SKU: 5997115691

Cub Cadet LM5 E 51 R - ohne Akku & Ladegerät

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Description

Cub Cadet LM5 E 51 R - ohne Akku & LadegerätHohe Effizienz und robuste Bauweise verbunden mit neuester Akku Technologie. Mit dem LM5 Akkurasenmher arbeiten Sie in Zukunft ohne Lrm und Benzingeruch. Dabei knnen Sie zwischen Auffangen, Mulchen und Auswerfen whlen bei erstklassiger Schnittqualitt, wie Sie es von Cub Cadet erwarten. Produkthighlights Boosted Airflow Technologie Variabler Antrieb Robustes Stahlmhdeck Rder mit Kugellager 6 fache Schnitteinstellung Produktdetails HOCHWERTIGE

Hohe Effizienz und robuste Bauweise verbunden mit neuester Akku-Technologie. Mit dem LM5 Akkurasenmäher arbeiten Sie in Zukunft ohne Lärm und Benzingeruch. Dabei können Sie zwischen Auffangen, Mulchen und Auswerfen wählen – bei
erstklassiger Schnittqualität, wie Sie es von Cub Cadet erwarten.

 

Produkthighlights

  • Boosted-Airflow-Technologie
  • Variabler Antrieb
  • Robustes Stahlmähdeck
  • Räder mit Kugellager
  • 6-fache Schnitteinstellung

 

Produktdetails

HOCHWERTIGE KUGELLAGER

Kugellager an allen vier Rädern und Gummigriffe sorgen für eine ruhige Fahrt.

 
ROBUSTES STAHLMÄHDECK

Das 53 cm breite Stahlmähdeck eignet sich für unebenes Gelände.

 
BOOSTED-AIRFLOWTECHNOLOGIE

Für optimalen Schnittguttransport zum Fangkorb.

 
VARIABLER ANTRIEB

Stufenlose Geschwindigkeit per Regler und Hinterradantrieb erleichtern die Gartenarbeit ungemein.

 
6-FACHE SCHNITTHÖHENEINSTELLUNG

Die Schnitthöhe lässt sich bequem durch einen Hebel zentral verstellen.


Technische Daten

AKKU

 LM5 E 51 R

 Motortyp

 54V max.

 Spannung

 159

 Batterie / Schnellladegerät 

 optional 5,0 Ah (49AP602-603) / optional (49AL601-603) 



ANTRIEBSSYSTEM

 

 Antrieb

 Hinterradantrieb

 Fahrstufen

 Variabel

 Geschwindigkeit (max)

 0 - 3,6



SCHNEIDSYSTEM

 

 Empf. Flächenleistung (m2/h)

 700

 Gehäuse / Rahmen

 Stahl

 Schnittbreite (cm)

 51

 Mähoptionen

 3-in-1

 Schnitthöheneinstellung

 6 Positionen/zentral

 Schnitthöhe (mm)

 38–88

 Auffangen

 Standard

 Mulchkit

 Standard

 Heckauswurf ohne Fangsack

 Standard



AUFFANGEN

 

 Fangeinrichtung

 Textilfangsack mit Abdeckung

 Fangsack (Kapazität) (l)

 60



RÄDER

 

 Räder (vorne/hinten)

 150 mm / 200 mm

 Doppelte Kugellager

 Doppelte Kugellager



KOMFORT

 

 Holm

 Ergo mit Softgrip

 Klappbarer Holm

 Standard

 Höhenverstellbarer Holm

 Standard, 3 Stufen

 Ummantelung am Holm 

 Standard


 

ABMESSUNGEN

 

 LpA /LwA/LwAg (dB) (dB)

 78 / 92 / 98

 Vibrationswert Hand/Arm/(K-Faktor) (m/s2)

 2,5 / 1,5

 Abmessungen (L / B / H) (cm)

 160 / 56 / 110 

 Gewicht

 31kg


Lieferumfang

1 x Cub Cadet LM5 E 51 R - ohne Akku & Ladegerät

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SKU: 5997115691

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4.4 ★★★★★
Based on 17 reviews
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Product Reviews
D
Verified Purchase
David R. Papke
Dallas, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
D
Verified Purchase
DoubtfulReader
Alexandria, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 27, 2017
M
Verified Purchase
Matt M.
Dallas, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 19, 2021
J
Verified Purchase
J. Christian
Lowell, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
C
Verified Purchase
Classics professor
Lexington, US
★★★★★ 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 20, 2017

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