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Inkjet Paper Review: MediaStreet Papers
By: Dave Etchells

Review Date: January 2002

Introduction

In the early days of inkjet technology, it was rare to find any third-party papers that worked (nearly) as well as the printer maker's own "house" products. The specialized coatings required to control the absorption and drying of ink on the paper's surface were keyed to the specific chemical formula of each manufacturer's ink. One early exception to this was the Pictorico brand of paper, which I reviewed some while back. Pictorico uses a proprietary ceramic technology to control ink absorption, an approach that works very well, but that also appears to entail higher production costs, resulting in higher retail prices for that paper.

Lately, inkjet manufacturers have moved toward paper-coating technology based on "swellable polymers", an approach that offers improved fade resistance, and that also seems to have reduced some of the compatibility problems between different coating formulations and ink chemistries.

Recently, a friend of mine who runs a well-known internet/mailorder photo products business asked me to evaluate a range of inkjet papers made by MediaStreet.com. He was interested in carrying the papers himself, but wanted an objective third-party test of them first. He needed to know how compatible they were with different printers, and how well they worked overall. Ever helpful, I said "Sure, I'll get right on it", completely ignoring the typically absurd backlog of other projects I had burning my toes at the time. It's thus now several months later, but I finally did have a look at the MediaStreet papers, and ended up quite impressed. Figuring that something approaching 100% of our readers are inkjet users, I thought I'd write up the results of my testing to show on the IR site.

This article is a brief digest of several weeks of off-and-on testing of a variety of MediaStreet's papers. The bottom line? I was so impressed with MediaStreet's papers that I invited them to become a site sponsor of the Imaging Resource: I'm very comfortable recommending them to all and sundry as an excellent line of third-party papers, offering both a wider range of surfaces and better prices than most manufacturer's proprietary formulations.

The Testing

I'll be the first to admit that my testing here wasn't by any means exhaustive: A really in-depth test of multiple paper types across multiple printer models and brands would have been way beyond the time and effort I had available to devote to the project. What I did do though, was perform "spot checks" of a wide variety of MediaStreet's paper types in several different printers from three different manufacturers. I ran quite a number of sheets of MediaStreet paper through a Canon S800, and Epson 780, 785, and 1280 printers. Not having ready access to an HP photo printer, I don't have much detail available on the MediaStreet papers' performance in that brand of printer. I did run a few sheets through the HP printers at a local computer store with salutary results, but it's hard to tell anything of substance from the over-saturated photos on those little in-store "print actuators."

For the sake of consistency, I used the same image for all the prints, an outdoor family portrait shot that had a variety of skin tones (well, a slight variety, we're all Caucasian) as well as a broad tonal range and a nice assortment of colors. I compared the prints on MediaStreet's paper against prints of the same shot run out on the manufacturers' own premium photo papers.

Print Settings
Where the printer manufacturer had a paper-type setting that corresponded to one of the MediaStreet papers, I used that. (Eg, manufacturer's "photo glossy" paper setting used with MediaStreet's Aspen Extreme Photo Glossy, "heavyweight matte" used with the heavy matte papers, etc.) Following MediaStreet's recommendations, if there didn't seem to be a manufacturer paper type corresponding to a MediaStreet one, I used the default for photo-quality printing on "plain" coated bond paper. (Not to be confused with the "plain paper" settings, the settings I'm referring to here are those for the premium extra-white coated bond papers commonly sold as "photo quality" inkjet paper by the various manufacturers.) In many cases, the plain "photo quality" paper setting worked the best anyway.

I didn't spend much time experimenting with printer settings to obtain optimum results. There were just too many papers and printers involved to allow this, even though I'm pretty certain I could have improved on shadow or highlight detail in many instances, or removed slight color casts had I done so.

The question I was trying to answer in my testing was simply whether the papers in question offered a viable alternative to the manufacturer's own formulations. Put more bluntly, would I be satisfied if I bought these papers myself for use in my own inkjet printers?

