Photo : Mustek PVR-H140 Personal Media Center

Photo : Mustek PVR-H140 Personal Media Center

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Mustek PVR-H140 Personal Media Center

from: Mustek



Mustek PVR-H140 Personal Media Center
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Average Buyer Rating:  out of 5 stars
Sales Rank:





Batteries Included: 1
Binding: Electronics
Product Brand: Mustek
Color: SILVER
Display Size: 3.6 inches
EAN: 0748011400548
Hard Disk Size: 40 GB
Label: Mustek
Product Manufacturer: Mustek
Model: PVR-H140
Publisher: Mustek
Removable Memory: MultiMediaCard
Special Features: Digital video recorder
Studio: Mustek
Variation Description: SILVER


Piece facts:
  • Versatile 7-in-1 multifunction personal video recorder with adjustable 3.6-inch color LCD
  • Internal 40 GB hard drive storage capacity; VGA recording in MPEG-4 compatible format
  • Built-in microphone and speaker; SD/MMC card slot; includes video editing software
  • Also functions as MP3 player, USB pocket drive, memory card reader, and voice recorder
  • Measures 4.3 x 3.15 x 1.2 inches (W x H x D) and weighs 0.64 pounds; 1-year limited warranty




Center Media Personal PVR-H140 Mustek






0ur opinion:

:
Mustek brand has been globally well known for its excellent quality, professional support, and extensive service. Mustek has been recognized by many international magazines and professional organizations for its excellent innovative technology, production capability, and product quality.PR0DUCT FEATURES:3,6' color TFT LCD display - adjustable LCD brightness;TV playback through AV out;USB2.0 support for fast data transfer;Up to 40 GByte hard disk storage capacity allows users to backup files from memory cards;Multi-language user interface (EN, TC, JA, DE, FR, lT, PT, RU, ES, NL);Stand design for comfortable multimedia use;Support of MP3 song names and long file names;Pocket-sized design for easy carrying;DPS support (direct connection to a DPS printer).

:
The Mustek PVR-H140 Multifunctional Personal Video Recorder is a unique portable 7-in-1 multi media center. As a digital video recorder, it offers up to 30 frame-per-second VGA audio-visual recording in MPEG 4 compatible file format and lets you enjoy your video anywhere you go. With a 3.6-inch color TFT adjustable LCD, you'll have the option of playing your recording back immediately. An included stand lets you enjoy your videos conveniently and comfortably. An AV out also lets you play your recordings directly on a television.

The PVR-H140 is also a digital video and photo player, an MP3 players, USB pocket drive, SD/MMC card reader, and a digital voice recorder, all combined into one compact unit. The unit includes a built-in microphone and speaker, an SD/MMC card slot, an AV input and output, a USB port and an earphone jack. A 40-gigabyte HDD storage capacity lets you back up files from memory cards. lncluded with the PVR-H140 are is Video Studio SE for editing your videos, as well as PhotoExpress SE.

What's in the Box
lnstallation CD, application CD, USB cable, AV Cable, earphone, power adapter, protection bag, strap, stand, and user's guide.


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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 1 out of 5 stars - * Don't waste your $ ...
I'm sorry for those who wish to sell their used unit, but I'm also a user of this product, or should I say USE TO BE. For those who are interested in purchasing....buy something usefull.

Once the battery fails, it's useless. You can't replace it. The only way is to send the entire unit back to Mustek and you're at their mercy as to the price for the battery and shipping costs. Do you really want to frustrate yourself???????

The only good thing about the unit is the fair video quality. The sound is tinney, low volume (even on high).

Even though there's no speaker (connect earphones), the San Disk Sansa is the best bang for the buck!



Buyer's feedback: 4 out of 5 stars - Interesting toy to play with
I have tried a little of almost everything with this device. I have played MP3 music; recorded shows and movies from Satellite, VCR, DVD, and other sources; played those recordings on a PC; and stored photos and computer data as if it was an external hard drive. Everything has worked so far.

On the downside, the earphones created instant static (so I substituted them with a set that I have used with a standalone MP3 player), the device is on the thick side, and the external speakers volume does not turn up high enough to listen to (you need to plug external speakers on the headset output to listen to the music or videos if you do not use a headset).

I like the relatively large screen and it almost offsets the negativity due to the thickness of this device. You can just plug in this device to a PC and play video and/or music etc by double clicking on the file stored on this PVR

It has been easy to use and fun to play with so far for the first couple of months.




Buyer's feedback: 3 out of 5 stars - * some what pleased ...
I really liked the product stands for, but there were problems that I guess are internal problems with the machine. I have purchased this device several times and each time there was a different problem with the machine. After I loaded about 35 movies on the device, it wouldn't cut on. Once the machine wouldn't cut off, so I had to reset the devise, which I lost all of my movies. I think if there were more products like this, it could really be a good device, because it was good for travel and you don't have to take a portable DVD player and movies with you. I really like the devise, it just had too many problems for me. I would love to have another one, but I have purchased too many and returned too many, so I don't want to keep getting the devise, only to have to return it and keep paying for shipping fees for manufacture problems.



