Electronics : Raptor Ltd S12-100 12 Gauge Clear Speaker Wire

Electronics : Raptor Ltd S12-100 12 Gauge Clear Speaker Wire

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Raptor Ltd S12-100 12 Gauge Clear Speaker Wire

from: METRA Ltd



Raptor Ltd S12-100 12 Gauge Clear Speaker Wire
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Piece Availability: Usually ships in 24 hours

Street Price: $71.21
Gaunz Org Price: $30.99
Savings!: $40.22 (56%)
Prices subject to change.

Average Buyer Rating:  out of 5 stars
Sales Rank: 1811







Binding: Electronics
Product Brand: METRA Ltd
EAN: 0086429103973
Product Feature: 100
Label: METRA Ltd
Product Manufacturer: METRA Ltd
Model: S12-100
Publisher: METRA Ltd
Ranking: 1811
Studio: METRA Ltd


Piece facts:
  • 100







0ur opinion:

:
For over 50 years, Metra has maintained its cutting edge by paying attention to its marketplace and innovating products to fit the needs of its customers. Metra designs its products to be easy to use and easy on the eyes.









Piece Availability: Usually ships in 24 hours








Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 4 out of 5 stars - * Raptor S12-100 Speaker Wire ...
The wire I received was on one spool (not two 50ft spools as others have complained about). It is 12 gauge wire as well, so I was not slighted at all on wire size.

I have not made it to the end of the spool, so I am not sure if the wire is a couple feet shorter than 100 feet. However, it looks like a full spool to me.

The only complaint I have is the overall price of speaker wire in general . . . although this is the cheapest/best deal I could find, its still too expensive.



Buyer's feedback: 1 out of 5 stars - chinese can't count?
so I hire an electrican, get ready to install wiring for a home theatre system ,and find out that my 3 runs are all 3 feet short. I pull them, and they are all 30 feet not 33. Boy am I annoyed. Went back and found another reviewer with the same experience. Guess I should have been less trusting



Buyer's feedback: 4 out of 5 stars - * Very Good ...
I was happy with the quality of the wire.

I had read reviews it was only 97' long instead of 100', but that does not matter to me.

I had also read a review that the gauge was slightly less than advertised. I have not found that to be the case. The gauge advertised was actual.

I'd buy it again.



Buyer's feedback: 1 out of 5 stars - Don't buy this if you need 100 ft
I thought maybe with all of the complaints about short rolls the supplier would have fixed the problem, but they haven't. The roll I bought was only 89 ft long. It wouldn't have bothered me if that would have been enough, but I really needed all 100 ft. I was only able to hook up 4 out of five speakers, and now I need to find another 10 ft of wire somewhere and wait a few more days to enjoy my surround sound system.



Buyer's feedback: 5 out of 5 stars - * Great speaker wire ...
I bought several 100' spools of the Metra "Raptor" 12-gauge wire for wiring a 7.1 Surround system, used for in-wall wiring in my new house prior to the drywall being installed. The cost of copper has caused the cost of speaker wire to skyrocket over the past couple of years, but 12-gauge is the way to go if you intend on having long runs of speaker wire through your house or office.

The price of the Metra 12-gauge wire was as good as I could find anywhere, even after searching eBay for several hours. I pulled this wire through holes that I drilled in floor joists and wall studs without problems, the wire sheathing never tore or cracked, so it's definitely durable. If you're looking for reasonably-priced wire that will more than do the job, the Metra "Raptor" 12-gauge wire is great stuff.



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This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.

Eclipse3.1M3 comes out later today..

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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


Our Pirates of the Caribbean Store

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Stills from Pirates of the Caribbean: At World’s End (click for larger image)





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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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Thanks to a fortuitous intersection of talent and fate, 22-year-old Josh Groban hasn't finished his senior year in performing arts school but has already released his sophomore effort on a major major label. Fans of the young vocal phenom's debut will find much to enthrall them here, even if it nudges the singer closer to the center of producer/mentor David Foster's MOR pop sensibilities. Eschewing much of its predecessor's more overt classic-lite pretensions and pop-rock covers for a slate of dramatic, Eurocentric ballads that serve as a showcase for the singer's inviting baritone, Groban shrewdly positions himself as the American alternative to the Bocelli-Watson crossover axis. "Caruso" may find the singer falling short of its operatic inspiration, but "Oceano" and "My Confession" quickly showcase his true dramatic range (which seems to all but yearn for a bona fide Broadway musical challenge), while a vocal take of Bacalov's graceful "Il Postino" theme uses classical virtuoso Joshua Bell's violin flourishes to good effect. To his credit, Groban displays some promising efforts at songwriting collaboration on the bittersweet "Per Te" and "Remember When It Rains," while the ambient/ethnic soundscape of Deep Forest's "Never Let Go" offers a teasing alternative to the record's otherwise melodramatic production formula. Groban has found commercial triumph via Foster's mentoring, but there remains a nagging sense here that he hasn't truly pushed himself as an artist--yet. --Jerry McCulley
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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


Wire Speaker Clear Gauge 12 S12-100 Ltd Raptor
Shopping at www.gaunz.org  Created at Fri Dec 5 04:19:12 2008