Cheapest flight to new york. Flights to germany
Cheapest Flight To New York
- a Mid-Atlantic state; one of the original 13 colonies
- the largest city in New York State and in the United States; located in southeastern New York at the mouth of the Hudson river; a major financial and cultural center
- one of the British colonies that formed the United States
- A state in the northeastern US, on the Canadian border and Lake Ontario in the northwest, as well as on the Atlantic coast in the southeast; pop. 18,976,457; capital, Albany; statehood, July 26, 1788 (11). Originally settled by the Dutch, it was surrendered to the British in 1664. New York was one of the original thirteen states
- A major city and port in southeastern New York, situated on the Atlantic coast at the mouth of the Hudson River; pop. 7,322,564. It is situated mainly on islands, linked by bridges, and consists of five boroughs: Manhattan, Brooklyn, the Bronx, Queens, and Staten Island. Manhattan is the economic and cultural heart of the city, containing the stock exchange on Wall Street and the headquarters of the United Nations
- (of prices or other charges) Low
- (of an item for sale) Low in price; worth more than its cost
- (cheaper) biligari? ( buhy-lee-ar-ee? )
- (cheapness) bargain rate: a price below the standard price
- (cheapness) tastelessness by virtue of being cheap and vulgar
- Charging low prices
- a formation of aircraft in flight
- shoot a bird in flight
- an instance of traveling by air; "flying was still an exciting adventure for him"
- Shoot (wildfowl) in flight
- (in soccer, cricket, etc.) Deliver (a ball) with well-judged trajectory and pace
cheapest flight to new york - Vestax VCI-300
Vestax VCI-300 Dedicated USB MIDI DJ Controller for Serato ITCH (Black)
Vestax and Serato have joined forces. Sharing their technology and compiled feedback from Pro DJ's and users from around the world, they have created a dedicated DJ USB MIDI / Audio system and software offering absolute control. The VCI-300 is a dedicated USB MIDI controller for the included Serato DJ software. It also comes with a built in audio interface with standard 4-in/4-out and headphone connection, which means all you need for DJing is the VCI-300, a laptop and a set of headphones.
A dedicated DJ USB MIDI/audio system with software, for absolute control. Click to enlarge.
All you need for DJing is the VCI-300, a laptop and a set of headphones.
Clean and simple software user interface with emphasis on hardware controller to display information. Click to enlarge.
VCI-300 MIDI Controller
High Resolution Control
The VCI-300 can control more than 90 parameters and functions of the included Serato software with high resolution MIDI signals sent via USB. The pulse resolution of the JOG wheel and pitch control fader is 4 times higher than the VCI-100 and provides precise control of each function. The pitch control fader also shares the same high quality fader parts of the input fader for advanced operability.
The built-in audio interface carries a Audio Codec IC with crystal-clear sound, generated by a delta-sigma modulation 24 bit stereo D/A-A/D converter. Audio connection includes 1 stereo input, 1 MIC input and 2 stereo output (Master L/R, Monitor L/R).
A 12 level LED L/R indicator is set in the center of the top panel to monitor sound levels.
Audio files in the software library can be easily selected and controlled with the CRATES / FILES / BROWSE key and the cursor switch inherited from the VCM-100.
Emergency Thru Switch
The Emergency Thru Switch located on the rear panel is a countermeasure where you can use the VCI-300 with the provided ITCH software or without the computer connected if you simply want to play music from your external CD or MP3 player. The ITCH software reads music from your iTunes library or the Serato library you use for Scratch LIVE, making it the perfect device for recreational or professional DJ's.
Adjustable Jog Wheel Torque
The torque of each JOG wheel can be adjusted to prevent them from moving from low frequency feedback and altering the pitch when using the VCI-300 in such places like clubs.
Fader Curve Control
The fader curve of each fader can be adjusted to the preferred characteristics for long mixes, scratching and any other style.
serato ITCH Software
Integrated software and hardware solution for a range of mixing styles from super-clubs to house parties. Perfect for digital music selectors, DJs, venues, radio stations and music lovers that want more control.
High performance portable music system that allows internal mixing and platter style playback control.
Integrated "one to one" hardware to software mapping for instant control and minimum setup time.
Interoperable with Scratch LIVE crates, loops and cue points, also support for iTunes.
Audio processing and internal mixing via Serato ITCH software, Channel fading, EQ, cross fading and track trim are processed in software with audio and headphone monitoring on the ITCH hardware.
Clean and simple software user interface with emphasis on hardware controller to display information.
Auto Tempo Matching and Beat Sync.
