2G LCD Digital Voice Telephone Recorder MP3 Player Mic
USB Flash Drive Voice Recorder Digital Audio Mini Small *CD QUALITY* (AUDIO DEMO)
NEW The DS-3500 professional dictation system from EBS 1-800-816-6855 is designed to dramatically increase efficiency and streamline operations in any professional environment. Packed with premium features and intuitive controls, it?s easily manageable, secure and absolutely mobile û the ideal device wherever the job might take you. 2-inch color LCD screen Dual SD and microSD card slots Support for DSS/DSS Pro, WAV and MP3 recording formats
Pocket a digital voice recorder for $22 – CNET
Compact and rugged, this is a good option for students, interviewers and anyone else that needs a dedicated recorder.
Lightly used and in working condition. Runs on 2 AAA batteries and has a earbud jack. Smoke-free home. Selling as is, as pictured. Please review pictures carefully as they are the best description. Thanks for looking and good luck!
110V DC Battery or AC Off-Grid Powered NAS Storage Servers..Best Renewable Energy Computing
Data storage 12-bay 1U rackmount NAS Server operates on 110 DC battery or low AC power
for Renewable energy, electrical off-grid and low power 24/7 operations environment
In the aftermath of U.S Puerto Rico’s Hurricane Maria disaster, most IT infrastructure managers and planners are beginning to scratch their heads and wondering if there is anything they could have done differently to ensure the disastrous consequences of power loss on their IT data centers were minimized to say the least.
Organizations and enterprises that require 24/7 critical uptime for their services now do realize the importance of renewable energy, offgrid electrical power availability and use of low power equipment and battery back-up computing systems. Reliable energy saving 48V, 72V DC and 110V DC Battery powered (Network Attached Server) NAS Servers such as Cepoint ‘s high capacity, RS-1700 series 110V DC battery powered 12-bay 1U NAS storage server solution for 24 x 7 NAS data storage or general purpose computing usage comes into place.
Companies like Siemens Energy systems has been using Cepoint’s battery powered servers in the middle east to power infrastructures required to operate 24/7, 365-days in environments without Electrical grids by running those systems powered with DC batteries or low power renewable energy alternatives as solar or generators.
This Intel Xeon Data storage or general purpose computing servers in pizza box size is capable of holding up to 48TB raw capacity, runs off AC or battery DC power supply. Since Cepoint launched the high capacity, RS-1700 series 36V110V DC powered 12-bay 1U NAS storage server for 24 x 7 NAS data storage for off-shore unstable or low power grid data centers, the company has expanded the line to include other versions in 2U or 4U with high processing power and storage. All versions can run in Windows or Linux operating software environment.
Enterprise Entry-Level 1U 12-bay NAS Storage solution
The company’s battery DC powered 1U 12-bay NAS with various custom capacity configurations, is also ideal for use in clustered or compact off-shore or mobile data-center where standard AC power grid is not available or constant.
The TELCO carrier grade, NEB’s compliant platform RS-1700 series storage system scales to thousands of Terabyte capacity and expands beyond initial configuration without taking down the system. A fully configured unit is easily scalable without any hassle of down time or delayed deployment. This system is very suitable for other Real-Time mission-critical applications in Telecommunications environment, such as large scale VoIP, Telephony and campus wide data warehouse.
Multiple RAID Capable
These systems supports RAID levels 0, 1, 1EE 3,10, 5, 5EE, 6, 50, 60, and with all its equipped features, RS-1700 is deployable as a NAS, iSCSI SAN or Fibre-channel SAN or stripped down JBOD or DAS (Direct Attached Storage) depending on required application needs and environment, thus making R1700 a configurable or re-configurable Unified Enterprise storage solution. This saves enterprises and their IT departments thousands of dollars and deployment headaches otherwise would have been incurred or encountered in tinkering or trying to adapter different or varied solutions from multiple vendors.
About Cepoint Networks, LLC.
Cepoint Networks, LLC is a systems integration, and high performance computing manufacturer, specializing in high availability storage, applied computing products, and services for enterprise applications, telephony and telecommunications industry, Government, utilities and industrial markets. The Company’s other products and services include; turnkey rack mount faulttolerant cluster servers for mission-critical applications, servers, video-on-demand, telephony systems for VoIP (Voice-over IP), video/audio conferencing, real-time IRIG-B or GPS time-stamp digital recorders, message logging and telecasting and, rugged portable lunch box workstations for field applications, network engineers and technicians. 1U, 2U, 3U and 4U NEMA and NEB’s compliant servers and workstations for data acquisition, audio and video data archives or realtime video/data streaming. Company’s website is www.cepoint.net for storage product info. Or www.cepoint.com for Industrial, scientific and telecom products.
