SKU: 65195916708

Accortec 800 GB Solid State Drive - 2.5" Internal - SAS (12Gb/s SAS) - Gray

Name: Accortec 800 GB Solid State Drive - 2.5" Internal - SAS (12Gb/s SAS) - Gray
Brand: bieltoni.com
SKU: 65195916708
Price: 728.75 USD
Availability: InStock
Rating: 4.2691 (6 reviews)

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Description

Accortec 800 GB Solid State Drive - 2.5" Internal - SAS (12Gb/s SAS) - GrayAccortec 800 GB SAS 2. 5" Internal Solid State Drive The Accortec 800 GB Solid State Drive is engineered to transform storage performance in data centers, enterprise servers, and demanding workstation environments. This 2. 5" internal SAS (12Gb s SAS) SSD combines high speed data access with dependable reliability, delivering a versatile storage solution that accelerates databases, virtualization, and I O intensive applications. Built to thrive in

Accortec 800 GB SAS 2.5" Internal Solid State Drive

The Accortec 800 GB Solid State Drive is engineered to transform storage performance in data centers, enterprise servers, and demanding workstation environments. This 2.5" internal SAS (12Gb/s SAS) SSD combines high-speed data access with dependable reliability, delivering a versatile storage solution that accelerates databases, virtualization, and I/O-intensive applications. Built to thrive in professional workloads, the drive emphasizes low latency, consistent throughput, and robust endurance, all wrapped in a compact gray 2.5" form factor that fits a wide range of server and workstation configurations. Whether you’re refreshing an aging storage tier, expanding capacity for virtual machines, or powering mission-critical applications, the Accortec 800 GB SAS SSD provides the performance headroom and reliability needed to keep your operations running smoothly.

Blazing-fast SAS 12Gb/s performance: Designed for high-throughput workloads, this drive leverages the speed of SAS interfaces to deliver snappy read and write operations, dramatically reducing bottlenecks in databases, analytics, and virtualized environments. The 12Gb/s SAS interface is optimized for low latency and sustained streaming I/O, helping data centers achieve better response times and higher peak IOPS without sacrificing consistency.
Enterprise-grade reliability and durability: Built for continuous operation, the Accortec 800 GB SAS SSD emphasizes reliability that you can trust for 24/7 workloads. Its solid-state architecture minimizes mechanical failure risks, while advanced error correction and wear-leveling strategies help extend drive life in systems with heavy write activity and long duty cycles. This is storage you can depend on when downtime is not an option.
Ample 800 GB capacity for critical workloads: With a substantial capacity allocation, this drive supports a wide range of applications—from database and transactional workloads to the caching layers that accelerate complex ERP and data analytics. The 800 GB footprint provides room for operating systems, databases, and application data while keeping frequently accessed data close at hand for rapid access and quick recovery in the event of I/O spikes.
Power-efficient operation and thermal stability: SSD technology inherently reduces power draw compared with traditional spinning disks, and the Accortec drive is engineered to manage heat effectively in dense server enclosures. Efficient power use translates into lower cooling requirements and can contribute to a calmer data center environment, enabling more aggressive consolidation and better total cost of ownership for enterprise deployments.
Seamless integration with existing SAS ecosystems: This internal SAS SSD is designed to slot into a variety of servers and workstations that rely on SAS controllers and RAID configurations. It is compatible with common operating systems and virtualization platforms, making upgrade paths straightforward and minimizing disruption during deployment. The drive’s 2.5" form factor and standard SAS interface simplify hardware refreshes, OEM integration, and data-center rack migrations.

Technical Details of Accortec 800 GB Solid State Drive

Capacity: 800 GB
Form factor: 2.5-inch internal drive
Interface: SAS 12Gb/s
Drive type: Solid State Drive (SSD)
Color: Gray
Target application: Enterprise storage, data centers, virtualization, and performance-intensive workloads
Reliability focus: Designed for high durability and steady error correction to support long, intensive duty cycles
Thermal characteristics: Optimized for stable operation in dense environments with improved heat management

How to install Accortec 800 GB SAS SSD

Installing the Accortec 800 GB SAS SSD is straightforward and compatible with most 2.5" server bays and SAS-enabled systems. Follow these general steps to add this drive into your enterprise storage or server infrastructure:

Power down the server or workstation and perform standard electrostatic discharge precautions to protect sensitive components.
Open the chassis or drive cage to access an available 2.5" drive bay and secure the mounting bracket if required, ensuring the drive sits firmly without undue stress on connectors or cables.
Connect the drive to the SAS controller with the appropriate SAS data cable and attach the power connector. Ensure cables are routed neatly to avoid interference with fans or other components.
Reinstall the drive bay cover or drive cage, power up the system, and enter the BIOS/UEFI or RAID controller configuration utility to detect the new drive. If using a RAID array, add the SSD to the appropriate array or initialize it as a standalone volume as needed by your deployment plan.
In your operating system, initialize and format the new SSD as required. For servers running Windows Server, Linux, or virtualization platforms, create the desired file system and, if applicable, configure tiering or caching strategies to maximize performance benefits.
Cool, monitor, and test the drive after installation. Validate read/write performance, verify SMART data, and ensure the drive operates within expected temperature bands during sustained workloads. Consider applying any available firmware updates from Accortec or the OEM to maintain optimal performance and reliability.

Frequently asked questions

Is this drive suitable for servers and data centers?
Yes. The Accortec 800 GB SAS SSD is designed for enterprise environments, offering high throughput, low latency, and consistent performance suitable for databases, virtualization, and I/O-intensive applications. Its SAS interface and 2.5" form factor align well with standard server chassis and RAID configurations used in data centers.

What does SAS 12Gb/s mean for performance?
SAS 12Gb/s refers to the data transfer rate between the drive and the host controller. This interface supports faster sequential transfers and improved random I/O performance compared with older SATA interfaces, helping applications respond quickly and maintain smooth operation under heavy workloads.

What operating systems support this SSD?
SAS SSDs are broadly compatible with major operating systems used in servers and data centers, including various Linux distributions, Windows Server editions, and common virtualization platforms. In practice, the drive will be recognized by the SAS controller and accessed through the OS’s storage management tools after initialization.

Can I use this drive in a RAID array?
Yes. The 2.5" form factor and SAS interface are compatible with most RAID controllers. You can configure the drive as part of a RAID array for redundancy or combine it with other SSDs for performance-tuned storage pools. Always ensure you follow your controller’s recommended best practices for drive configuration and firmware updates.

What warranty or support is available?
Warranty terms vary by region and retailer. Check the manufacturer’s listing or your vendor’s policy for specifics on coverage duration and support services. For enterprise deployments, confirm warranty eligibility during procurement to secure predictable service levels and replacement timelines.

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Exchange/Return Notes

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Product Reviews

Verified Purchase

Lana

Port Orchard, US

★★★★★ 5

Good

Good

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Reviewed in the United States on January 22, 2026

Verified Purchase

dra

Whiting, US

★★★★★ 5

Fractured pop art masterpiece

Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.

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Reviewed in the United States on May 3, 2014

Verified Purchase

J. H. Haley

Port Orchard, US

★★★★★ 4

Lee Marvin's best

Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.

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Reviewed in the United States on September 25, 2007

Verified Purchase

mojo_navigator

Bozeman, US

★★★★★ 5

Excellent Blu-Ray Transfer - Big Improvement to the DVD

I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)

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Reviewed in the United States on September 26, 2014

Verified Purchase

KEITH

Pawtucket, US

★★★★★ 5

Displeasure And Distance

The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.

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Reviewed in the United States on July 17, 2025