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Description
14 in. Floor Model Cold SawPalmgren's 14 in. model cold saw is ideal for cutting low and high carbon steels, medium gauge tubes and profiles. It delivers precise, smooth, burr free straight or angle cuts consistently. Great addition to any workshop. Advanced gear box design utilizing taper roller bearings, hardened and ground gears with a high quality bronze worm gear in an oil bath Rapid acting vise, adjustable, anti burr, allows for secure clamping of the workpiece, improving
Palmgren's 14 in. model cold saw is ideal for cutting low and high carbon steels, medium gauge tubes and profiles. It delivers precise, smooth, burr free straight or angle cuts consistently. Great addition to any workshop.- Advanced gear box design utilizing taper roller bearings, hardened and ground gears with a high quality bronze worm gear in an oil bath
- Rapid acting vise, adjustable, anti-burr, allows for secure clamping of the workpiece, improving accuracy and finish
- Flood coolant system
- Material feed support roller bracket and adjustable work stop
- Safety electrical package includes overload and low voltage protection, safety spring loaded 24-Volt trigger switch, emergency stop button and 2 speed motor switch
- Cast iron base mounted to a heavy-duty solid steel floor stand
Features
| Item Weight | 675.0 |
| Rip Capacity - Right | 0 in |
| Table Tilt Left Max (degrees) | -45 |
| Color Family | Blue |
| Maximum Speed (rpm) | 2800 |
| Blade Diameter (in.) | 14 |
| Power Tool Features | No Additional Features |
| Cordless/ Corded | Corded |
| PT Horsepower (Hp) | 3 |
| Bench & Stationary Tool Type | Table Saw |
| Blade Location | Centered |
| Dust Collection Method | None |
| Condition | New |
| Horsepower (hp) | 3 hp |
| Depth Control | Adjustable |
| Portability | Stationary |
| Rip Capacity - Left | 0 in |
| Construction Material | Cast Iron |
| Blade Speed | 80 RPM |
| Product Weight (lb.) | 675 lb |
| Returnable | 180-Day |
| Cuts Through | Steel |
| Tools Product Type | Power Tool |
| Table Tilt Right Max (degrees) | 45 |
| Amperage (amps) | 10 A |
| Maximum Cut Depth @ 45 Deg. | 3.125 in |
| Cord Length (ft.) | 8 |
| Included Accessories | Allen Key/Wrench |
| Product Height (in.) | 47.24 in |
| Table Width (in.) | 39.37 |
| Product Depth (in.) | 58 in |
| Product Width (in.) | 39.37 in |
| Maximum Cut Depth @ 90 Deg. | 4 in |
| Work Table Surface | 58 in. x 39.37 in. |
| Table Length (in.) | 58 |
| Manufacturer Warranty | 3 years |
| Certifications and Listings | No Certifications or Listings |
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- Free Standard Shipping on $100+ Orders to the USA.
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Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
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4.5 ★★★★★
Based on 25 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
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