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Earrings Size: Approximately 10 mm hoop diameter; with cz design, Handcrafted for wear solo or stack with other hoops
Material: Our gold hoop earrings crafted in 18K gold plated, heat and pressure bonded to a high-quality brass core, being tarnish-resistant and absolutely stunning; the earrings are super lightweight and feature a high-shine finish
Applicable Occasions: our dainty gold huggie hoop earrings are suitable for many occasions, party, wedding, ceremony, graduation, dating and vocation
Package: one pair of dainty huggie hoop earrings packed in delicate box; Pls note: If the clasp is not tight enough after daily use,pls pull up the needle a little bit make it work again
About MEVECCO Jewelry: To create modern,minimal and easy going personalized jewelry! handmade and engraved personal pieces,as well as delicate dainty jewelry and layered combos which create the perfect individual look
With its travel-friendly size and carry handle, the Flip is always down for an adventure.
The stainless steel tumbler keeps blends cold up to 24 hours.
Packed with an 11.1V high-torque motor, the Flip has 50% more battery power* than most standard portable blenders and is capable of blending ice, most frozen fruits, and many fresh ingredients to make smoothies on the go.
A USB-C charging port juices your battery with 14+ 30-second blending cycles per full charge.** **New unit tested, fully charged, with back-to-back blending cycles using 12oz water, 2 scoops protein powder, and 1oz regular ice cubes. Results may vary depending on ingredients.
Cleaning is quick and easy. Simply add dish soap and water and blend for one cycle.
NOTE: Refer to User Manual before use
Product built to North American & Canadian Electrical Standards
Compatible Model: This main rubber brush replacement kit is compatible with Roborock Q Revo, Roborock Qrevo MaxV, Roborock Qrevo S, S7 Max Ultra, S7, S7+, S7 Max Ultra, S7 MaxV, S7 MaxV Plus, QV 35A, Q7, Q7+, Q7 Max, Q7 Max+ Robot Vacuum Cleaner.
Anti-tangle Design: This main brush adopts an innovative anti-tangle design, which effectively reduces hair tangle problems, keeps the main brush running smoothly, extends service life, and reduces maintenance frequency, making it an ideal choice for dealing with pet hair.
Floating Rubber Main Brush: Our innovative floating mechanism ensures deep cleaning performance on hard floors and carpets. It brings the brush into close contact with the hard floor, effectively capturing dirt. On carpets, it intelligently lifts the brush to improve agitation, ensuring a thorough cleaning.
Easy to Maintain: Easy installation and disassembly design makes maintenance simple. Please clean the main brush every 2 weeks and replace it every 6-12 months to enhance suction power and performance, ensuring your robot vacuum remains in optimal working condition.
Note: To protect your robot vacuum machine and extend its lifespan, please purchase replacement parts from Roborock store. If you have any questions, please feel free to contact us.
What's inside: 2 x Main Brush.
RICHER AUDIO EXPERIENCE — The Apple-designed H2 chip helps to create more intelligent noise cancellation and deeply immersive sound. The low-distortion, custom-built driver delivers crisp, clear high notes and full, rich bass in stunning definition.
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【2-Gang Design】Seamless installation of two switches are now made possible. Control two different circuits with an elegant flush look. Form and function rolled into one.
【Easy Guided Install】Neutral wire is required. No need to understand complex switch wiring or master vs auxiliary switch configuration. The Kasa App guides you through easy step by step installation. Need 2.4GHz Wi-Fi connection
【App & Voice Control】Control your connected lights from anywhere, anytime, with the Kasa Smart app or your favorite voice assistant: Amazon Alexa, Google Assistant or Samsung SmartThings.
【Control From Anywhere】Monitor your light status. Turn electronics on and off from anywhere with your smartphone using the Kasa App, whether you are at home, in the office or on vacation.
【Advanced Scheduling & Timer】Use timer or countdown schedules to set your smart switch to automatically turn on and off while you're home or away. Enable 【Away Mode】 to randomly switch on and off to trick potential intruders
【App-Guided Install】The Kasa or Tapo app guides you through step-by-step setup. Requires neutral wiring and 2.4 GHz Wi-Fi. Consulting an electrician is recommended if you’re unfamiliar with electrical wiring.