Results in a Nutshell
While I found some variation across the paper types (not too surprising, considering the wide range of surfaces and substances they were composed of), and in some cases noticed less shadow detail than in the manufacturers' own papers, overall I was surprised by how well and consistently the MediaStreet papers performed. - For "advanced amateur" usage (meaning people like myself, printing mainly for family or personal enjoyment of the finished photos), all of the paper surfaces I tested produced very pleasing results with just the default settings.

Pros printing their work for commercial sale will likely want to spend some time tweaking printer settings, and might even want to invest in a custom ICC profile for a paper they plan to use for significant work. The payoff for investing the time in developing a custom set of printing settings for MediaStreet's specialty papers could be pretty significant though, as they let you offer your clients with something a little different than what they might see elsewhere. (Whether from another pro's inkjet prints, or from any photographic process.) Some of the paper types (Royal Plush, Royal Weave, and Royal Jazz in particular) really put the inkjet prints into the "fine art" category, IMHO.

(A few of) The Paper Types
MediaStreet manufacturers an incredible variety of paper types and surfaces, ranging from lightweight bond paper to "Royal Plush", a very heavy matte-finish paper. (It weighs in at 310 g/sm (grams/square meter), heavier than any other inkjet paper I've seen personally.) There's even a canvas based "paper", with MediaStreet' inkjet coating on it, if you want to try for an oil-painting character in your inkjet prints. Here's what I thought of the few different paper types I looked at in this brief test, arranged according to paper surface and in approximate order of paper weight:

 

Gloss & Semi-Gloss Papers

Aspen Photo-Realistic Semi Gloss (Double-Sided)

This was a very interesting paper, one of several "double-sided" papers MediaStreet makes. True to its name, it has a semi-glossy finish, on both sides of the sheet, letting you make double-sided inkjet prints. - Very handy for situations where you need double-sided pages, but don't want the hassle of trying to line up two sheets of paper in a laminating press. (I imagine there are other double-sided papers out there, but the double-sided products from MediaStreet are the first that I've personally come across.) The finish is tough to describe, for lack of a common standard for what constitutes "semi gloss". The best analog I can think of for it is the sort of slightly opalescent surfaces many laptop computer screens have on them. - There's a slight sheen if you hold it such that it reflects a light source directly, but it's quite a bit more subdued than the gloss of typical "glossy" photo paper. (I'd rate it as slightly less lossy than many "satin finish" photo papers as well.) The paper substance is slightly warm-toned, making for nice portraits, with healthy-looking skin tones.

Aspen Extreme Photo Glossy (9 mil)

This is MediaStreet's entry in the "photo glossy" market segment, a nice, heavyweight (9 mil thickness) paper with a high gloss finish. The paper is a slightly cooler shade of white than the Photo-Realistic Semi Gloss, and so tends to produce slightly cooler skin tones. Its surface compares well with Epson's Glossy Photo Paper, although both it and the Epson paper don't attain quite the glasslike sheen of Canon's Photo Paper Pro. This paper worked extremely well on the Canon S800, while on the Epson printers, it had a tendency to magnify very slight color and tonal variations, making image noise more apparent than with Epson's own papers. Highly recommended for the Canon printer, on the Epsons it tends to emphasize the image noise, unless you have "squeaky clean" original images.

Artist Grade Canvas

Yes, this does qualify as a "glossy" paper, even though it's a sheet of real artist canvas. - The coating on it has a glossy sheen, perhaps intended to match the sheen of artist's oils applied to canvas. This definitely qualified as the most interesting paper I looked at, as there's no question it's a canvas substrate. With an appropriate paint-effects software program, you could produce very convincing-looking "oil paintings" from your digital files. The substrate is rather warm-toned, with an almost ivory hue. It took the ink very well, with both the Epson and Canon printers, although deep shadows tended to plug up a bit. Feeding was pretty problematic with it though: The canvas substrate tended to curl a bit as it entered the throat of the printer, leading to frequent jams. It pretty well refused to feed reliably at all in the Canon S800 (I could get it to go, but it took endless fiddling and several ruined sheets), and required some care to use with the Epson 780 and 1280. One trick that helped was to roll the canvas over a table edge or other hard edge to apply a little reverse-curl before inserting it into the printer. Recommended (with appropriate care and pampering) for the Epson printers, but not for the Canon S800. (Unknown behavior in the HP printers, as I wasn't willing to risk the wrath of the store personnel if I jammed their display printers.)