For more information contact: email@example.com or Ph: (603)557-7464 or Contact: firstname.lastname@example.org Cepoint Networks, LLC
this is a casual document of my recent installation at los angeles contemporary exhibitions – LACE – a three channel sound and video installation, bringing together walter benjamin, martha graham and john cage…
here’s the notes:
in october of 2011, i was invited by the DAAD to spend a month researching walter benjamin’s archives at the akademie der kunste. i had seen some of benjamin’s notebooks previously in an exhibition in berlin in 2006; and started to think about how i might be able to spend more time with them.
because i am unable to speak or read german, my responses to benjamin’s notebooks were mainly towards visual aspects of his writing, including various systems, organizational decisions, as well as more idiosyncratic presences. while i am, of course, deeply interested in many of benjamin’s writings, i felt that approaching some of these less studied aspects of his writing (through his visual process of making words visible) was consistent with some of his quotes regarding proust and the idea of the ragpicker – someone who builds something significant from supposedly tossed off or insignificant parts.
in this way, i was able to approach benjamin’s graphic and color-coded “theme symbols” as a kind of precursor to the graphic notation and visual systems explored by many avant garde composers of the 1960’s, such as morton feldman, cornelius cardew and, of course, john cage.
benjamin used a variety of visual systems to organize his notebooks and texts through both color sequences and the use of graphic symbols. i spent much of my research cataloging a variety of benjamin’s graphic decisions towards the making of my own scores. as with most of my work with translation, the idea was not only to notate benjamin’s lexicon of shapes and colors, but to explore these findings with an approach of “what can these things offer me in terms of suggested actions or decisions”. my research was not so much a seeking, as a process of discovery, archive, reading, interpreting, and re-reading…
when i arrived in berlin, i was already ten months into a year long project of performing john cage’s 4’33” every day for the year. thus, visited the benjamin archives every day, was accompanied by a performance of 4’33” everyday… and so, cage and benjamin became connected through my daily practice and my work. i performed 4’33” in many different parts of berlin, but there were several times that i performed 4’33” specifically in the benjamin archives.
when i returned from berlin, i received two large boxes of seashells and small objects that belonged to the dancer martha graham. while i had planned upon their arrival, my idea was to set those boxes aside so that they would generate a new body of work “somewhere down the road”. but as i began to work with the benjamin research towards a score that became more and more complex, i realized that the graham objects would be the perfect “orchestra” for its realization, and slowly i moved towards a kind of a “mash-up”, with benjamin, cage and graham entwined.
while i have been making films for over 20 years, i approached this body of work with video. it seemed to relate to the fact that everything i was working with was immediate, intimate and kind of happenstance – approaching something more as a daily activity than a studio practice. everything on the surface of what i was looking at felt “unremarkable” and quiet – graham’s seashells, her travel souvenirs from asia, benjamin’s postcards from a trip to sienna… it all seemed to want to wear regular clothes, rather than a tuxedo and a ball gown… and most importantly, the medium not only fit the message, but it offered a very different kind of performative process; one that was less measured and less rigid than using 16mm film. in essence, i knew that video would allow me to experiment much more in the moment, than film. since i would be performing a score, the score had to have the potential to evolve during the making of the piece, so that the process would allow me to make mistakes.
as an artist who works in multiple mediums, it is always exciting to build an entire body of work in a medium that is less familiar, offering an aesthetic that contradicts the veneer of my work, yet knowing that certain aspects will remain, but will be present in a language less used in my work.
of course, everything in an artist’s work is bound to the idea and process of evolution. these pieces most certainly did not come out of nowhere, but are an aggregation of bits and pieces of earlier works – and clearly, these new works are all very much related to the film i made in 2011 called “striations”, as well as my sound performance practice – which nearly two years ago began to incorporate video as another improvisational element.
shells, bells, steps and silences. it documents 40 short performance events that collide via chance operation.
each of the 40 actions follow one of benjamin’s theme symbols as a score. at its simplest, each of the colored symbols determine a corresponding object, an amount of time, a number of actions, and other performance sound action parameters. for example, each symbol is analyzed towards the number of actions it takes to draw a symbol – so that with an X, the symbol is made up of two actions, while a triangle takes three. thus, the X determines a sound making of two actions, and a triangle, a sound making of three actions. each symbol also has a corresponding color (or pair of colors as some of the symbols are red and black, or brown and black, etc.). and these, determined the colored felt in each shot.
