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Description
trek madone slr 6 gen 7La Madone SLR 6 un bolide da corsa votato alla velocit. Tutto parte da un telaio in carbonio OCLV 800 Series basato sull'esclusiva tecnologia IsoFlow, progettata per migliorare l'aerodinamica, ridurre il peso e spianare la strada. A questa si aggiunge una serie di componenti instancabili, come la trasmissione elettronica wireless Shimano 105 Di2 a 12 rapporti per gestire le sfide delle competizioni e cambiare fulmineamente velocit quando il gioco si
La Madone SLR 6 è un bolide da corsa votato alla velocità. Tutto parte da un telaio in carbonio OCLV 800 Series basato sull'esclusiva tecnologia IsoFlow, progettata per migliorare l'aerodinamica, ridurre il peso e spianare la strada. A questa si aggiunge una serie di componenti instancabili, come la trasmissione elettronica wireless Shimano 105 Di2 a 12 rapporti per gestire le sfide delle competizioni e cambiare fulmineamente velocità quando il gioco si fa duro. Inoltre, è dotata di aggiornamenti che fanno la differenza, come i cerchi in carbonio ad alto profilo per massimizzare l’effetto aerodinamico.
Specifiche
*Nota: le specifiche valgono per tutte le taglie a meno che non siano elencate separatamente
Kit telaio
| Telaio | Carbonio OCLV 800 Series, profilo del tubo KVF (Kammtail Virtual Foil), tubo sella IsoFlow, passaggio cavi invisibile, tendicatena 3S aero, BB T47, disco flat mount, perno passante 142x12mm |
|---|---|
| Forcella | Madone KVF full carbon, tapered carbon steerer, internal brake routing, flat mount disc, carbon dropouts, 12x100mm thru axle |
| Assetto telaio | H1.5 Race |
Peso
| Peso | 56 - 7,75kg |
|---|---|
| Limite di peso | Questo modello presenta un limite massimo complessivo (peso combinato di bicicletta, ciclista e carico) di 125kg. |
Sistema elettronico
| Batteria | Shimano BT-DN300 |
|---|---|
| Charger | Cavo di ricarica in dotazione |
Trasmissione
| Comando | Shimano 105 R7170, 12 velocità |
|---|---|
| Deragliatore anteriore | Shimano 105 R7150 Di2, a saldare, fascetta bassa |
| Deragliatore posteriore | Shimano R7150 |
| *Guarnitura |
Misura: 47 Shimano 105 R7100, 50/34, lunghezza 165mm |
|
Misura: 50, 52 Shimano 105 R7100, 50/34, lunghezza 170mm |
|
|
Misura: 54, 56, 58 Shimano 105 R7100, 50/34, lunghezza 172,5mm |
|
|
Misura: 60, 62 Shimano 105 R7100, 50/34, lunghezza 175mm |
|
| Movimento centrale | Praxis, T47 filettato, cuscinetto interno |
| Cassetta | Shimano 105 7100, 11-34, 12 velocità |
| Catena | Shimano SLX M7100, 12 velocità |
| Dimensione max. della corona | 1x: 50T, 2x: 54/40 |
Ruote
| Ruota anteriore | Bontrager Aeolus Pro 51, carbonio OCLV, Tubeless Ready, perno passante 100x12mm |
|---|---|
| Ruota posteriore | Bontrager Aeolus Pro 51, Tubeless Ready, ruota libera Shimano 11/12 velocità, perno passante 142x12mm |
| Bloccaggio anteriore | Perno passante Switch Bontrager, leva rimovibile |
| Bloccaggio posteriore | Perno passante Switch Bontrager, leva rimovibile |
| Pneumatico | Bontrager R3 Hard-Case Lite, tallone in aramide, 120tpi, 700x25mm |
| Dimensioni max. dello pneumatico | 32mm (come misurato, vedere il manuale per i dettagli) |
Componenti
| *Sella |
Misura: 47, 50, 52 Bontrager Aeolus P2 Elite, larghezza 155mm |
|---|---|
|
Misura: 54, 56, 58, 60, 62 Bontrager Aeolus Elite, binari in austenite, larghezza 145mm |
|
| *Reggisella |
Misura: 47, 50, 52, 54 Reggisella in carbonio aero Madone, offset 0mm, corto |
|
Misura: 56, 58, 60, 62 Reggisella in carbonio aero Madone, offset 0mm, lungo |
|
| *Manubrio/attacco manubrio (integrato) |
Misura: 47 Manubrio/attacco manubrio integrati Madone, carbonio OCLV, reach 80mm, drop 124mm, larghezza di controllo 35cm, larghezza drop 38cm, lunghezza attacco manubrio 80mm |
|
Misura: 50, 52 Manubrio/attacco manubrio integrati Madone, carbonio OCLV, reach 80mm, drop 124mm, larghezza di controllo 37cm, larghezza drop 40cm, lunghezza attacco manubrio 90mm |
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Misura: 54 Manubrio/attacco manubrio integrati Madone, carbonio OCLV, reach 80mm, drop 124mm, larghezza di controllo 39cm, larghezza drop 42cm, lunghezza attacco manubrio 90mm |
|
|
Misura: 56, 58 Manubrio/attacco manubrio integrati Madone, carbonio OCLV, reach 80mm, drop 124mm, larghezza di controllo 39cm, larghezza drop 42cm, lunghezza attacco manubrio 100mm |
|
|
Misura: 60, 62 Manubrio/attacco manubrio integrati Madone, carbonio OCLV, reach 80mm, drop 124mm, larghezza di controllo 41cm, larghezza drop 44cm, lunghezza attacco manubrio 110mm |
|
| Nastro manubrio | Nastro Bontrager Supertack Perf |
| Freno | Disco idraulico Shimano 105 |
| Rotore freno | Shimano RT70, centerlock, 160mm |
| Dimensione del disco | Dimensione rotore del freno max: 160mm anteriore & posteriore |
Ci riserviamo il diritto di apportare modifiche alle informazioni dei prodotti presenti sul sito in qualsiasi momento senza preavviso, ivi inclusi i dati relativi a equipaggiamento, specifiche, modelli, colori, materiali e prezzi. A causa di problemi sulla catena di approvvigionamento, le parti compatibili possono essere sostituite in qualsiasi momento senza preavviso. I prezzi indicati sono riferiti ai prezzi al dettaglio suggeriti dal produttore.
I pesi di bicicletta e telaio si riferiscono a prodotti verniciati in pre-produzione al momento della stampa. Il peso del prodotto finito potrebbe variare.
Misure
| Misura | Altezza ciclista | Interno gamba |
|---|---|---|
| 47 |
152 - 158 cm 5'0" - 5'2" |
71 - 75 cm 28" - 30" |
| 50 |
158 - 163 cm 5'2" - 5'4" |
74 - 77 cm 29" - 30" |
| 52 |
163 - 168 cm 5'4" - 5'6" |
76 - 79 cm 30" - 31" |
| 54 |
168 - 174 cm 5'6" - 5'9" |
78 - 82 cm 31" - 32" |
| 56 |
174 - 180 cm 5'9" - 5'11" |
81 - 85 cm 32" - 33" |
| 58 |
180 - 185 cm 5'11" - 6'1" |
84 - 87 cm 33" - 34" |
| 60 |
185 - 190 cm 6'1" - 6'3" |
86 - 90 cm 34" - 35" |
| 62 |
190 - 195 cm 6'3" - 6'5" |
89 - 92 cm 35" - 36" |
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4.1 ★★★★★
Based on 12 reviews
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Product Reviews
★★★★★ 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
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017