Matte-Finish Papers
Some of these papers had significant surface textures to them: Despairing of describing them verbally, I've included small sidelit macro shots of their surfaces, to supply some visual idea of what the textures look like.

Aspen 31-lb Bond

This is a good, inexpensive, moderately heavyweight, smooth-surfaced bond paper, probably about half again to twice as heavy as a sheet of standard copier paper. A fairly bright white matte surface, with a pretty neutral overall tone. (Neither cool nor warm in hue.) This looks like a great, inexpensive paper to use for routine printing where a gloss finish isn't called for: Good for high-quality photo prints for the family, or high-volume printing where you'd like to economize a bit without compromising image quality. This paper had a slight tendency to emphasize image noise with the Epson printers, and a slight tendency to plug shadows with the Canon unit. Very nice results overall though. (This would be a good, heavier-weight substitute for the typical matte-finish "photo paper" sold by most manufacturers.)

Aspen Mogul, 150 g/sm
This is one of my favorite matte-finish papers. It's a bit heavier than the 31-lb Bond, and has a slight texture to it, a sort of an "orange peel" effect, although the texture is both broader and softer than that description would suggest. Its printing characteristics were very similar to those of the 31-lb Bond, but it produced warmer, more natural looking skin tones. (Even though the background color of the paper itself was no warmer than the Bond.) Overall, a very pleasing, medium-weight matte-surface paper.

Aspen Dual-Sided Matte
This is another of MediaStreet's dual-sided papers, with the ink-receiver coating applied to both sides of the sheet. Like the bond paper, it has no significant surface texture, just a very smooth, matte finish. This paper was interesting in that it produced cooler tones on the Canon than it did on the Epson. Skin tones on the Epson had a pleasant warmth to them, while those from the Canon were a little cool for my tastes. (The Canon also had a bit of a tendency to plug the shadows with this paper, although that no doubt could be handled with a little curves work in Photoshop, or a little tweaking in the printer drivers.) The paper itself is about the same weight as the Mogul, what I'd call a "medium weight" paper. Good image quality in a medium-weight, dual-sided stock.

Royal Jazz, 190 g/sm
As the 190 g/sm weight designation would suggest, this is a heavier weight paper. It's apparently also an "archival" paper, with neutral pH so it won't yellow or get brittle over time. It has a grainy, random texture on its surface that makes me think of "soft sandpaper". (Hard to explain, I just don't have the vocabulary to describe surface textures adequately, but see the inset photo above for an idea of what it looks like.) Overall, I think I like Royal Jazz about the best of the MediaStreet matte finishes I looked. (The Aspen Mogul above is my second-favorite, although it's very different in its character.) Similar color rendering to the Aspen Mogul, perhaps just a tad warmer.

Royal Weave
This paper has a fabric-like texture to it, although it's entirely paper. Not a strong impression of woven threads as with the Canvas, but rather a texture that the paper picked up from the screen used to make it. Somewhat suggestive of canvas, without the strong texture of the Canvas "paper" itself. Slightly warmer-toned still than the Royal Jazz, also slightly more contrasty. (Shadows look a little deeper.)

Royal Plush
The "Super Heavyweight" of the MediaStreet lineup, with a substance of 310 g/sm. It's also an "archival" paper, with neutral pH so it won't yellow or get brittle over time. About the heaviest-weight inkjet paper I've seen, with a very rich, soft look and feel. Surface texture is somewhere between the Jazz and Weave surfaces, overall looking a lot like conventional "watercolor paper." Slightly cooler-toned than the Royal Weave. Probably the least emphasis of image noise with the Epson printers of any of the papers that I looked at. Very nice for special projects that you want to look more expensive than they really are. ;-)

Conclusion

So there you have it: Actually only a very small sampling of the broad range of papers MediaStreet offers. All took the ink very well from both Epson and Canon printers, and (as far as I could tell from very limited testing), HP as well. I noted a range of minor differences in image color and tonality when printing on the different papers, but for the most part these differences would only be evident in side-by-side comparisons. All were excellent, among the best third-party inkjet papers I've seen to date.