Buyer's feedback: 1 out of 5 stars - Mustek WHO:(???????????
I don't know what I was thinking!!!!!!!!!!!!:). ZERO RATING
First- You only get 2 hours on a full charge
Second-Customer Services is the WORST
Third-It's heavy
Fourth-When watching a video there's a gap between the actors speaking and what you see. Think of the old school Karate movies.
Fifth-The ac piece on the machine broke after one year
Six-If you watch a movie and needed to stop in the middle, forget about it, it won't hold your spot so you go back to the beginning of the show:(
Seven-It doesn't show the names of your songs-more than 5 spaces and once a song in there you can't move it.
Eight-the kickstand broke because it made of plastic and too weak.



Buyer's feedback: 1 out of 5 stars - * huge mistake ...
Do not buy this. The 40gb hard drive and the "features" mask the true quality of this product. The firmware is terrible. Folder and filenames only show the first 5 characters, making it hard to find anything. The pause/play button does not always work when listening to music. Folder and file navigation is way too slow. The volume on this thing is extremely weak. Video conversion software that is included does not work (winXP & WME9). Seems to me that the manufacturer tried to make it as cheap and as quickly as possible. It's a good idea, it's just that they should have spent more time tweaking it. If you have the money for one of these things, save another $100 and buy a video iPOD.

P.S. - Anyone know if the PVR firmware is linux based?

read more customer reviews on Mustek PVR-H140 Personal Media Center


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Alienware's flagship gaming laptop, the Area-51 m9750, has plenty of appeal for high-end gamers, but the alien head aesthetic seems dated, and newer components are right around the corner.

The rise and fall of muni-Fi (and rise again): Clearly, the largest story involving Wi-Fi in 2007 was the at-first continued growth in cities awarding contracts with no money involved on their part to have service providers build Wi-Fi networks--and the subsequent failure of these networks to be built. Starting quietly in late 2006, the market shifted for metro-scale Wi-Fi. During 2007, providers decided that bearing the full cost of a city-wide network without city contracts wasn't financially sensible.

The full scope of the low uptake rates in cities that had large portions of the network built out also became clear: rather than 15 to 35 percent of residents subscribing, just a few percentage points would put a network in the top tier. Revenue is apparently also pretty minimal even in cities like Taipei, Taiwan, the network provider for which was predicting 250,000 subscribers by the end of 2006, and had just 30,000 regular users each month at last public report in early 2007.

MetroFi started to tell cities that without an advance service commitment at a minimum level -- an anchor tenancy -- the company couldn't proceed on networks. In 2007, MetroFi lost half a dozen bids or saw contracts canceled due to this change. Its work in Portland, Ore., the biggest network it was building, won't be extended beyond current limited dimensions until additional capital or a city commitment is obtained; the city has said it won't commit to service fees, however.

Meanwhile, EarthLink lost its CEO Garry Betty in January due to cancer. A strong backer of new initiatives to change EarthLink's core business, his death was certainly one of the causes in a quick re-evaluation of the municipal wireless division. New CEO Rolla Huff pulled EarthLink out of new deals, suspended existing ones, laid off hundreds of employees while gutting the metro Wi-Fi division, and appears poised to leave currently built or underway networks, including their flagship Philadelphia effort. They may sell the division, but it's hard to see much worth in it given the current state.

In a smaller bit of news, Kite Networks, formerly known by various names, was sold by parent MobilePro to Gobility with conditions that according to SEC filings by MobilePro weren't met. Kite was once high flying, in the company of EarthLink and MetroFi as one of the major U.S. Wi-Fi network builders. Now it's still in that company, with work on its Arizona networks apparently halted. A suitor has emerged in the form of a regional telecom that specializes in the Hispanophone market (double entendre intended), and which thinks it could boost Tempe subscriptions from the current several hundred to about 300 times that number. Hope springs eternal.

And while AT&T was able to launch a Riverside, Calif., network with MetroFi handling the installation and operation, it backed out of St. Louis, Mo., due to a utility pole problem, and the bidding in Chicago, too. The Metro Connect consortiums in Sacramento and Silcion Valley were unable to raise financing despite the apparent blue-chip participation by Cisco, IBM, and Intel.

County-wide Wi-Fi was also hit again and again by providers who pulled out--CenturyTel in Pierce County, Wash., for instance--or problems with technology or utility poles. In a few scattered areas, Wi-Fi across counties has been built out, but it's not an idea whose time has yet come.

