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Publishing And Digital And Electronic Rights

The following publishing industry article addresses some of the legal issues arising for publishing lawyers, entertainment attorneys, authors, and others as a result of the prevalence of e-mail, the Internet, and so-called “digital” and “electronic publishing”. As usual, publishing law generally and the law of the digital right and electronic right specifically, governing these commercial activities, has been slow to catch up to the activity itself. Yet most of the publishing industry “gray areas” can be resolved by imposing old common-sense interpretations upon new publishing lawyer and entertainment lawyer industry constructs, including the digital right and electronic right, and others. And if after reviewing this article you believe you have a non-jargonized handle on the distinction between “digital right” and “electronic right” in the publishing context, then I look forward to hearing from you and reading your article, too.

1. “Electronic Right[s]” And “Digital Right[s]” Are Not Self-Defining.

All publishing lawyers, entertainment attorneys, authors, and others must be very careful about the use of jargon – publishing industry jargon, or otherwise. Electronic and digital publishing is a recent phenomenon. Although as a publishing lawyer and entertainment attorney and unlike some others, I tend to use the phrase “electronic right” or even “digital right” in the singular number, there probably tends to be no single consensus as to what constitutes and collectively comprises the singular “electronic right” or “digital right”. There has not been sufficient time for the publishing, media, or entertainment industries to fully crystallize accurate and complete definitions of phrases like “electronic publishing”, “web publishing”, “electronic right[s]”, “e-rights”, “digital rights”, or “first electronic rights”.

These phrases are therefore usually just assumed or, worse yet, just plain fudged. Anyone who suggests that these phrases alone are already self-defining, would be wrong.

Accordingly, anyone, including a publishing lawyer or paralegal representing a book publisher or entertainment lawyer representing a studio or producer, who says that an author should do – or not do – something in the realm of the “electronic right” or “digital right” because it is “industry-standard”, should automatically be treated with suspicion and skepticism.

The fact of the matter is, this is a great era for authors as well as author-side publishing lawyers and entertainment attorneys, and they should seize the moment. The fact that “industry-standard” definitions of the electronic right and digital right have yet to fully crystallize, (if indeed they ever do), means that authors and author-side publishing lawyers and entertainment attorneys can take advantage of this moment in history.

Of course, authors can also be taken advantage of, too – particularly those not represented by a publishing lawyer or entertainment attorney. There is a long and unfortunate history of that happening, well prior to the advent of the electronic right and digital right. It has probably happened since the days of the Gutenberg Press.

Every author should be represented by a publishing lawyer, entertainment attorney, or other counsel before signing any publishing or other agreement, provided that their own economic resources will allow it. (But I am admittedly biased in that regard). Part of the publishing lawyer and entertainment attorney’s function in representing the author, is to tease apart the different strands that collectively comprise the electronic right or digital right. This must be done with updated reference to current technology. If your advisor on this point is instead a family member with a Smith-Corona cartridge typewriter or a Commodore PET, rather than an entertainment attorney or publishing lawyer, then it may be time to seek a new advisor.

Even authors who cannot afford publishing lawyer or entertainment attorney counsel, however, should avoid agreeing in writing to give broad contractual grants to publishers of “electronic publishing” – or the “electronic right”, or “electronic rights” or “digital rights”, or the “digital right”. Rather, in the words of “Tears For Fears”, the author and author counsel had “better break it down again”. Before agreeing to grant anyone the author’s “digital right: or “electronic right”, or any elements thereof, the author and his or her publishing lawyer and entertainment attorney need to make a list of all the possible and manifold electronic ways that the written work could be disseminated, exploited, or digitally or electronically otherwise used. Notice that the author’s list will likely vary, month to month, given the fast pace of technological advancements. For example, these kinds of questions can be considered by the author and publishing lawyer and entertainment attorney alike:

Electronic Digital Right Question #1, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be published in whole or in part on the Internet? In the context of an “e-zine”? Otherwise? If so, how? For what purpose? Free to the reader? For a charge to the reader?

Electronic Digital Right Question #2, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be disseminated through private e-mail lists or “listservs”? Free to the reader? For a charge to the reader?

Electronic Digital Right Question #3, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Can the work be distributed on CD-Rom? By whom? In what manner and context?