Wed, 30 Dec 2015 08:12:00 -0600 text/html https://www.imaging-resource.com/ARTS/IJPAPERMS/IJPAPERMS.HTM
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WASHINGTON (AP) — Stephen King didn't break any legal ground on the stand Tuesday as he testified against his own publisher's efforts to merge with Penguin Random House. But he did know how to please a crowd and even get the judge to thank him for his time.

“It was a real pleasure to hear your testimony," the otherwise businesslike U.S. District Judge Florence J. Pan told the author after he finished speaking as a government witness in a federal antitrust lawsuit against the merger of Penguin Random House and Simon & Schuster, King's longtime publisher.

The 74-year-old King had a haunting but gregarious presence, his gaunt features accented by his gray suit and gray sneakers, his walk tentative, as it has been since he was struck by a van and badly injured in 1999. But once sworn in, he was relaxed and happy to talk, and ever alert to how to tell a story,

“My name is Stephen King. I’m a freelance writer,” King said upon being asked to identify himself. The Justice Department is bidding to convince Pan that the proposed combination of Penguin Random House and Simon & Schuster, two of the world's biggest publishers, would thwart competition and damage the careers of some of the most popular authors — a status King holds like few others.

King's remarkable career, with so many bestsellers he could only offer an estimate, has come amid waves of consolidation in the industry. As he noted in his remarks, there were dozens of publishers in New York when his breakthrough novel, “Carrie," came out, in 1974, and he has seen many of them either acquired by larger companies or forced out of business.

Now, New York publishing is often a story of the so-called Big Five: Penguin Random House, Simon & Schuster, HarperCollins Publishing, Hachette Book Group and Macmillan. The publisher of “Carrie," Doubleday, is now part of Penguin Random House. So is another former King publisher, Viking Press.

Over the first two days, attorneys for the two sides have presented notably contrasting views of the book industry. The Justice Department sees an increasingly limited market for bestsellers, with the Big Five well in command. Penguin Random House's side sees book publishing as dynamic and open to many, with the proposed merger having limited impact.

King's appearance in U.S. District Court in Washington — highly unusual for an antitrust trial — brought a narrative of the evolution of book publishing toward the dominance of the Big Five companies. As government attorney Mel Schwarz walked King through his history starting as a new, unknown author in the 1970s and his relationships with agents and publishers, King homed in on a critique of the industry as it is now.

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“The Big Five are pretty entrenched," he said.

Under questioning later in the day, Simon & Schuster CEO Jonathan Karp detailed a world of fiercely competitive bidding among publishers — including between his firm and Penguin Random House — for authors’ works, sometimes besting each other by millions of dollars for high-profile writers.

With his possible future boss, Penguin Random House Markus Dohle, among those looking on in the courtroom, Karp rejected the Big Five moniker, calling it “parochial and ethnocentric.”

“I think there are a lot of good publishers all over the country. It’s not all about us,” Karp said.

As an example, he said the nearly 100-year-old Simon & Schuster has endured more aggressive competition recently from Amazon’s book publishing business.

But Justice Department attorney Jeff Vernon brought forward a message Karp had sent to John Irving, his favorite author, saying he didn’t think the government would allow Simon & Schuster and Penguin Random House to merge. “That’s assuming we still have a Department of Justice,” Karp wrote in the message.

At one point, the judge appeared to support a core government argument — that greater concentration in the industry could reduce the compensation paid to authors. Through two days of testimony, Pan said, “there’s a sense that competition raises the amounts of advances” and less competition lowers them.

Tue, 02 Aug 2022 12:32:00 -0500 en-US text/html https://www.timesunion.com/news/article/Stephen-King-set-to-testify-for-govt-in-books-17344564.php?IPID=Times-Union-HP-nation-world-package
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The MarketWatch News Department was not involved in the creation of this content.