Muni-Fi isn't down for the count. While these high-profile networks in large cities and county-wide networks have mostly hit the skids, more modest networks with well-defined goals continue to be built with a focus on public safety and municipal uses in hundreds of small and medium-sized towns. Brookline, Mass., may be a good example, in which a public safety/public access network was built relatively quickly and with no reported problems.

And there's one big city success story: Minneapolis, Minn. While local provider US Internet wound up spending more than they'd intended, reports from the ground indicate that service works quite well, and subscriptions and interest are quite high. The company was able to respond almost instantly to the bridge collapse a few months ago by deploying additional mesh infrastructure to add network capacity in the area. And it says that it could reach positive cash flow in early 2008. One of their advantages? They secured a substantial commitment from the city for the services they built.

Other trends of the year gone by: Music and Wi-Fi are clearly more aligned, with the new Zune models and firmware from Microsoft allowing wireless sync (but not yet Wi-Fi purchases), and the introduction of both the Apple iPhone and iTunes touch, which allow music purchases over Wi-Fi but not synchronization. (While the MusicGremlin preceded both the Zune and iPhone/iPod options, it didn't seem to gain any market traction in 2007.)

Security continues to be a concern in 2007, although less of one as home users have clearly accepted WPA Personal, at long last, and networks are increasingly encrypted through better software from major hardware manufacturers. Wizards make encryption a no-brainer, when they work. Corporations stung by reports and by requirements from credit card issuers are also clearly protecting their networks better, although I'm sure we'll still see breaches at those firms that didn't cross every "t."

The 802.11n standard's emergence into an interim certified Wi-Fi state was also a significant milestone for faster wireless networking. Shipments of Draft 802.11n products in 2007 increased significantly, while prices dropped so much that it makes perfect sense to purchase a $50 to $80 Draft N router than a comparable G unit. Manufacturers made it clear as the year progressed that hardware sold today should generally be firmware upgradable to whatever the final, not much changed 802.11n standard is when approved in 2008.

Gadget-Fi continued on the rise, as an increasing array of devices included Wi-Fi as a connectivity option. Most notably, T-Mobile launched its HotSpot@Home service, the largest scale offering of converged cell/Wi-Fi calling. By year's end, they had four handsets for sale--two plain, a BlackBerry, and a clamshell--but subscriber numbers are unknown.

What's coming in 2008?

In-flight Internet (over Wi-Fi): 2008 is finally the year. It was supposed to be 2005. Or maybe 2002. But we should see a number of planes, mostly flying over the U.S., equipped with either in-flight Internet access or in-flight text messaging and text email. Connexion by Boeing's failure fortunately didn't discourage a half a dozen competitors who were in the R&D phase when Boeing wrote off its satellite-based Internet access venture.

AirCell, Row 44, OnAir, Aeromobile, Panasonic Avionics, and a T-Mobile consortium are among the announced or nearly announced firms with commitments or trials underway. AirCell and Row 44, focused on the U.S. market, plan to deliver Internet not voice to fuselages; OnAir and Aeromobile are working on mobile-based services, including voice, via existing cell phones and devices.

In 2008, American, Alaska, and Virgin America will launch trials over the U.S., and potentially move into production. OnAir should be expanding in Europe beyond the single French aircraft that's equipped in a trial now to RyanAir's fleet. And Aeromobile's Qantas trial could turn into real usage. There's likely action that will happen in Asia and the Middle East, too, that's not yet disclosed.

Other trends to watch

Wi-Fi in every smartphone with better integration. The iPhone was the leading edge, pun intended, offering 2.5G EDGE cell networking as part of the subscription price, along with seamless roaming to Wi-Fi networks. With RIM finally offering BlackBerry models with Wi-Fi, it's unlikely that any future smartphone model intended for serious users would lack the option.

Wi-Fi everywhere. Despite the setbacks in municipal Wi-Fi, wireless networks continue to expand, with better and better coverage found across larger areas and more locations. 2008 might be the year of hotspot saturation.

WiMax arrives. In 2008, we'll finally see production mobile WiMax in action in the U.S., and the questions about whether it works well enough and fast enough at the right price to beat current generation cell data networks, and make money for the disorganized Sprint Nextel will be answered. More certainly, Clearwire, with WiMax as its only option, will push aggressively to steal customers away from fixed, wired broadband, especially in markets with little competition.

Gadget-Fi a go-go. Wi-Fi will become an expected part of gaming consoles (already found in a few), cameras (found in crippled form in just a handful), regular cell phones (in dozens and dozens now), and music players (with more full functionality).