Electronic Digital Right Question #4, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: To what extent does the author, himself or herself, wish to self-publish this work, either before or after granting any electronic right or any individual “electronic publishing” rights therein to someone else? Will such self-publication occur on or through the author’s website? Otherwise?

Electronic Digital Right Question #5, Asked By The Publishing Lawyer/Entertainment Attorney To The Author: Even if the author does not self-publish, to what extent does the author wish to be able to use and disseminate this writing for his or her own portfolio, publicity, or self-marketing purposes, and perhaps disseminate that same writing (or excerpts thereof) electronically? Should that be deemed invasive of, or competitive with, the electronic right as otherwise contractually and collectively constituted?

The above list is illustrative but not exhaustive. Any author and any publishing lawyer and entertainment attorney will likely think of other elements of the electronic and digital right and other uses as well. The number of possible uses and complexities of the electronic right[s] and digital right[s] definitions will increase as technology advances. In addition, different authors will have different responses to the publishing lawyer and entertainment attorney, to each of the carefully-itemized questions. Moreover, the same author may be concerned with the electronic right in the context of one of his/her works, but may not care so much in the context of a second and different work not as susceptible to digital right exploitation. Therefore, the author must self-examine on these types of electronic and digital right questions before responding to the author’s publishing lawyer or entertainment attorney and then entering into each individual deal. Only by doing so can the author avoid the pitfalls and perils of relying upon lingo, and relying upon someone else to dictate to them what is the electronic right or digital right “industry standard”. As the publishing lawyer and entertainment attorney should opine, “There is no such thing as ‘industry standard’ in the context of a bilaterally-negotiated contract. The only standard that you the author should be worried about is the motivational ‘standard’ known as: ‘if you don’t ask, you don’t get'”.

Finally, the author should be aware that while the electronic right, digital right, and components thereof can be expressly granted, they can also be expressly reserved to the author, by a mere stroke of the pen or keystroke made by the publishing lawyer or entertainment attorney. For example, if an author wants to expressly reserve the “portfolio uses” mentioned in Electronic Digital Right Question #5 above, then the author should ask his or her publishing lawyer or entertainment attorney to clearly recite this reservation of the author portfolio electronic/digital right in the contract, and leave nothing to chance. In addition, if the author has some negotiating leverage, the author, through the publishing lawyer or entertainment attorney, may be able to negotiate the “safety net” of a “savings clause” which provides words to the effect that: “all rights not expressly granted to publisher, be it an electronic right or digital right or otherwise, are specifically reserved to author for his/her sole use and benefit”. That way, the “default provision” of the contract may automatically capture un-granted rights including any electronic or digital right for the author’s later use. This publishing lawyer and entertainment attorney drafting technique has likely saved empires in the past.

2. Publishers and Entertainment Companies Are Revising Their Boilerplate Agreements, As We Speak, In An Effort To Secure The Electronic Right[s].

It is well-known and should come as no surprise that right now, as we speak, publishers and their in-house and outside counsel publishing lawyers and entertainment attorneys are furiously re-drafting their boilerplate contracts to more thoroughly capture the digital and electronic right – that is, all of an author’s digital and electronic rights. The typical publishing agreement drafted by a company-side publishing lawyer or entertainment attorney will recite a broad grant of rights, then followed by a whole laundry-list of “including but not limited to” examples. If the author receives such an onerous-looking rights passage from a publisher or the publisher’s publishing lawyer or entertainment attorney, the author should not be intimidated. Rather, the author should look at it as an opportunity to make some money and have some fun. The author can first compare the list suggested in Electronic Digital Right Questions #1 through #5 above, to the publisher’s own laundry-list and the author’s own imagination. Then, the author can decide which if any of the separate digital or electronic rights the author wants to fight to keep for himself or herself.

If the publisher tells the author to blindly subscribe to their entire digital or electronic right[s] clause (or clauses), then the author still has the ultimate leverage, which is to walk away from the proposed deal prior to signature. Of course, this strategic approach wouldn’t be advisable in most cases – unless perhaps if the author has other written offers from other publishers already on the table. However, an author shouldn’t be forced by any publisher or any company-side publishing lawyer or entertainment attorney to sign away the electronic right, digital right, or any other rights that the author would rather keep – particularly rights which the author never specifically intended to shop to the publisher in the first instance.