Aug 05, 2022 (The Expresswire) -- "Final Report will add the analysis of the impact of COVID-19 on this industry."

Global “Digital Accessories Market” 2022 report presents a comprehensive study of the entire Global market including market size, share trends, market dynamics, and overview by segmentation by types, applications, manufactures and geographical regions. The report offers the most up-to-date industry data on the real market situation and future outlook for the Digital Accessories market. The report also provides up-to-date historical market size data for the period and an illustrative forecast to 2028 covering key market aspects like market value and volume for Digital Accessories industry.

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Market Analysis and Insights: Global Digital Accessories Market

A subordinate or supplementary part utilized fundamentally for convenience, attractiveness, security, and so on, as a focus on any consumer electronics such as DVD players, iPods, video games, remote control cars, cell phones, desktop computers, etc., are called digital accessories.
Due to the COVID-19 pandemic, the global Digital Accessories market size is estimated to be worth USD million in 2022 and is forecast to a readjusted size of USD million by 2028 with a CAGR of during the forecast period 2022-2028. Fully considering the economic change by this health crisis, Mobile Phone Accessories accounting for of the Digital Accessories global market in 2021, is projected to value USD million by 2028, growing at a revised CAGR from 2022 to 2028. While Commercial Enterprise Consumption segment is altered to CAGR throughout this forecast period.
The digital accessories are used according to the users convenience. These accessories are known to enhance the electronics performance, thereby delighting the users to their limit.

The major players covered in the Digital Accessories market report are:

● Astrum ● Clarion ● LG Electronics ● Logitech ● Panasonic ● Pioneer ● Samsung ● Toshiba ● Sony ● Apple ● Huawei ● Xiaomi ● Sennheiser ● Bose Corporation ● JBL ● Audio-Technica ● Philips ● Plantronics ● JVC Kenwood Corporation ● HP

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Global Digital Accessories Market: Drivers and Restrains

The research report has incorporated the analysis of different factors that augment the market’s growth. It constitutes trends, restraints, and drivers that transform the market in either a positive or negative manner. This section also provides the scope of different segments and applications that can potentially influence the market in the future. The detailed information is based on current trends and historic milestones. This section also provides an analysis of the volume of production about the global market and about each type from 2017 to 2028. This section mentions the volume of production by region from 2017 to 2028. Pricing analysis is included in the report according to each type from the year 2017 to 2028, manufacturer from 2017 to 2022, region from 2017 to 2022, and global price from 2017 to 2028.

A thorough evaluation of the restrains included in the report portrays the contrast to drivers and gives room for strategic planning. Factors that overshadow the market growth are pivotal as they can be understood to devise different bends for getting hold of the lucrative opportunities that are present in the ever-growing market. Additionally, insights into market expert’s opinions have been taken to understand the market better.

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Global Digital Accessories Market: Segment Analysis

The research report includes specific segments by region (country), by manufacturers, by Type and by Application. Each type provides information about the production during the forecast period of 2017 to 2028. By Application segment also provides consumption during the forecast period of 2017 to 2028. Understanding the segments helps in identifying the importance of different factors that aid the market growth.

Segment by Type

● Mobile Phone Accessories ● Camera Accessories ● Computer Accessories ● Others

Segment by Application

● Commercial Enterprise Consumption ● Personal Consumption ● Others

Digital Accessories Market Key Points:

● Characterize, portray and Forecast Digital Accessories item market by product type, application, manufactures and geographical regions. ● supply venture outside climate investigation. ● supply systems to organization to manage the effect of COVID-19. ● supply market dynamic examination, including market driving variables, market improvement requirements. ● supply market passage system examination to new players or players who are prepared to enter the market, including market section definition, client investigation, conveyance model, item informing and situating, and cost procedure investigation. ● Stay aware of worldwide market drifts and supply examination of the effect of the COVID-19 scourge on significant locales of the world. ● Break down the market chances of partners and furnish market pioneers with subtleties of the cutthroat scene.