Leave no mess behind with up to 50 minutes of sweeping power
So lightweight, sleek and maneuverable, you can easily clean one-handed
Just grab it and go - with the lithium ion battery there's no cord to slow you down
Head swivels smoothly to steer effortlessly around, under and behind furniture
Check battery status with one glance at the built-in LED
Lies flat to easily glide under furniture and beds
Instantly empties right into the trash can - without getting your hands dirty
Self-standing design allows you to clean and park with ease
RELIABLE VALVE: Valve cartridge is tested to last at least 500,000 uses to ensure high performance with less drips and a smooth bathroom faucet handle operation.
MAGNETIC DOCKING: MagnaTite Docking uses a powerful magnet to snap your kitchen sprayer into place so it stays docked and doesn’t droop over time like other kitchen faucets
CORROSION-RESISTANT FINISH: Delta Matte Black faucet finishes are salt fog tested, meaning they withstand a corrosive, chemical solution for over 12 hours, triple the required industry standard, without blistering, cracking or peeling
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10-Pack: Contains ten (10) 2.7 oz. Trays of Cesar Warm Bowls Wet Dog Food Roasted Chicken Entrée With Sweet Potatoes & Broccoli In Broth
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JA BooklynReviewed in the United States on May 20, 2021
Jansons is one of the best.
Andrew R. BarnardReviewed in the United States on September 23, 2014
The Bavarian Radio Symphony has a natural advantage when recording a detailed, atmospheric work like the Mahler 7th, given the clarity of their in-house label. Few recordings produced today better BR Klassik for a natural, dynamic sound range. In this present case, it helps that Mariss Jansons has a eye for detail, and his orchestra plays with virtuosity just shy of their counterparts in Berlin and Vienna, only the sonics magnify the impact. Recently, we've gotten a remarkable Berlioz Symphonie Fantastique from this same conductor and orchestra that was spooky and gripping, instantly rising to the top of my favorites. I think Jansons has a true gift with shadowy music, and that comes through here, with the half-lit, edgy sound world of the symphony's inner movements. He nearly caresses the music, maneuvering through the tosses and turns with delicacy and ravishing detail. The Scherzo is the highlight, with unearthly contrasts and unnerving voicing. It's borderline reticent at times, and Jansons is reluctant to give way to overt excitement, preferring tip-toeing suspense. And it's beautiful and unsettling at once, far removed from the visceral impact of a contemporaneous recording with Gergiev and the LSO, or the energy and abandon of classic Bernstein on Sony with the New York Phil. I admire Jansons' approach, only I'm not sure the absence of undisguised passion betters the symphony, especially considering its length. But for orchestral playing and detail, this recording is a marvel, and Jansons has enough interest on the podium that for me this recording is a keeper, if not inspired enough to join the list of greats.
Barry GuerreroReviewed in the United States on October 24, 2009
Mahler 7 has finally hit a patch of good fortune. Michael Tilson-Thomas has recorded it twice in recent times (I prefer his earlier LSO one on RCA). Since then, Daniel Barenboim, David Zinman, and Gerard Schwarz have all turned in pretty impressive efforts. This new Jansons one has the benefit of not only fitting on a single disc, but being an sacd/cd hybrid as well. In general, it's a fast performance with excellent and highly idiomatic playing from the Bavarian Radio Symphony Orchestra. In fact, I was rather shocked to discover that this was a "live" recording, since the folks at BR chose to leave on the applause (I do wish that they wouldn't do that). For my taste, the woodwinds could have been a tad more forward in the overall perspective, but the timpani player is superb. In fact, at the start of the finale, this has absolutely THE best played opening flourish on the kettle drums that I've ever heard. That's truly saying something. The brass cut through nicely when they need to, but neither are they too heavy and overbearing. That leaves the strings and they do a nice job as well, especially in the erudite second Nachtmusik (fourth movement). There's no shortage of guitar or mandolin either. If all this sounds like shades of the old Kubelik/BRSO Mahler cycle, you'd be right. All in all, this a very solid contender. Personally speaking, I have a slight preference for the Barenboim. That's mostly because he does a better job of making the finale sound both spontaneous and rather unhinged at the right moments (Jansons is pretty much just fast from start to finish, clocking in well short of 17 minutes). I also like Barenboim's somewhat swifter tempo for the fourth movement. But the differences aren't great by any means - both have very good playing and truly good sound. The Gerard Schwarz M7 shouldn't be entirely forgotten either. We're finally spoiled for good choices on the Mahler 7th (and yes, I love the old Lenny one)!