The author should keep in mind the psychology and motivations of the publishers and their publishing lawyer and entertainment attorney counsel when doing all of this. A Vice-President (or above) at the publishing company probably woke up one recent morning, and realized that his/her company lost a great deal of money on a particular project by not taking a prospective license or assignment of an electronic right or digital right from another author. The VP probably then blamed the company’s in-house legal department publishing lawyers or entertainment attorneys, who in turn started frantically re-drafting the company boilerplate to assuage the angry publishing executive and thereby keep their jobs. When in-house publishing lawyers, entertainment attorneys, or others engage in this type of practice (some may call it “drafting from fear”), they tend to go overboard.

Accordingly, what you will probably see is a proverbial “kitchen sink” electronic right clause which has been newly-drafted and perhaps even insufficiently reviewed by the company-side publishing lawyers and entertainment attorneys, internally and themselves – wherein the publisher will ask the author for every possible electronic and digital right and every other thing, including (without limitation) the kitchen sink. The only response to such a broad-band electronic right or digital right clause is a careful, deliberate, and methodical reply.

Using the approach outlined in Section #1 above, the author and the author’s publishing lawyer or entertainment attorney counsel must separately tease apart each use and component of the electronic right and digital right that the publisher’s broad-band clause might otherwise capture, and then opine to the publisher a “yes” or a “no” on each line-item. In other words, the author, through his or her publishing lawyer or entertainment attorney, should exercise his or her line-item veto. It’s the author’s writing that we are talking about, after all. The author should be the one to convert the singular “electronic right” or “digital right” into the laundry-list of electronic rights. That’s why I use the singular number when referring to “electronic right” or “digital right” – I like to let the technologically-advanced author have all the fun making the list. That way, too, the author can tell me what he or she thinks the phrases actually mean, and what the difference between the two meanings really is, if anything.

Next, a few words in defense of the publishers and the publishing lawyers that work for them!

Up to now, this article discussed how phrases like the “digital right” or “electronic right” should not be assumed to be self-defining, even by and between publishing lawyers and entertainment attorneys, and how it is incumbent upon authors to reserve needed rights like the digital right or the electronic right to themselves in the context of a publishing deal. Next up, let’s examine concepts such as the digital right or electronic right from the perspective of the publishing lawyer and entertainment attorney, and the standpoint of fairness – who between author and publisher should in fact hold on to the digital right and electronic right, once and assuming that they are first properly defined?

3. Yes, Digital Right And Electronic Right Uses Do Compete With Traditional Book Publishing Uses.

A publishing lawyer or entertainment attorney may be called upon to handle an author-side deal. A publishing lawyer or entertainment attorney may also be called upon to handle, under different factual circumstances, a publisher-side deal. So, now, a few words in defense of publishers, I suppose.

There is a perception in the author and Internet communities that publishers should not be taking broad grants of the digital right or electronic right from authors, since “digital rights and electronic rights do not compete or interfere with traditional book publishing and other media rights”.

Not true. Not anymore. For proof of that fact, ask a few veteran news desk editors whether or not they followed, or were otherwise concerned about, what appeared on the Drudge Report during the Clinton administration. Ask the CFO’s or in-house publishing lawyers of a few traditional encyclopedia companies how they feel about Wikipedia.

Incidentally, although as a publishing lawyer and entertainment attorney and unlike some others, I tend to use the phrase “electronic right” or even “digital right” in the singular number, there probably tends to be no single consensus as to what constitutes and collectively comprises the singular “electronic right” or “digital right”. There has not been sufficient time for the publishing, media, or entertainment industries to fully crystallize accurate and complete definitions of phrases like “electronic publishing”, “web publishing”, “electronic right[s]”, “e-rights”, “digital right[s]”, or “first electronic rights”.

Nevertheless, electronic media and specifically the digital right and electronic right, have already changed our history. You can be sure that they will have some effect, at a minimum, on most author’s individual publishing deals henceforth, and will be the fodder of publishing lawyer and entertainment attorney discussion for years to come. The fact is, electronic uses inherent in the digital right and the electronic right already do compete with older, more traditional uses – particularly because digital and electronic uses are cheaper and faster to deploy, and can potentially reach millions of users in less than, as Jackson Browne might say, the blink of an eye.