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Geographical Segmentation:

Geographically, this report is segmented into several key regions, with sales, revenue, market share, and Digital Accessories market growth rate in these regions, from 2015 to 2028, covering

● North America (United States, Canada and Mexico) ● Europe (Germany, UK, France, Italy, Russia and Turkey etc.) ● Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia, and Vietnam) ● South America (Brazil etc.) ● Middle East and Africa (Egypt and GCC Countries)

Some of the key questions answered in this report:

● Who are the worldwide key Players of the Digital Accessories Industry? ● How the opposition goes in what was in store connected with Digital Accessories? ● Which is the most driving country in the Digital Accessories industry? ● What are the Digital Accessories market valuable open doors and dangers looked by the manufactures in the worldwide Digital Accessories Industry? ● Which application/end-client or item type might look for gradual development possibilities? What is the portion of the overall industry of each kind and application? ● What centered approach and imperatives are holding the Digital Accessories market? ● What are the various deals, promoting, and dissemination diverts in the worldwide business? ● What are the key market patterns influencing the development of the Digital Accessories market? ● Financial effect on the Digital Accessories business and improvement pattern of the Digital Accessories business?

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Detailed TOC of Global Digital Accessories Market Research Report 2022

1 Digital Accessories Market Overview

1.1 Product Overview and Scope

1.2 Segment by Type

1.2.1 Global Market Size Growth Rate Analysis by Type 2022 VS 2028

1.3 Digital Accessories Segment by Application

1.3.1 Global Consumption Comparison by Application: 2022 VS 2028

1.4 Global Market Growth Prospects

1.4.1 Global Revenue Estimates and Forecasts (2017-2028)

1.4.2 Global Production Capacity Estimates and Forecasts (2017-2028)

1.4.3 Global Production Estimates and Forecasts (2017-2028)

1.5 Global Market Size by Region

1.5.1 Global Market Size Estimates and Forecasts by Region: 2017 VS 2021 VS 2028

1.5.2 North America Digital Accessories Estimates and Forecasts (2017-2028)

1.5.3 Europe Estimates and Forecasts (2017-2028)

1.5.4 China Estimates and Forecasts (2017-2028)

1.5.5 Japan Estimates and Forecasts (2017-2028)

2 Digital Accessories Market Competition by Manufacturers

2.1 Global Production Capacity Market Share by Manufacturers (2017-2022)

2.2 Global Revenue Market Share by Manufacturers (2017-2022)

2.3 Market Share by Company Type (Tier 1, Tier 2 and Tier 3)

2.4 Global Average Price by Manufacturers (2017-2022)

2.5 Manufacturers Production Sites, Area Served, Product Types

2.6 Market Competitive Situation and Trends

2.6.1 Market Concentration Rate

2.6.2 Global 5 and 10 Largest Digital Accessories Players Market Share by Revenue

2.6.3 Mergers and Acquisitions, Expansion

3 Digital Accessories Production Capacity by Region

3.1 Global Production Capacity of Digital Accessories Market Share by Region (2017-2022)

3.2 Global Revenue Market Share by Region (2017-2022)

3.3 Global Production Capacity, Revenue, Price and Gross Margin (2017-2022)

3.4 North America Production

3.4.1 North America Production Growth Rate (2017-2022)

3.4.2 North America Production Capacity, Revenue, Price and Gross Margin (2017-2022)

3.5 Europe Production

3.5.1 Europe Production Growth Rate (2017-2022)

3.5.2 Europe Production Capacity, Revenue, Price and Gross Margin (2017-2022)

3.6 China Production

3.6.1 China Production Growth Rate (2017-2022)

3.6.2 China Production Capacity, Revenue, Price and Gross Margin (2017-2022)

3.7 Japan Production

3.7.1 Japan Production Growth Rate (2017-2022)

3.7.2 Japan Production Capacity, Revenue, Price and Gross Margin (2017-2022)

4 Global Digital Accessories Market Consumption by Region

4.1 Global Consumption by Region

4.1.1 Global Consumption by Region

4.1.2 Global Consumption Market Share by Region

4.2 North America

4.2.1 North America Consumption by Country

4.2.2 United States

4.2.3 Canada

4.3 Europe

4.3.1 Europe Consumption by Country

4.3.2 Germany

4.3.3 France

4.3.4 U.K.

4.3.5 Italy

4.3.6 Russia

4.4 Asia Pacific

4.4.1 Asia Pacific Consumption by Region

4.4.2 China

4.4.3 Japan

4.4.4 South Korea

4.4.5 China Taiwan

4.4.6 Southeast Asia

4.4.7 India

4.4.8 Australia

4.5 Latin America

4.5.1 Latin America Consumption by Country

4.5.2 Mexico

4.5.3 Brazil

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5 Digital Accessories Market Segment by Type

