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Description
ELECTRIQ QRMT-695S7IV 70厘米 T型變頻抽油煙機ELECTRIQ QRMT 695S7IV 9 + LED + 70cm T ELECTRIQ QRMT 695S7IV 70 T 695 350 395 800 10% 1300 rpm 9 1 5
🌬️ 告別油煙，享受寧靜廚房
每次下廚，油煙四散是最令人困擾的問題。ELECTRIQ QRMT-695S7IV 以直流變頻摩打為核心，強勁吸力配合超低噪音，讓您在爆炒之間依然保持廚房清新，烹飪體驗煥然一新。
⚡ 核心性能
- 🔧 直流變頻摩打 — 高效節能，運行穩定，強勁吸力同時大幅降低噪音
- 🎚️ 9 段風速調節 — 由輕煮到猛火爆炒，精準配合每種烹飪需要
- 🤖 智能變速抽力 — 遇到排風阻力時自動提升轉速，始終保持最佳抽吸效果
- 💨 強力風輪設計 — 迅速吸走大量油煙，保持廚房空氣清新
- 🔥 特設爆炒模式 — 專為中式大火烹飪而設，瞬間全力抽走油煙
🖐️ 操作便利
- 👋 人體感應 + 手動雙模式 — 靠近自動啟動，或手動精準控制，隨心切換
- 💡 LED 顯示 + 輕觸式按鈕 — 介面直觀清晰，一觸即控
- 🔒 安全斷電保護 — 內置安全機制，用電更放心
- ⏱️ 延遲關機功能 — 烹飪後繼續運作，徹底清除殘留油煙與異味
✨ 設計與保養
- 🏠 70cm T型簡約外觀 — 線條流暢，時尚百搭，完美融入現代廚房
- 🌡️ 熱控除油技術 — 以熱力自動溶解油污，減少人工清潔頻率
- 🔩 易拆式設計 — 主要部件快速拆卸，日常清潔輕鬆搞定
📐 產品規格
- 品牌：ELECTRIQ
- 型號：QRMT-695S7IV
- 類型：70厘米 T型變頻抽油煙機
- 機身尺寸（寬×深×高）：695 × 350 × 395 毫米
- 風量轉速：約 800 ±10%（轉速 1300 rpm）
- 摩打類型：直流變頻摩打
- 風速段數：9 段
- 控制方式：輕觸式、人體感應
- 主要功能：熱控除油、爆炒功能、智能變速抽力、安全斷電、延遲關機
- 整機保養：1 年
- 摩打／壓縮機保養：5 年
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4.1 ★★★★★
Based on 23 reviews
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Product Reviews
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
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Reviewed in the United States on October 14, 2016
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