after filming my hands performing many of the sound actions, the piece felt too busy, too active, and too familiar – and the resulting footage simply did not work. after trashing several months of tests and ideas i began again, thinking, that, because i was following a score, i should offer something closer to my performance work – which has rarely participated in my films or my recordings. i ended up creating recordings in real time with a delay pedal, a battery powered speaker and a contact mic (as well as many of graham’s things, a record player, cassette player, battery powered synth, my voice, field recordings and a piano). the idea of all of the battery powered gear was a way to bring the objects and the “studio” to several different locations, so that everything could not be entirely controlled.
in my sound works, i tend to gravitate towards loops, particularly when there are situations where various moments are allowed to come together in multiple ways (chance operation in action). along with a contact mi, my looping pedal has been a constant over 25 years of performance… and so it seemed the perfect sound carrier for this work. this pedal is not only my “axe”, but a huge aspect of my “voice”.
for ‘shells, bells, steps and silences’, sound was generated, sucked into a contact microphone, sucked into a delay pedal, spit out of a small speaker and recorded with a microphone into a digital recorder – allowing that the location to also be present in the resulting recording. these recordings are not just about capturing a moment, or the residue of a short performance, but attempt to allow the past to speak in the present, as if an echo has been been trapped in a bottle.
aside from listening, one of the main components of 4’33” is the passage of time, and in particular, it is a situation where one experiences time through three movements of specified lengths. each of the 40 actions in shells, ‘bells, steps and silences’, follow one of six lengths, related to two versions of cage’s score.
Glenn Cattanach auto parts salesmen, worked with two other DJ’s – Greg Lee and Jeff McKeehan. Glenn owned all the equipment, and Greg and Jeff were local club DJ’s in Lexington, Kentucky. The three of them had previously made two other medleys together – the “1984 Top 40 Medley” and the “Best of Hot Tracks 1984.” Both medleys appeared on Hot Tracks during 1985, which was the 4th year for Hot Tracks.
Glenn, Greg & Jeff came up for the idea of a BIG two-part medley for 1985 and started work on it in October of 1985. Greg was really the mastermind behind the medley, being the one with most of the ideas, but the medley was a group effort. Greg reviewed dance charts and came up with the list of songs to include. They named the two-part medley “Octomnipent Zeitgeist” which loosely meant “THE Spirit of ’85.” These guys wisely kept logs on the entire project, noting the settings for the turntable speed, mix board levels, equalizer settings, tape speed, etc. This enabled them to later re-edit any part that needed perfecting.
All the work was done with two turntables, a ¼” track 15 IPS reel to reel recorder, a cassette deck with dbx noise reduction and a variable speed 7½ IPS reel to reel recorder. Digital recording was uncommon in 1985 and no samplers or effects (delay, reverb, echo, and no CD players!) and no multi-track tape recorders were used.
The key to the entire medley was what was called the Kentucky Multi-Track method (named that because they were living in Lexington, Kentucky at that time). They would record 8 to 16 beats of a percussion piece to use “under” the song being edited. They looped those beats by splicing a length of edited tape together, sometimes several meters long, and playing it repeatedly while recording that rhythm track to a cassette deck (with dbx noise reduction) for 3 minutes. They would then play that cassette back, mixing in the record/song they were adding to the medley with the rhythm track. To transition to another song, they would use the same rhythm track under the next song to make it sound similar to the previous song. Frequently, several rhythm tracks were sampled, layered and cross-faded. This method was often subtle and always effective. This way the songs did NOT sound like a bunch of turntable mixes that were simply chopped up and edited back together. They used more than 70 or 80 different “loops” or rhythm tracks for the entire medley.
Final preparations for “Octomnipent Zeitgeist” included breaking the 35 minute medley into two parts, adding mix breaks between the two parts, and adding a Wizard of Oz theme (since they were calling the separate parts OZ-I and OZ-II). The medley ends with a trickling ultra-high-speed voice-over describing the origin of OZ. Hot Tracks published the medley in January and February 1986 as Series 5, Issues 1 and 2.
The mix took 600 man-hours and over three months to complete. It was a labor of love for these guys. They figured out what they had spent on tape (remember, back then everything was on ¼” tape, no hard drive recording) and the vinyl records, they each made only about $40 US. They didn’t care. They had created one of the best year-end medleys ever and were known by DJ’s around the world.
The Sony ICD-BX140 Digital Voice Recorder combines simplicity and performance in one affordable package. Some features include extra-long recording time, add and overwrite functions for corrections and additions to your recordings, and digital pitch control for powerful playback and recording capability in the palm of your hand. Whatever you need to record the Sony ICD-BX140 will be there with you.
•Built-in 4 GB flash memory
•1 Mono Microphone
•Automatic Record level
•Digital Pitch Control
• 2 Sony ICDBX140 Digital Voice Recorders