5.1 Global Production Market Share by Type (2017-2022)

5.2 Global Revenue Market Share by Type (2017-2022)

5.3 Global Price by Type (2017-2022)

6 Digital Accessories Market Segment by Application

6.1 Global Production Market Share by Application (2017-2022)

6.2 Global Revenue Market Share by Application (2017-2022)

6.3 Global Price by Application (2017-2022)

7 Digital Accessories Market Key Companies Profiled

7.1 Manufacture 1

7.1.1 Manufacture 1 Corporation Information

7.1.2 Manufacture 1 Product Portfolio

7.1.3 Manufacture 1 Production Capacity, Revenue, Price and Gross Margin (2017-2022)

7.1.4 Manufacture 1 Main Business and Markets Served

7.1.5 Manufacture 1 recent Developments/Updates

7.2 Manufacture 2

7.2.1 Manufacture 2 Corporation Information

7.2.2 Manufacture 2 Product Portfolio

7.2.3 Manufacture 2 Production Capacity, Revenue, Price and Gross Margin (2017-2022)

7.2.4 Manufacture 2 Main Business and Markets Served

7.2.5 Manufacture 2 recent Developments/Updates

7.3 Manufacture 3

7.3.1 Manufacture 3 Corporation Information

7.3.2 Manufacture 3 Product Portfolio

7.3.3 Manufacture 3 Production Capacity, Revenue, Price and Gross Margin (2017-2022)

7.3.4 Manufacture 3 Main Business and Markets Served

7.3.5 Manufacture 3 recent Developments/Updates

8 Digital Accessories Manufacturing Cost Analysis

8.1 Key Raw Materials Analysis

8.1.1 Key Raw Materials

8.1.2 Key Suppliers of Raw Materials

8.2 Proportion of Manufacturing Cost Structure

8.3 Manufacturing Process Analysis of Digital Accessories

8.4 Digital Accessories Industrial Chain Analysis

9 Marketing Channel, Distributors and Customers

9.1 Marketing Channel

9.2 Digital Accessories Distributors List

9.3 Digital Accessories Customers

10 Market Dynamics

10.1 Digital Accessories Industry Trends

10.2 Digital Accessories Market Drivers

10.3 Digital Accessories Market Challenges

10.4 Digital Accessories Market Restraints

11 Production and Supply Forecast

11.1 Global Forecasted Production of Digital Accessories by Region (2023-2028)

11.2 North America Digital Accessories Production, Revenue Forecast (2023-2028)

11.3 Europe Digital Accessories Production, Revenue Forecast (2023-2028)

11.4 China Digital Accessories Production, Revenue Forecast (2023-2028)

11.5 Japan Digital Accessories Production, Revenue Forecast (2023-2028)

12 Consumption and Demand Forecast

12.1 Global Forecasted Demand Analysis of Digital Accessories

12.2 North America Forecasted Consumption of Digital Accessories by Country

12.3 Europe Market Forecasted Consumption of Digital Accessories by Country

12.4 Asia Pacific Market Forecasted Consumption of Digital Accessories by Region

12.5 Latin America Forecasted Consumption of Digital Accessories by Country

13 Forecast by Type and by Application (2023-2028)

13.1 Global Production, Revenue and Price Forecast by Type (2023-2028)

13.1.1 Global Forecasted Production of Digital Accessories by Type (2023-2028)

13.1.2 Global Forecasted Revenue of Digital Accessories by Type (2023-2028)

13.1.3 Global Forecasted Price of Digital Accessories by Type (2023-2028)

13.2 Global Forecasted Consumption of Digital Accessories by Application (2023-2028)

13.2.1 Global Forecasted Production of Digital Accessories by Application (2023-2028)

13.2.2 Global Forecasted Revenue of Digital Accessories by Application (2023-2028)

13.2.3 Global Forecasted Price of Digital Accessories by Application (2023-2028)

14 Research Finding and Conclusion

15 Methodology and Data Source

15.1 Methodology/Research Approach

15.1.1 Research Programs/Design

15.1.2 Market Size Estimation

15.1.3 Market Breakdown and Data Triangulation

15.2 Data Source

15.2.1 Secondary Sources

15.2.2 Primary Sources