Optimal Gain and BPM Calculation.
Serato's unique color waveforms for easy identification of sound.
Set and store Cue-points.
Manual and Auto Loop activation.
Music Library management tools for backup and restore.
Input and Mix recording capability.
AIFF, WAV, MP3 and AAC audio file support
Built-in multi-lingual help tools with Serato customer support and software update program.
What's in the Box
Vestax VCI-300 DJ Controller, serato ITCH Installation CD, USB Cable, User Manual, Warranty Card
94 Greenwich Street House
Financial District, Downtown Manhattan, New York City, New York, United States Summary The Federal style rowhouse at No. 94 Greenwich Street in Lower Manhattan was constructed c.1799-1800 as an investment property, right after this block was created through landfill and Greenwich and Rector Streets had been laid out. At the time, this was the most fashionable neighborhood for New York's social elite and wealthy merchant class. The owner of No. 94 was Augustine Hicks Lawrence, a prominent stock and insurance broker, banker, and commission merchant, who served as director of a number of banks and companies, as well as an assistant alderman and alderman in 1809-16. What makes this house highly significant is that it is among only five surviving houses of Manhattan's most elite neighborhood of the post-Revolutionary War era, the others including the Watson House (1793, 1806), 7 State Street, and Dickey House (1809-10), 67 Greenwich Street, both designated New York City Landmarks. No. 94 Greenwich Street is among the relatively rare extant Manhattan houses of the Federal period and style, is one of the oldest houses in Manhattan, and is one of only seven pre-1810 houses located south of Chambers Street, the oldest section of New York City. As constructed, the house was three-and-a-half stories with a high peaked gambrel roof (probably with dormers) - the outline of the original roofline is still visible on the Rector Street facade. It features Flemish bond brickwork and splayed lintels on the second and third stories, those on the Rector Street facade are marble with double keystones, while the Greenwich Street facade has splayed brick lintels. By 1810, No. 94 had become a boardinghouse for merchants and professional men (many of them prominent), housed a porterhouse by 1837, and was listed as a hotel in 1841. The building was raised one full story prior to 1858, and has a two-story rear addition dating from c. 1853/1873. The building remained in the possession of Lawrence family descendants until 1921, and has housed a variety of commercial tenants. Despite alterations, the 94 Greenwich Street House is recognizable as a grand early Federal style rowhouse, made particularly notable by its height, corner location with two primary facades, the visible outline of the original gambrel roofline on the Rector Street facade, and its splayed marble lintels with double keystones (a feature typical of the earliest surviving Federal style houses in Manhattan). DESCRIPTION AND ANALYSIS The Residential Development of Lower Greenwich Street As early as 1729, the Common Council of New York had planned for two new streets (Greenwich and Washington Streets) on the west side of lower Manhattan, "for the better utility of the Trade and Commerce of this City," that were to be plotted on landfill. The layout of lower Greenwich Street, at the high water line of the North (Hudson) River, was begun in 1739. Complicating the realization of these plans, however, were a number of impediments: a bluff that ran along the east side of the planned route of Greenwich Street from the Battery to Wall Street; many of the "water lots" in the area flooded at high tide; and most of the land was owned by a number of wealthy landowners and Trinity Church. The issue of creating landfill along the shore was ignored throughout most of the 18th century. Ann Buttenwieser, in Manhattan Water-Bound, states that in 1765 a large part of the soil and water beyond [eventual] Greenwich Street, between Morris and Rector streets, was ceded to the heirs of Sir Peter Warren and to his brother-in-law Oliver Delancey. Ownership privileges, increased under the Montgomerie Charter of 1730, now extended four hundred feet, or two blocks, beyond the low-water mark When issuing these grants, the city included the proviso that three streets be built parallel to the river (Greenwich, Washington, and West streets). Yet nothing was done; these wealthy owners simply sat on their holdings. By 1783, at the end of the Revolutionary War and the seven-year occupation of New York by the British Army, the city had been devastated by the halt in trade, two fires that had destroyed over one third of its buildings, and the loss of over one-half of its population (down to 12,000). New York rebounded rapidly, serving briefly as the capital of the United States in 1789-90 and emerging as the second largest American city after Philadelphia in 1800. Government House was constructed in 1790 to the design of John McComb, Jr., on the south side of Bowling Green; intended as the President's residence it became the Governor's residence instead (it was turned into a boardinghouse in 1798, torn down in 1815, and replaced by a row of houses). Local merchants rebuilt the city's shipping infrastructure and created great wealth based on commerce with Europe, the Caribbean, and Asia. During the 18th century, participation in the trans-Atlantic "triangular trade" becam
