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Description
be quiet! Dark Base Pro 901 Full Tower Gaming PC Case, Black, 4x USB 3.2 Type A, Interchangeable Top Cover and Front Panel, Touch Sensitive I/O, 3x Silent WIngs 4 PWM Fans, ARGB LightingINTERCHANGEABLE TOP AND FRONT The best case in any situation Whether you prefer a virtually inaudible or an extremely performant case: Dark Base Pro 901 is the perfect choice. Dark Base Pro 901 features a silence oriented and performance optimized solution for the top and the front. All panels are included, and a user friendly mounting makes switching a breeze. MAXIMUM USABILITY For professional and casual use Dark Base Pro 901 offers all functions
INTERCHANGEABLE TOP AND FRONTThe best case in any situation
Whether you prefer a virtually inaudible or an extremely performant case: Dark Base Pro 901 is the perfect choice. Dark Base Pro 901 features a silence-oriented and performance-optimized solution for the top and the front. All panels are included, and a user-friendly mounting makes
switching a breeze.
MAXIMUM USABILITY
For professional and casual use
Dark Base Pro 901 offers all functions enthusiasts could wish for in a high-end case. Among them is a detachable top and front bracket with included fan hub and pogo pin connector for a comfortable installation of radiators and fans. Even an inverted layout can be done easily thanks to an intuitive rail system. Numerous cleverly integrated solutions make handling extremely easy. Dark Base Pro 901 can be deployed without the hassle of additional screws and small parts, creating the optimal case for any build.
SILENT WINGS 4 PWM FANS
3 pre-installed fans for maximum airflow
Features like the silence-optimized fan blades and the funnel shaped fan frame make Silent Wings 4 140mm a fan that makes no compromises between virtually inaudible operation and high performance. Its extraordinary air pressure significantly increases the cooling performance of
Dark Base Pro 901.
THINK BIG
Generous dimensions for radiators up to 420mm
With its remarkably large dimensions, Dark Base Pro 901 sets no limits on creativity. The front can fit a radiator of up to 420mm and additional fans can be installed throughout the case, even on the side panel.
FLEXIBLE VGA HOLDER AND CABLE BARS
For a neat interior
The VGA holder of Dark Base Pro 901 is very versatile and prevents GPU sag even with heavy graphics cards. 2 cable bars, one located inside the VGA holder and the other next to the motherboard tray, hide the cables inside the case. No matter how big or numerous the components built in Dark Base Pro 901 may be; with such clever features the result always makes a
good impression.
ARGB LIGHTING
And convenient features
Dark Base Pro 901 features ARGB lighting on the front and the PSU shroud: The lit-up areas are chosen consciously to ensure the case remains elegant with subtle illumination. The light and fan settings can be conveniently controlled via touch-sensitive buttons on the I/O panel. A wireless charger for Qi enabled devices perfectly rounds up Dark Base Pro 901.
TEMPERED GLASS WINDOW
A perfect view inside your PC
The high-quality, fully-windowed side panel offers a perfect view of the components inside your case. The window is made of tinted and tempered glass with black painted edges.
Specifications
Material
Steel (SGCC), ABS plastic, Aluminum
Drive bays
up to 16x 2.5 (6 included)
up to 7x 3.5 (2 included)
up to 1x 5.25 (1 included)
I/O port
1x USB 3.2 Gen. 2 Type C, 4x USB 3.2, HD Audio
(mic + audio), fan controller, ARGB controller
Color option
Black
Motherboard compatibility
E-ATX / XL-ATX / ATX / M-ATX / Mini-ATX
Case size excl. stands (L x W x H), (mm)
604 x 254 x 539
Case size incl. stands (L x W x H), (mm)
604 x 275 x 569
Volume (l)
82.69
PSU form factor
ATX PS/2
Weight (kg)
16.3
Expansion slots
8
Pre-installed fans
Fan at top
-
Fan at front
2x Silent Wings 4 140mm PWM
Fan at side
-
Fan at rear
1x Silent Wings 4 140mm PWM
Fan at bottom
-
Maximum dimensions (mm)
CPU cooler: up to 190
PSU: up to 288
GPU: 495
ATX motherboard: 350 (with HDD cage)
E-ATX motherboard: 370 (with HDD cage)
Dimensions (L x W x H), (mm)
Front: 140 x 140 x 25 / Rear: 140 x 140 x 25
Fan speed at 100% PWM / 12V (rpm)
1900
Airflow at 100% PWM / 12V (CFM / m3/h)
78.4 / 133.20
Air Pressure at 100% PWM / 12V (mm H2O)
2.36
Noise level at 100% PWM / 12V (dB(A))
29.3
Voltage range (V DC)
12
Input power (W)
4.8
Input current (A)
0.4
Connector
4-pin PWM
Lifespan (h / 25°C)
300,000
Fan controller
-
Maximum fan installation
Maximum fans
11
Top (mm)
3x 140 / 3x 120
Front (mm)
3x 140 / 3x 120
Side (mm)
3x 120
Rear (mm)
1x 140 / 1x 120
Bottom (mm)
1x 140 / 1x 120
PSU shroud
-
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- Free Standard Shipping on $100+ Orders to the USA.
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4.0 ★★★★★
Based on 697 reviews
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Product Reviews
★★★★★ 5
Very well written and easy to read.
Format: Paperback
Few people are as qualified as Philip Meyer to write a book on storytelling for lawyers. With a background as a trial lawyer, he has plenty of practical, real-life experience in the courtroom. His approach is not that of an academic giving purely theoretical advice, but that of a seasoned lawyer who knows the ins and outs of the legal profession. His experience as a professor (of both law and writing) has honed his ability to effectively communicate his ideas to a broad audience. Not only is this book helpful for the practicing lawyer, it is also useful and not too complex for the legal neophyte or casual reader.
This book breaks storytelling (narrative) down to its core components and analyzes them one by one. In the process of analyzing each part of a story, Philip Meyer skillfully explores each component with a non-legal example (e.g. movies, books, etc.) before applying it to a legal example (e.g. courtroom proceedings, appellate briefs, closing arguments, etc.) By first analyzing each part of a story (i.e. plot, setting, etc.) from a well-known story that resonates with the reader, he sets a strong foundation before transitioning to a legal story, thus making it easy for the reader to identify and better understand each part of the legal story.
I highly recommend this book to anyone remotely interested in storytelling and persuasion as they relate to the legal profession.
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Reviewed in the United States on November 22, 2016
★★★★★ 4
Must Read for Novice Litigators
Format: Paperback
This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation.
I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation.
For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following:
ABA webinar available with an internet search for "Storytelling for Lawyers"
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Reviewed in the United States on July 25, 2018
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
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Reviewed in the United States on February 10, 2014
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
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Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017