15.3 Author List

15.4 Disclaimer

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Killexams : Speeders Beware, Chevrolet Offering A Police Pursuit Vehicle Based On The Electric Blazer SS

Bad boys, bad boys whatcha gonna do? Whatcha gonna do when they come for you in the new Chevrolet Blazer EV Police Pursuit Vehicle (PPV)?

That’s a question criminals and speeders will soon have to ask themselves as Chevrolet announced a new police vehicle based on the Blazer EV SS. The civilian model accelerates from 0-60 mph (0-96 km/h) in less than four seconds, thanks to its dual-motor all-wheel drive system that produces up to 557 hp (415 kW / 565 PS) and 648 lb-ft (878 Nm) of torque.

Chevrolet didn’t say much about the electric crossover, but noted it will be “pursuit-rated” and feature the largest Ultium battery in the Blazer lineup. Rear- and all-wheel drive variants will be available and the PPV will come equipped with Brembo front brakes as well as a unique interior, designed specifically for police use. The company didn’t elaborate much, but promised officers will find “ample room to accommodate emergency equipment and gear.”

Also Read: 2024 Chevrolet Blazer EV Offers FWD, RWD, And AWD As Well As A Blazingly Fast 557 HP SS

The Blazer EV PPV is slated to arrive in early 2024 and GM Fleet Vice President Ed Peper said, “The possibilities for the Blazer EV’s commercial and law enforcement applications are almost endless.” He went on to note that besides being zero emissions, the police crossover will reduce the “number and frequency of certain maintenance requirements typically associated with fleet vehicles.”

The introduction of the Blazer EV PPV is an interesting development as Ford has been toying around with the idea of a Mustang Mach-E police vehicle. As part of that effort, a test vehicle was subjected to the Michigan State Police evaluation process which examined its acceleration, top speed, braking, and high-speed pursuit characteristics.

Thus far, Ford hasn’t announced plans for a Mach-E based Police Interceptor Utility but that hasn’t stopped police departments from buying them. Last December, New York City announced plans to purchase 184 Mustang Mach-Es for law enforcement and emergency response use. They’ll be used by several offices and departments including the New York Police Department, the New York City Sheriff’s Office, the Department of Parks and Recreation, the Department of Environmental Protection, and the Office of the Chief Medical Examiner.

Mon, 18 Jul 2022 15:37:00 -0500 en-US text/html https://www.carscoops.com/2022/07/speeders-beware-chevrolets-offering-a-police-pursuit-vehicle-based-on-the-electric-blazer-ss/
Killexams : Best blenders in 2022: Tested and rated

The best blenders will produce a fine and even consistency no matter what you throw in them. Gone are the days of rogue chunks in your smoothie or uneven ice for your margarita — a good blender will power through your favorite ingredients and produce nothing but delicious results. On top of performance, you’ll want a blender which is easy to operate as well, with enough speeds and settings to suit different recipes. While a blender can’t help being noisy, you’ll want it to remain stable as it blends too — in case it ‘walks’ straight off the counter. 

All of this sounds like a lot to ask for from a blender. And with there being so many brands on the market, it can be overwhelming to find one which ticks every box. Luckily, we’ve put a range of models to the test to find those that are worthy of your kitchen counter. We tested everything from performance, to design, to ease of use to find the best options available. These are the best blenders. 

What are the best blenders?