486 Greenwich Street House
Soho, Manhattan, New York City, New York The modest rowhouse at No. 486 Greenwich Street was constructed c. 1823 in the Federal style, characterized by its 2-1/2-story height, second-story Flemish bond brickwork and fenestration, peaked roof, and pedimented dormer. By the 1820s, the vicinity of Greenwich and Canal Streets, once a Manhattan marshland known as Lispenard’s Meadows, had become a thriving mixed-use district. Greenwich Street was the main thoroughfare along the west side from the Battery to Greenwich Village, while the broad Canal Street had been laid out with a sewer to assist in draining the marshy area. Trinity Church had developed the area around fashionable Hudson Square (St. John’s Park) to the southeast, and a steamboat ferry to Hoboken (1823), the public Clinton Market (1829), and a “country market” (1833) were established to the west. Beginning around 1820, members of the German-immigrant Rohr family began to develop rowhouses on the west side of Greenwich Street, both south and north of Canal Street, on land then owned by Alexander L. and Sarah Lispenard Stewart. John Rohr, a mason/builder, probably constructed these, including No. 486 Greenwich Street. He and his wife, Martha, never resided here, but leased the house until 1836; the earliest known tenant was merchant Isaac Moses (1824-26). Baker Charles Hummel was a resident and owner, and apparently also had his business here, from 1831 to 1850. By 1851, the building had become a rooming house. For a century, it had two long-term owners: Abraham Witherup and Milton W. Armstrong, partners in a building firm, and their heirs (1854-84), and real estate operator Robert I. Brown and his family (1884-1953). In the 20th century, the property was used industrially, including A[ndrew]. Allan & Son, a bearing metals manufacturing firm (1906-17), and A. Johnston & Son Iron Works (1953-75). Despite the loss of some architectural details, this house, notable singly and as a pair with its neighbor (No. 488), is among the very rare surviving and significantly intact modest Manhattan buildings of the Federal style, period, and 2-1/2-story, 3-bay, single-dormered peaked-roof type, with a commercial ground story. Their survival is particularly noticeable in a neighborhood that was redeveloped with industrial and loft buildings in the late-19th and 20th centuries. DESCRIPTION AND ANALYSIS The Development of the Greenwich and Canal Streets Neighborhood and Later Changes The vicinity of Greenwich and Canal Streets, at the northern edge of the neighborhood known since the 1970s as Tribeca (Triangle Below Canal Street), was for much of the 18th century commonly known as Lispenard’s Meadows. This marshy land, connected by streams to the Collect Pond (approximately at today’s Lafayette and Centre Streets) and to the North (Hudson) River, was a major impediment on the western side of Manhattan to northward travel and development. Previously, in the 17th century, the Dutch had set aside land for partially freed slaves just north of this uninhabited region, to act as a buffer zone between their settlement to the south and Native Americans to the north. African Symon Congo was granted in 1644 an 8-acre farm to the northeast of this intersection, bounded approximately by present-day Hudson, Charlton, Downing, and MacDougal Streets. After the British took control of New York in 1664, Africans were legally barred from owning property. During British rule, this area was located within portions of the Trinity Church and Anthony Rutgers Farms, granted in 1705 and 1733 respectively (Congo’s property became part of the Church Farm). Rutgers’ property was transferred after his death in 1746, by inheritance and sale, to Leonard Lispenard (17151790), who had married Rutgers’ daughter Alice. Lispenard’s mansion was built c. 1740 at the intersection of today’s Hudson and Desbrosses Streets. The Lispenard property was inherited in 1790 by Leonard’s son, Anthony Lispenard, who began to plot the land in 1795. According to the 1800 Census, Anthony Lispenard owned five slaves. After his death in 1805, the Lispenard heirs in 1807 petitioned the Common Council of New York for, and were granted, the water lots opposite their holdings at Canal Street. In 1811, they also petitioned the Council for, and were granted, the right to dig a channel to drain their land between Canal and Spring Streets. The Lispenard mansion was demolished around 1813. Trinity Church, which had earlier leased lots on its Church Farm property, also began preparing for development, and ceded to the City those portions necessary for the layout of streets, beginning with Hudson Street in 1797. St. John’s Chapel (1803-07, John McComb, Jr.) was constructed next to Hudson Square (also known as St. John’s Park), laid out between Varick, Beach, Hudson, and Laight Streets. Though the vicinity of the park remained relatively isolated until the 1820s, Trinity further encouraged residential growth by s