Commerce is increasingly relying upon the Internet and other electronic phenomena, and the linchpin of this reliance is the digital right and electronic right. After all, you are reading this article, and ostensibly gleaning some information or material from it. The Web, for example, has already put a sizable dent in dictionary and encyclopedia sales, and anyone who tells you otherwise is probably an employee in a dictionary or encyclopedia publishing company or publishing lawyer in-houser in denial of the digital and electronic right, trying to protect his/her stock options. As the recent and well-known Stephen King pilot program will attest, fiction is the next subject matter area to be affected. Many of us book lovers including publishing lawyers and entertainment attorneys don’t like to think about it, but bound hard-copy books may soon become the sole province of book collectors and publishing lawyer vanity bookcases alone. The vast majority of book readers, however, may so wholly embrace the digital right and electronic right that they soon even lose the patience to wait for their “amazon.com” mailed shipment.

Very few people who work in the publishing, media, and entertainment industries, including as amongst fair-minded publishing lawyers and entertainment attorneys, should dispute that electronic uses inherent in the digital right and electronic right can easily cannibalize the older and more traditional forms and formats. This cannibalization will only increase, not decrease, as time goes on. Again, the author should put himself/herself in the mind-set of the publisher or its in-house publishing lawyer, when having this digital right/electronic right argument with the publisher or publishing lawyer. The publisher otherwise may want to invest marketing and personnel support in the author’s work, and perhaps even pay the author an advance for the writing. In their view, though, the publisher’s publishing lawyer or entertainment attorney argues, why should they do so, and not also capture the author’s digital right or electronic right?

The last thing that the publisher or its publishing lawyer or entertainment attorney wants to do is to pay the author – and then discover that the author has “scooped” the publication with the author-reserved digital right or electronic right, stolen the publisher’s proverbial fire, and undermined the publisher’s investment in the author and the writing. The concern of the publisher and the book company’s in-house publishing lawyer or outside entertainment attorney is rational and valid. If the publisher allows the author to potentially undercut the book by exploiting author’s reserved digital right or electronic right, then the publisher is threatening the publisher’s own investment in the author and in the written work. (And on some subliminal level at least, the company’s in-house publishing lawyer also knows that this could come out of his or her future comp).

Compromises are available. One traditional compromise effected between publishing lawyers or entertainment attorneys is a so-called “hold-back” on the digital right or electronic right, whereby the author promises not to use or license-out any author-reserved digital right or electronic right for a certain period of time following publication. The author will need some leverage to get a publisher to agree to such a compromise, though. And a publishing lawyer or entertainment attorney should draft the clause – the author’s publishing lawyer or entertainment attorney, not the publisher’s counsel!

An author may think that small “portfolio” uses (e.g., tucked inside greeting cards, on an author’s personal web site, etc.) are so minor, that they will never compete with publishing rights granted for the same work, and may tell the publisher or the company’s publishing lawyer or entertainment attorney as much. The greeting card example does seem innocuous enough, but the publisher and its entertainment or publishing lawyer will likely not agree with the author regarding the author’s personal web site. It is the electronic right or the digital right that really scares publishers and their publishing lawyers and entertainment attorneys, and is perceived as threatening to their long-term investment in the author and his or her work.

The distinction to be made here is between hard-copy portfolio uses, and digital right or electronic right “portfolio uses”. The fact is that computer-uploaded text is so easy and quick to transmit, receive, and read. The posted content’s popularity could also spread like digital wildfire, so quickly – for example, if a company hyper-links to the author’s site, or if “Yahoo” bumps the author’s site up in their search-engine pecking-order. Many successes have already been made by virtue of digital right and electronic right self-publishing, and more will follow. Traditional (book) publishers and their publishing lawyers and entertainment attorneys already realize this fact. Accordingly, traditional book publishers and their counsel also realize that once they acknowledge an author’s reservation of a “self-promotion” digital right or electronic right, they risk losing control of a potential wildfire dissemination method. Again, this would put the publisher’s investment at risk – but smart business people and companies and the publishing lawyers and entertainment attorneys that represent them, don’t put their own investments at risk.

