Electronics : Monster MP3 MusicConnect Portable Audio Player to Car Stereo Cable (1/8' Mini to 1/8 Mini) 2 m. Cable (1/8 mini plug to 1/8 mini) (MPC MCON MINI-2M)

Electronics : Monster MP3 MusicConnect Portable Audio Player to Car Stereo Cable (1/8' Mini to 1/8 Mini) 2 m. Cable (1/8 mini plug to 1/8 mini) (MPC MCON MINI-2M)
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Monster MP3 MusicConnect Portable Audio Player to Car Stereo Cable (1/8' Mini to 1/8 Mini) 2 m. Cable (1/8 mini plug to 1/8 mini) (MPC MCON MINI-2M)

from: Monster



Monster MP3 MusicConnect Portable Audio Player to Car Stereo Cable (1/8' Mini to 1/8 Mini) 2 m. Cable (1/8 mini plug to 1/8 mini) (MPC MCON MINI-2M)
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Piece Availability: Usually ships in 24 hours

Street Price: $19.95
Gaunz Org Price: $18.94
Savings!: $1.01 ( 5%)
Prices subject to change.

Average Buyer Rating: out of 5 stars
Sales Rank:







Binding: Electronics
Product Brand: Monster
EAN: 0050644392573
Product Feature: Sold Individually
Label: Monster
Legal Disclaimer: Warranty does not cover misuse of product.
Product Manufacturer: Monster
Model: MPC MCON MINI-2M
Publisher: Monster
Studio: Monster


Piece facts:
  • Sold Individually





0ur opinion:

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Monster Cable Products is the world's leading manufacturer of high performance cables that connect audio/video components for home, car and professional use as well as computers and computer games. Monster Cable is an indispensable component for music lovers, audiophiles, recording studios, sound professionals, musicians, custom-installers and home theater enthusiasts.PR0DUCT FEATURES:Exclusive Xtra Low Noise construction minimizes low frequency noise and interference;Duraflex jacket for flexibility and abrasion resistance;24k gold Turbine RCA connectors provide increased contact pressure for better signal transfer;Extra - long cable;Connect your iPod or other portable MP3 player to the inputs of your car stereo;Easy install: connects to MP3 player headphone jack.









Piece Availability: Usually ships in 24 hours






Testimonials
Average Buyer Rating: out of 5 stars

Buyer's feedback: 4 out of 5 stars - * Great cable; way too long for a car. ...
This is an excellent cable. Very flexible even in cold weather and a solid feel to the mini plugs. BUT, does it need to be over six feet long ?
Maybe, ......if you're in the rear seat of a mini-van but a three foot cable would be more than enough for a car. Thus, four stars.


Buyer's feedback: 5 out of 5 stars - iPod Cable
Worked perfectly to hook up my iPod in my Honda Ridgeline. It may have been more expensive than other cables, but I believe in the Monster name and pay for quality. I am very happy.


Buyer's feedback: 4 out of 5 stars - * Good quality ...
Better than cheap cords out there that seem to break down quickly. I use it for my mp3 player to Harley radio; on a bike it holds up to the bouncing around pretty well.


Buyer's feedback: 5 out of 5 stars - Very Good!
I am not an audiophile but I was able to clearly make out the difference when I replaced the cheapo radio shack cable with this one. My iPod in the car sounds really good now.


Buyer's feedback: 5 out of 5 stars - * High Quality ...
I have used this cable for 4 months now and it is great. I tried using a cheap cable you can get anywhere and it ended up "kinking" and the sound had static unless you bent the cable just right. This is a high quality thick cable that will last a long time.


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Quick! Who Else Has A VoIP Patent That Vonage Can Settle Over?

We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.

The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?

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Samsung Helix YX-M1 (XM)

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Sweeney Todd - The Demon Barber Of Fleet Street
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Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses. George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims. This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi

Rodgers & Hammerstein's Cinderella
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A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
Hairspray
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John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features Cry-Baby and Serial Mom, but it's worth a look. --Tom Keogh
Christina Aguilera - Back to Basics

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Christina Aguilera: A Star is Made: The Unauthorized Biography

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White Christmas
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Waking Up Laughing
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Martina McBride has long been a champion of music as social consciousness, particularly for abused women ("Independence Day") and children. On Waking Up Laughing, her ninth album and the follow-up to Timeless, her platinum-selling album of country classics, she advances the theme while expanding it. While two songs explore the issue of unwed mothers (particularly the exquisite "Love Land," which closes the album), and another, "Beautiful Again," touches on child sexual abuse, her overall repertoire embraces the wholeness of family, and of standing strong together in the face of adversity and defeat. Musically, McBride has always proved to be an elegant thorn--her song selection is often inspired (and here, she co-wrote three tunes, including the skyscraping single "Anyway"), but she has tended to use her huge, ride-the-wave soprano full-tilt, without employing the subtle shadings that would make her even more emotionally resonant. On Waking Up Laughing she seems to have worked on the problem, yet in her second foray as solo producer, she still tends to gild the lily instrumentally--inflating string bridges between choruses, for example, or loading the opening country-pop track, "If I Had Your Name," with a Southern-rock guitar break, a listen-to-me fiddle showcase, a Celtic guitar intro, and a close that brings to mind George Harrison's sitar in play-it-backward mode. That said, she makes fine use of what sounds like a black female choir on the uplifting "For These Times," and wisely keeps the haunting break-up ballad "Tryin' to Find a Reason" (with Keith Urban's harmony vocals and guitar solo) lean and affecting. As McBride works to refine her pastiche of creativity, commerciality, and social awareness, she slyly takes more chances than one might think, all the while rallying old fans and making new ones. --Alanna Nash
The Muppet Christmas Carol
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For right-minded buyers of the reissued Muppet Christmas Carol soundtrack, the odds of disappointment are about as remote as Miss Piggy's chances with Kermit. If you loved the movie, you will love the loopy mayhem of the Muppet Brass Buskers ("Good King Wenceslas"), the cartoonish malice of the black-hearted misanthropes Marley & Marley ("Marley & Marley"), and the hope-swollen harmonies of Tiny Tim and Family ("Bless Us All"), Muppeted here to hilariously humble effect. If, on the other hand, your interest in this disc has more to do with its inclusion in the way-narrow Christmas-record-for-kids category--if the spirit of the season doesn't extend, for you, to the magic of the Muppets--you may want to keep browsing, as it's a soundtrack first (overture, instrumentals, and all) and a Christmas CD second. That's not to suggest you're stuck with an un-fun disc should it land on your holiday stack without a prior screening, though. Miles Goodman's score sweeps and inspires, and certain tracks--"One More Sleep 'til Christmas" and "Fozziwig's Party"--are future classics. (Note to the right-minded: After a misstep on the original release, Martina McBride's version of "When Love is Gone" is back.) -Tammy La Gorce

MINI-2M) MCON (MPC mini) 1/8 to plug mini (1/8 Cable m. 2 Mini) 1/8 to Mini (1/8' Cable Stereo Car to Player Audio Portable MusicConnect MP3 Monster
Shopping at www.gaunz.org  Created at Sun Nov 23 17:48:13 2008