Huntley DentReviewed in the United States on November 17, 2009
There are good reasons for appreciating Mariss Jansons' accomplished Mahler Seventh, but in spirit it's rather stolid. I agree with the earlier reviewer that we've been fortunate to have a handful of competitive recordings in the past few years, but I would discount Zinman and even Barenboim, both of whom lead very good versions, in favor of the exciting ones from Gergiev and Abbado, who so far surpass the other two -- and this new one -- that it might be time to slow down the Mahler recording mill. There really is no obvious reason for Jansons'new reading except, perhaps, its hybrid SACD sound, which is excellent. Also excellent is the execution of the Bavarian Radio orchestra, which some critics consider one of the best in the world (I've not heard them in concert and withhold judgment). What Jansons chiefly lacks is visceral energy. Like Chailly, his predecessor in Amsterdam with the Concertgebouw, his style in Mahler is to make the most from bar to bar, with impeccable balances and voicing of chords. I'm sorry, but that way tends disaster in the Seventh or any other major Mahler work. Conductors succeed who can draw us into Mahler's complex emotional world, so full of wildly contrasted elements. Smoothing out the textures and flattening the mood into civilized comfort aren't right. We have piano rolls of Mahler playing his own music, and his style was as spontaneous and varied as one would expect. The seventh's reputation for difficulty comes from several sources, I think. One is the rollicking, brash finale, which older critics sniffed at as clownish and undignified. Another is the absence of easily identified emotion. All the movements, but especially the two eerie Nachtmusiks, evoke ambiguous feelings and half-lit moods. One finds oneself grasping at shadows much of the time, and even something as familiar as a march refuses to proceed in a straight line without much embroidery and commentary from the sidelines. The best to be said about Jansons is that he handles the gray areas with extreme finesse and delicacy, and the spooky touches in the Scherzo catch your attention. But I can't escape the feeling that Mahler intended for more gutsiness and a far wilder ride in the finale -- see Gergiev and both classic Bernstein recordings, on Sony and DG. Even Gerard Schwarz, working with the provincial Royal Liverpool Phil., comes closer to the mark. My evaluation suggests three stars, but I'm adding an extra one out of respect for the vivid sonics and the orchestra's exceptional execution.
VadimReviewed in Germany on December 7, 2018
Die einzige Version, die für mich funktioniert. Meiner Meinung nach die konsistenteste, korrekteste und fehlerfrei gespielte Version dieser komplexen Musik.
Joubert JeanReviewed in France on November 24, 2015
Partition difficile à entendre et complexe à interpréter. Des grands s'y sont cassés les dents de Bernstein à Abbado. Mariss Jansons est un des rares à mon sens qui en donnent une fort cohérente et convaincante version. A côté de lui quelques autres réussites : Vaclav Neumann, Michaël Gielen et Gustavo Dudamel ont ma préférence.
STEWART CROWEReviewed in the United Kingdom on December 14, 2009
Recordings of Mahler 7 abound-it is a notoriously difficult symphony to bring off. Readings vary from the breakneck brilliance of Solti, to the studied, intense and very powerful slower reading of Maazel and the Vienna Philharmonic (a seriously underrated set in the UK where anti-Maazelism flourishes much as anti-Sinopolism used to!), not to mention Sinopoli's weirder de-constructionalist reading marvellously played by the Philharmonia. The outer movements are generally considered to be less than great music (though not by me!), but it is not a sustainable view from this recording! This new reading is the most rounded, coherent exposition of the first 4 movements, and as quirky and humorous a finale as one could want. I would have until now suggested Abbado/Berlin Philharmonic as the obvious first choice, but no longer. The playing of the BRSO is beautiful beyond belief. The recording is stunning, revealing more detail than I have ever heard on disc. The preformance uses the New Critical Edition of the score, and there are noticeable interesting diffrences in scoring at many points-subtle but effective. The guitars and mandolins are clearly audible and perfectly balanced and there appears to be just as massive a timpanum in the finale as for the Chailly/Concergebouw reading-as Janssons is Director of both orchestras, did he borrow it for Munich I wonder? This is an absolute winner on all counts-reading, recording, playing and academic interest in the new Edition of the score.A CLEAR first choice recording for this work. 6 stars! Stewart Crowe
Patrick BrandonReviewed in the United Kingdom on January 7, 2013
My brother recommended the work of this conductor on the grounds that he somehow makes sure that every single note of every instrument can be heard. Having now heard thiis CD I agree - the clarity is tremendous - like being right there in the concert hall, or even sitting among the players. The music itself is beautiful, and Mahler's work can be so easily underplayed or distorted by insensitive performances - no such danger here! It really is scintillating stuff!