4. The Party To The Contract That Has The Better And More Immediate Means and Resources To Exploit The Electronic Rights, Should Be The One Who Takes The Electronic Rights.

Here is the final point. If a contracting party has no means and resources to exploit a digital right or electronic right or a given bundle of them, then that same party has no business taking (or reserving to themselves) those same digital or electronic rights by contract or even negotiating such a position by and between publishing lawyers or entertainment attorneys. To analogize, if I am a screenwriter who options or sells my script to the Acme Production Company, LLC, through an entertainment lawyer, how should I react if Acme asks me to specifically and contractually grant them “theme park rights” in my literary property in the negotiation between the entertainment attorneys? (Don’t laugh – this practice is now very prevalent in film and entertainment deals).

Well, if Acme doesn’t have its own theme park, I (or my entertainment attorney) now have a powerful argument for reserving the theme park rights to myself instead. “Hey, Acme”, I (or my entertainment attorney) say, “… how do you have the unmitigated gall to ask me for my theme park rights, when you don’t even have the ability to exploit or use them yourself? You don’t even have a theme park!” I (or my entertainment attorney) then make it clear to Acme that I don’t intend to be giving them any trophies that they can put on a shelf to collect proverbial dust.

The same argument can work in the publishing context, particularly as argued between publishing lawyers and entertainment attorneys, regarding the digital right or the electronic right. The author can proverbially cross-examine the publisher (or try to cross-examine the company’s publishing lawyer or entertainment attorney) as to what successful past uses they have made of other author’s digital rights or electronic rights across multiple books. The company President may fudge the answer, but the publishing lawyer or entertainment attorney representing the publisher must answer truthfully. (One good reason to negotiate through counsel).

If the true answer to the question is “none”, then the author can use the “trophy” argument stated above. If the true answer is, alternatively, “some”, then the author has a negotiating opportunity to compel the publisher and its publishing lawyer and entertainment attorney to contractually commit to digitally and electronically publish the author’s work, too. The author can argue: “I won’t grant you the digital right or electronic right unless you, publisher, contractually commit in advance as to how specifically you will exploit them, and how much money you will spend in their development and marketing”. The author or the author’s publishing lawyer or entertainment attorney can then carve those electronic right and digital right commitments right directly into the contract, if the author has the leverage to do so. Again, one should not try this at home – but instead use a publishing lawyer or entertainment attorney.

Needless to say, once the author makes the publisher commit, presumably through publishing lawyer or entertainment attorney counsel, to a development budget or other marketing or “release” commitment for the digital right or the electronic right, then both the author and the publisher might thereby also have some basis for numerical valuation of the rights themselves. And, it is an entirely reasonable argument for an author or author’s publishing lawyer or entertainment attorney to say to a publisher that: “I will license/sell you the following listed digital right[s] or electronic right[s] if you pay me the following additional amounts for them:_____________________. And in the blank space, the rights can be listed like menu options as they have been broken out in Item #1 above, each to which separate dollar values – that is, price-tags – are now assigned.

Click the “Articles” button at: http://www.tormey.org/art.htm to return to the main Articles page.

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Why You Should Get Digital Business Cards

We live in the Internet age where a majority of our personal and business activities depend on computers and electronic devices. This digital life is what lead to the creating of the electronic calling card. The eBusiness card started as a novelty to become a necessary business networking tool.

What is a Digital Business Card?

These modern contact cards can now be sent and received electronically via wirelessly using tools, e-mail, internet, SMS, or by Bluetooth instead of using paper as a medium.

What are the types of Digital Business Cards?

There are four main types of business cards; Phone contact cards, e-mail based business cards, social networking sites as business cards, and tools and applications such as Pokens or the iPhone used to exchange business card data.

The Phone calling card and the e-mail based digital contact card are quite interchangeable as you can send e-mail through phone now and you can also e-mail using your phone. The main difference is that phone-based digital calling cards operates from your phone and makes use of SMS or Bluetooth functions while E-mail based digital calling cards, operates from your e-mail account.

Examples of Phone-based digital contact cards are Contxts, TxtID and DUB. Contents lets you send and receive calling cards via SMS, while TxtID is a service that works by having the other party text your username to a six digit number and where they will receive your contact info via SMS. To use DUB contact cards, an account must first be created on their website, thereafter you can then have it sent to other users by email or SMS, simply by sending a text message to the DUB site. These services start with free program options, but usually offer paid services that allow you to access more function or send and receive more digital calling cards.

