Electronics : Sony Xplod CDXGT120 GT Series Head Unit

Electronics : Sony Xplod CDXGT120 GT Series Head Unit

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Sony Xplod CDXGT120 GT Series Head Unit

from: Sony



Sony Xplod CDXGT120 GT Series Head Unit
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Piece Availability: Usually ships in 3 to 6 weeks

Street Price: $79.95
Gaunz Org Price: $79.12
Savings!: $0.83 ( 1%)
Prices subject to change.

Average Buyer Rating:  out of 5 stars
Sales Rank: 14692





Binding: Electronics
Product Brand: Sony
EAN: 0027242719552
Includes Mp3 Player: 1
Label: Sony
Product Manufacturer: Sony
Model: CDXGT120
Publisher: Sony
Ranking: 14692
Studio: Sony
Warranty: 1 year warranty


Piece facts:
  • CD player with built-in amplifier (17 watts RMS/52 peak x 4 channels)
  • plays CDs, CD-Rs, and CD-RW discs
  • Front Panel Aux In - The auxiliary input is built right in to the face of the head unit, so all you need do is plug-n-play
  • outputs - one set of preamp outputs
  • Detachable Faceplate




Unit Head Series GT CDXGT120 Xplod Sony






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Piece Availability: Usually ships in 3 to 6 weeks


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Testimonials
Average Buyer Rating:  out of 5 stars

Buyer's feedback: 5 out of 5 stars - * compamike ...
great item , great service at a great price .

thanks amazon , always the best



Buyer's feedback: 5 out of 5 stars - Great low priced stereo
I bought this mainly to listen to my MP3 player in my truck. The front Aux input works like a charm. Since I drive a commercial truck there were no wiring harnesses available. Still it was a very easy install. From the time I opened the box to listening to my MP3 player...25 minutes. That includes removing the old stereo,figuring out the wiring of the truck and installing the new unit. Great job on this one Sony.




Buyer's feedback: 5 out of 5 stars - * Excellent stereo for the price! ...
Bought this to replace the old factory stereo in our Civic - perfect fit and works well - no complaints. Excellent buy - don't think you'd get anything better for the price.



Buyer's feedback: 5 out of 5 stars - great budget system
I bought this aftermarket system to replace my OEM system and to get the AUX in. Sound quality is much better. UI is great. Buttons have a great feel. The three beeps when you turn off the stereo does not bother me. Also, this receiver allows to specific volume adjustment on the AUX in, so you can get similar levels between Tuner, CD, and AUX in.



Buyer's feedback: 4 out of 5 stars - * Basic reciever, but works well ...
I recently bought this deck to go into a '93 Miata. I did the install myself, which wasn't too hard. The metal box that the radio slides into was slightly too wide at the front so I had to cut it down a little, but I think that's just because there's very little room in a Miata.

The radio comes with a single connector with all the wires you should need (front/back speakers, main power, clock power, power antenna, etc.) There's a plug for the FM antenna, but that's it. There's no pre-amp output, cd-changer control, etc. (I didn't care about these things, so that's just fine with me.) The previous owner cut the factory wiring harness, so I had to solder the wires together myself, but anyone with basic skills can do that. (Or you can get it installed by a car stereo shop.)

The picture shows red lettering on the buttons and a red backlight on the "source" and "mode" buttons. Mine came with green lettering and green backlight. (This matches the car better, so I'm happy with that.) The blue display is back lit and looks the same as in the picture. One nice feature that isn't on a lot of radios in this price range is the fact that you can dim the back light on the main display. I've seen a lot of people complain about the displays of other radios in this price range as being too bright or too dark, and there's no adjustment. The GT-120 has a button on the lower left that allows you to switch between and bright (daytime) and more dim (nighttime.) It is just a two position dimmer though (you can't vary the amount of brightness other than bright or dim.)

The radio sounds great, and is plenty loud for my car (though I'm only driving a pair of 6 1/2" speakers in the doors and a pair of 2 1/2" speakers in the head rests, so I don't really need a lot of power. It would work fine as a replacement for a factory stereo in a standard car or van. Don't expect it to drive those 12" subwoofers in the trunk.

There are 18 FM presets (three groups of 6) and 12 AM presets (two groups of six). The CD player is supposed to play CD-R's (haven't tried that yet) but it will not play MP3's or WMA's stored on CD's. It does, however, have a standard 3.5mm stereo jack on the front which you can use to plug in an MP3 player. This works great, and as a nice touch you can vary the input volume of the aux input in comparison to the radio and CD inputs. This allows you to switch between CD, radio, and your MP3 player without huge differences in volume.

Like other Sony receivers in this line, when you turn the car off, the radio beeps three times as a reminder to remove the face plate of the radio. There's no way to turn this off, and it comes through the car speakers, so there's no way to disable it from inside the unit itself. Some people find this very annoying, but I don't really mind that much. It isn't very loud, and you can avoid hearing the beeps all together if you pop the face off halfway and immediately pop it back on. I usually don't bother and only remove the face when I'm parking the car in an area I don't trust. (e.g. not at work or at home in a locked garage.)

I found the controls really easy to use. The volume knob isn't too sensitive, and there's enough resistance to the knob when you push on it that you don't accidentally enter the settings menu when you just want to turn the volume up or down. One complaint is that it isn't easy to fine-tune radio stations. By default it wants to seek to the next station, and you have to hold the button in for a sec until it starts to scan, then hit the + or - buttons quickly to go up or down manually. If you wait too long, the radio switches back into scan mode. You can choose between several different eq settings, but there is only one custom setting. However, your choices under custom are pretty limited. As compared to other brands in this price range, I found the Sony to have the least cluttered interface and to be the simplest to use. There are no frills, but if you are looking for a good, basic, radio with an aux input on the face for your MP3 player, the GT-120 would be a good choice.




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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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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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Unit Head Series GT CDXGT120 Xplod Sony
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