers created the famous maelstrom, in an enormous hanger in Palmdale, California, with the ships floating 30 feet off the ground. "Just moving the Black Pearl was an enormous undertaking," says producer Jerry Bruckheimer with serious understatement. Other cool extras include "Tale of the Many Jacks," deleted scenes with great commentary, "The World of Chow Yun-Fat," a bio of composer Hans Zimmer, features on the set designers, a look at the impressive Brethren Court, and some hilarious bloopers. "You can't curse in a Disney film," deadpans Depp when a costar blurts out something blue. "See? I told him." The extras are truly as much of a rollicking adventure as the film. --A.T. Hurley

Beyond Pirates of the Caribbean: At World’s End


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In the previous Dead Man's Chest, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

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In the previous Dead Man's Chest, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley


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The world can't get enough of Madonna, and with CD/DVD sets like The Confessions Tour dropping regularly, it's little wonder why. As a thrower of fantasy dance parties, she is peerless. As a physical role model for the 40-ish women who grew up on her music, she rules. And as an arbiter of what's going to sound shockingly original in any given decade--well, duh. The Confessions Tour rounds up songs from way back--"Ray of Light" and "La Isla Bonita" make the DVD, and "Lucky Star" and "Like a Virgin" are on the CD as well as the DVD--but this concert, filmed in 2006 at London's Wembley Arena, aims its sturdiest spotlight on Confessions on a Dance Floor, Madge's 2005 disco disc. You could argue, then, that unless you're in it for the sheer DVD spectacle (and what a spectacle it is), there's no sense in owning this package. Only you wouldn't be right. Because as any on-the-ball Madonna fan knows, what she's doing musically is telling a story--you may already know the characters, but that doesn't mean she hasn't completely reworked the plot. To that end, "I Love New York" gets its rock on, "Let It Will Be" has a musical temper tantrum, and "Hung Up" goes for the drama queen award. You've heard these songs before, but you've never heard them quite like this, to borrow a bad informercial phrase. As twisted and hopped-up as they've become, they're all worth getting to know again. --Tammy La Gorce
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Apparently there's nothing in Kabbalah that disallows sweaty, head-spinningly good dance music, because here comes a flame-haired Madonna hawking a dozen songs' worth: Confessions on a Dance Floor darts seamlessly from Madge's early days, when she emerged as the genre's enduring darling, through the political, kiddie, and acoustic pap that drove a wedge between her and early adopters of the fingerless glove look. Songs like the pop-leaning "Jump" and first single "Hung Up"--an adrenaline drip on high that, like many of these tracks, will inspire mild shame among those who've thrilled to the much thinner disco-dusted outpourings of younger divas recently--represent both a return to form and an unmistakable march into the future. "Get Together" is a sonic freak-out in the best sense; "Push" traffics in gut-level futuristic trance; and "Forbidden Love" loops in '80s blips and bleeps for a follow-me-into-the-past effect that's both neo and retro. For all the image-affirming innovations here, though, these confessions find Madonna framed in her share of reflective moments too. "Was it all worth it/How did I earn it?" she asks on "How High," a song featuring vocoder. "Nobody's perfect/I guess I deserve it," comes the answer. A later lyrical inquiry is left for the listener to judge: "Does this get any better?" Madonna wants to know. But that opens the door to a dizzying proposition. Few of us would have guessed, after all, that it got this good. --Tammy La Gorce


Shredder Cut Strip Sheet 18-20 C-220 Powershred Fellowes
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