For E-mail based visiting cards, companies such as Drop Card and Weavemet offer such services. Both of the companies offers services that works similar to Contents and TxtID where you create a profile on their site, text the e-mail address to a dropcard number and your contact will receive your contact card in their e-mail.

The third type is using your social networking profiles such as Facebook, LinkedIn and Google profiles as contact cards. There is also a service that aggregates all your social network profiles like MyNameIsE which is a site that collects all of your social profiles into a virtual calling card that can be accessed via mobile web.

The last category of digital visiting card are devices such as iPhone apps or Pokens that you use with other people with the same devices where the device trades the contact information. Some of these apps specialize on contact data entry. Examples of these iPhone apps are vCard and BeamME.

What is the Advantage of a Digital Business Card?

Digital business cards offer a lot of advantages, here are some of them:

It's easier to create. Since digital business cards do not really require any aesthetic styling, you do not have to worry about designing one. The person you give it to will not lose it since digital calling cards can not get lost or left behind because your contact will always have it in their email-account, phone, or other web based contact sharing account.

It's eco-friendly. Digital contact cards do not require paper so you will be helping the environment if when you use electronic business cards.

It's efficient. When handed a paper calling card, most people scan it or enter the data on their phones or computers, but if your calling card is already given digitally, the recipient will not need to go through the hassle of encoding it anymore.

As mentioned earlier, digital calling cards are often asked for, especially since most people use internet phones and iPhones where providing digital contact cards are more handy for these tech savvy people. It is really useful to get yourself a digital calling card in order to stay connected whether for personal use or for business purposes.

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Gearbest – Portable Power Bank Case DIY Box 18650 Battery Charger for Digital Devices – Amazing



Gearbest – Portable Power Bank Case DIY Box 18650 Battery Charger for Digital Devices – http://bit.ly/2IbP79S
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New battery charger can it bring an old Gel cell back to life?



We will see. I think this old Gel cell is toast. But I wanted a charger for AGM (absorbed glass mat) so I got this one. You can check it out on amazon at the link below.
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It is a Schumacher SSC-1500A-CA Ship ‘N’ Shore 15 Amp SpeedCharge Charger with Battery Clamps.

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DJI Ryze Tello 3 in 1 digital smart charger RC Drone Review



The best 3 in one for the tello GET U ONE HERE https://www.banggood.com/3-In-1-Battery-Charger-12V3A-AC-to-DC-Adapter-Spare-Parts-For-DJI-Tello-RC-Drone-Quadcopter-p-1311640.html?p=FX102122246996201806&utm_campaign=22246996&utm_content=3341

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Shure Axient Digital Training – Batteries and Chargers



https://shu.re/2zJF1KW
In this video, we’ll give you an overview of Shure rechargeable battery technology.

Axient Digital transmitters feature Shure Lithium-ion rechargeable batteries to deliver long runtimes and superior reliability.

Each battery is equipped with smart technology that reports precise metrics to your phone, tablet, or laptop.

Dedicated chargers provide fast charging and secure storage.

AD1 and AD2 transmitters use the Shure SB900A battery.

Docking 2-up charger options include the SBC200 and the network-enabled SBC220.

ADX1 and ADX2 transmitters use the SB910 and SB920 batteries.

Networked charging options include the SBC240 2-up charger and the SBC840 8-bay charger.

Docking chargers feature transmitter or individual battery charging, LED status indicators, and ganging to share power connections and Ethernet data.

The SBC840 charges up to eight SB910 or SB920 in a compact form that fits into a single drawer space for easy storage.

The ADX1M Micro Bodypack uses the SB910M battery.

The SBC840M charger is designed specifically for this battery and holds up to eight in a small footprint for easy access, storage, and monitoring.

If your inventory contains several Shure products, consider the SBRC rack-mount charger.

The SBRC uses interchangeable charging modules to support the following Shure batteries.
These modules can create custom charging configurations for up to eight batteries.

An integrated display lets you monitor status from the front panel.

Network-enabled chargers can be remotely monitored using Shure Wireless Workbench.

