SKU: 87491464305

Milwaukee Tool 48-22-3079 6-In-One Combination Wire Stripping and Reaming Pliers for Electricians

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Description

Milwaukee Tool 48-22-3079 6-In-One Combination Wire Stripping and Reaming Pliers for ElectriciansAs an electrician or general contractor. there are more than enough tools out there that you need in your kit. Simplify the process by purchasing some multi tools that can perform multiple functions. When it comes to wire stripping. the Milwaukee 48 22 3079 is more than enough. Use its onboard template to strip most standard sized bare or stranded wires. When theyre stripped. use the center console to plug those wires in and form perfect loops to

As an electrician or general contractor. there are more than enough tools out there that you need in your kit. Simplify the process by purchasing some multi tools that can perform multiple functions. When it comes to wire stripping. the Milwaukee 48-22-3079 is more than enough. Use its onboard template to strip most standard sized bare or stranded wires. When they’re stripped. use the center console to plug those wires in and form perfect loops to attach to grounding screws or other areas. You’re not limited to electrical wire work with this. either. If you need to shorten screws or bolts. you can fit them into the other side of the center console to cut them down to size. You can even use the forged tip of this tool to ream out piping between one half and one inch in width. Alternatively. you can use that same tip to punch out outlet boxes. It’s sturdy enough to handle hundreds on the jobsite. while lightweight enough so you can do it in relative comfort. Why have six separate tools on hand when you can keep one that does the job better? With Milwaukee. you can achieve heightened productivity.

Features

  • WIRE STRIPPING: Strip 8. 10. 12. 14. 16. and 18 gauge bare wire. Alternatively. strip 10. 12. 14. 16. 18. and 20 gauge stranded wire

  • LOOP MAKING: Two holes in the center of the unit will accept 8-32 and 6-32 wires to make loops for grounding screws

  • REAMING: Smooth out your pipe edges from between 1/2 to 1 inches

  • BOLT AND SCREW CUTTING: Thread your #6 and #8 bolts through the center of the tool and cut to whichever length you prefer

  • CURVED CUTTING BLADE allows you to cut through larger wire sizes than the template allows

Specifications

Brand Name: Milwaukee

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SKU: 87491464305

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4.6 ★★★★★
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David R. Papke
Lexington, 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
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DoubtfulReader
Charlottesville, 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.
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Reviewed in the United States on June 27, 2017
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Matt M.
Carnegie, 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.
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Reviewed in the United States on January 19, 2021
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J. Christian
Fort Morgan, 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
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Verified Purchase
Classics professor
Belleville, 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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