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A cheerfully over-the-top action film, Bad Boys is notable chiefly for the rapport between its two stars, Will Smith and Martin Lawrence, as two Miami cops on the trail of a drug kingpin as they try to protect a witness (Tea Leoni). Smith is the swinging bachelor and Lawrence the family man, and both must juggle their personal lives as they baby-sit the one chance they have to recover a stolen drug shipment, save their jobs, and take down the drug dealer. While the film is almost always implausible and its story is something seen many times before, director Michael Bay (The Rock) keeps things moving stylishly and at a feverish pace, as Smith and Lawrence prove themselves a terrific comic pairing. Their odd couple banter flies at a faster clip than the bullets and explosions, and becomes the best reason to see this hyperbolic but entertaining action flick. --Robert Lane
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Peter Berg's dark comedy about a bachelor party gone horribly awry is highly ambitious in its attempts to satirize suburbia, male bonding, and self-help philosophy, and for the most part it does succeed in hitting its targets with a malicious, misanthropic glee. When five buddies arrive in Las Vegas for some pre-wedding shenanigans, things quickly spiral out of control when the requisite prostitute falls victim to a grisly accident, igniting a spark in an already unstable powder keg of personalities. Following the lead of real estate agent and self-help guy Robert (Christian Slater), the men warily agree on a cover-up and covert desert burial. A couple hours and another corpse later, however, they're already at each other's throats, and their escalating breakdowns threaten to disrupt the highly prized wedding of hard-as-nails bride Laura (a stunning Cameron Diaz). Berg, like most actor-turned-directors (this is The Last Seduction star's filmmaking debut) helms the film with a wildly sliding tone and tends to weigh its strengths heavily on its performers. Slater's psycho turn is by far his most inventive yet (he's more in control than ever before), Diaz effectively mixes sunshine with poison, and Jon Favreau is effective and understated as the hapless bridegroom; the rest of the cast, however, tends to play up the histrionics. Be warned, though: Those expecting a sunny-style There's Something About Mary gross-out comedy will probably be shocked by Berg's take-no-prisoners agenda; this is comedy at its absolute blackest, and no one is spared. --Mark Englehart
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It actually underscores the power and distinctiveness of Gary Cooper's movie stardom that this isn't so much a true collection as gleanings from the odds-and-ends table. That's not a knock; three of the four films are solid entertainments and would be well worth recommending on their own. But the only thing unifying them is the beauty and enigma Cooper brought to them, and the professionalism with which he addressed these wide-ranging assignments.

Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.

Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.

We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."

For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson


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She was famous as both artist and model, infamous as political revolutionary and social libertine, and Frida Kahlo's controversial life couldn't help but seem the stuff of great musical theater. Her story is brought to the screen by director Julie Taymor, whose musical compatriot here is also her husband; Elliot Goldenthal, student of both Copland and Corigliani, shrewdly sublimates his modernism in service of the rich, evocative music and songs of Mexico and Central America. Utilizing performers that range from the contemporary (Lila Downs) to the folk-classic (Costa Rican legend Chavela Vargas; Brazilian star Caetano Veloso) and traditional (Los Cojolites, El Poder Del Norte, Trio Huasteca, Caimanes de Tanquin, and others), Goldenthal generously displays the true breadth of Mexican folk music, while seamlessly infusing it with the minimalist corners of his own underscore and some winning songwriting of his own. The result is one of 2002's most compelling soundtracks. The enhanced CD features include musical film excerpts, as well as a video conversation between Goldenthal and star Salma Hayek and text interviews with the composer and director Taymor. --Jerry McCulley
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This is a downbeat and brainy set of mostly instrumental tracks from the likes of Kronos Quartet, ECM guitarist Terje Rypdal, guitarist Michael Brook, and Lisa (Dead Can Dance) Gerrard. Highlights include "Always Forever Now" by Passengers (Brian Eno, U2), and Moby's mordant cover of Joy Division's "New Dawn Fades." --Jeff Bateman
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With the soundtrack to Divine Secrets of the Ya-Ya Sisterhood, O Brother, Where Art Thou? producer T Bone Burnett has compiled another gently nostalgic gem. Filled with covers of jazz standards, sparse blues picking, and traditional Cajun pieces, Sisterhood matches Brother in ambiance and impeccable musicianship. The highlights are numerous: Bob Dylan's lively song waltzes with a raspy narrative, Lauryn Hill uses acoustic plucking to complement her soulful croon, and Bob Schneider contributes an understated love-ballad rumbling with piano. Even the cover songs are first-rate; Macy Gray jive-jumps through a faithful Billie Holiday cover, and Tony Bennett slows things down with a dapper and distinguished Nat "King" Cole homage. Despite the diffuse genres covered, the superior quality of Sisterhood's songs renders these differences negligible, and the album's pacing ensures a pleasing alternation of styles that never lags. In fact, there's nary a bad song on the entire album. The divine secret's out--Sisterhood is an essential listen. --Annie Zaleski


Center Media Personal PVR-H140 Mustek
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