You can view the following battery information.
Battery metrics are also available in the “Utility” menu of portable devices.

All Shure chargers, except the SBC200, feature a special “Storage Mode”, designed to keep the batteries at an optimal voltage when they stored or shipped.

Use Storage Mode to maintain battery health if your batteries are idle for more than eight days.

Enter Storage Mode by using the switch on the charger, or from Wireless Workbench.

Exit Storage Mode to restore the batteries to full charge.

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MiBOXER C4 Universal Smart Battery Charger + Car Adapter



Do you have the need to chart batteries a lot? Let me know on the comment section below:

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Link to the product:

MiBOXER C4 Universal Smart Battery Charger 4
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Miboxer smart car charger
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Link to other video’s:

Annke Nova S Security CCTV:

RØDE VideoMic Me Microphone Review

Microsoft Surface Arc Mouse – Clicker

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NOTICE :
Never attempt to charge primary cells such as Alkaline, Zinc-Carbon, Lithium, CR123A, CR2, or
any other unsupported chemistry due to risk of explosion and fire
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Product details

C4 is a smart charger designed by miboxer team,compatible with almost all types of rechargeable batteries like Li-ion/IMR/INR/ICR/Ni-MH/Ni-Cd/LiFePO4 batteries,as well as a high grade performance.With a large digital LCD display,easy to understand battery charging parameters and processes.

C4 has different charging features and modes according to different type battery charging.It use standard Li-ion battery charging mode when work with Li-ion/IMR/INR/ICR/LiFePO4 batteries;Use a full charge mode for Ni-MH, Ni-Cd batteries charging process.

Feature:
Input:AC86-265V/DC12V
Output(Max):4.2V±1%/4.35±1%/3.6V±1%/1.48V±1%
Size:103x158x38mm
Current:Li-ion/LiFePO4:(High:800mA*4,Low:100mA*4)Ni-MH/Ni-Cd:
(High:800mA*4,Low:100mA*4)
Compatible with all different type of cylindrical rechargeable lithium battery.
Up to 800mA charging speed in a single slot.
High precision calibration of voltage source.
Automatically stops charging upon charging completion.
Reverse polarity protection and short circuit prevention.
Automatically detects battery power status and displays charging progress.
Automatically detects battery resistance.
Each battery slot controls and charges independently.
Support small capacity battery charging.
Support for lithium battery repair function.
Compatible with DC12V car charging function.
Made of fire resistant,flame retardant PC material.
Designed by optimal heat dissipation.

Packet Containing:
1 * Smart Battery Charger(Battery not included)
1 * US Wall Charger Cable
1 * User Manual

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Song: LENNART JP – Hold Me

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Best Original Opus Smart Digital Intelligent LCD Slots Universal Battery Charger Review



Original Opus BT-C3100 V2.2 Digital Intelligent 4 Slots LCD Battery Charger For Li-Ion NiCd NiMh Rechargeable Batteries Charging
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Best Bi-Color Portable LED Light Kit for Photography: Digital Juice ColorBurst PRO



The ColorBurst 320/480 3-Point Light Kit is the perfect affordable lighting solution for field or studio production crews who shoot in variable lighting situations. It’s bi-color LED lighting technology allows you to dial in color temperatures ranging from daylight to tungsten or anything in between. The technology ensures visually accurate color temperatures and no color-shift when dimming. This affordable light kit’s high CRI produces consistent and superior color reproduction for the most demanding of photo or video projects.
The ColorBurst Bi-Color 3-Point Lighting System includes 1 ColorBurst 320 and 2 ColorBurst 480 LED light fixtures, along with compatible power supply adapters, batteries, battery chargers, diffusion filters, three hotshoe adapters and stand mounting kits. Three lightweight light stands are also provided, as is an attractive compact deluxe carry bag so that you can easily transport and store your lights and stands when not in use.
With this portable lighting system’s spotlight effect and 60° beam angle, this LED lighting kit is perfect for shooting at relatively long distances. However, with the included diffusion filters, you can soften both highlights and shadows, reducing contrast and increasing the beam angle, so it’s ideal for all photographer and videographers.

Learn more about this bi-color led 3-point lighting kit : https://gear.digitaljuice.com/products/products.asp?pid=4452

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