SKU: 40000173256
zpacks altaplex tarp

zpacks altaplex tarp Zpacks

Sale price$18.48 Regular price$20.53
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Description

zpacks altaplex tarp ZpacksThe ideal ultralight tent for hikers up to 66, the Altaplex is the perfect place to wait out the rain on the Appalachian Trail or to recover after a long day of bushwhacking. Specifically designed for taller backpackers and thru hikers, this lightweight tent provides ample head and foot room while still easily pitching with a single trekking pole. A great fit whether you are a triple crowner or just out for a weekend in the Smokies. This tent is

The ideal ultralight tent for hikers up to 6’6”, the Altaplex is the perfect place to wait out the rain on the Appalachian Trail or to recover after a long day of bushwhacking.

Specifically designed for taller backpackers and thru-hikers, this lightweight tent provides ample head and foot room while still easily pitching with a single trekking pole.

A great fit whether you are a triple-crowner or just out for a weekend in the Smokies. This tent is roomy, well-ventilated, packs down small, can be pitched quickly, and can be set up in the tightest of spaces. Tall hikers won’t find a lighter single pole tent with this much space anywhere on the market.

The Altaplex Lite utilizes our proven .55 oz/sqyd Dyneema Composite Fabric canopy combined with a .75 oz/sqyd DCF floor material which is 25% lighter and packs down smaller relative to our standard tent floors. It comes preconfigured with bright yellow 1.3 mm Z-Line guy-lines which save weight compared to the 2 mm guy lines on our standard tents.

*If your trekking pole does not extend to at least 56" (142cm) you will need one to set up this tent.
 

Features:

  • Sets up with a single trekking pole adjusted to around 56"-58" (147 cm). If your trekking poles do not extended to 56" (142cm), you can add one of our trekking pole jacks to increase the height or considering using one of our Carbon Fiber Staffs or Tent Poles. 58" poles and staffs may need to be angled a bit to get the perfect pitch. A trekking pole is not included but we have multiple Trekking Pole options to choose from.
  • Sets up with a minimum of 6 stakes but 10 stakes are recommended in windy conditions. Stakes are not included but we have a variety of Ultralight Stakes to choose from.

  • The Altaplex Lite includes bright yellow 1.3mm Z-Line guy lines which save weight compared to the 2mm guy lines found on our standard shelters. The guy lines can be swapped out on any of our shelters if desired.
  • The storm doors can be opened or closed independently. Leave one or two doors open in nice weather for a breeze and great views. Close the upwind door to block cold wind, or close both for 360° rain protection. The overlapping doors are closed with custom made metal hooks, with a toggle at the center to keep them pinned.
  • Overlapping storm doors allow for a small amount of airflow without the need for additional venting. There are no zippers on the doors that could potentially fail over time.
  • A single closed storm door creates enough vestibule space for storing a wet backpack or muddy shoes, if you don't want to bring them into the tent.
  • The screen door has a rainbow zipper which allows easy entry regardless of which storm door is closed. You can access the vestibule area on either side. The screen door conveniently drops inwards rather than hanging in your way. No need to roll it up or secure it.
  • The canopy overhangs the bathtub floor and the screen doors by 3-5 inches (8-12 cm). In calm rain or under dripping trees the doors can be left open for air flow without water dripping on the floor space. In almost all conditions, at least one downwind door can be left open for air.
  • For even better rain protection with a door open, use the included cords and the ends of the floor to pull the screen door back away from the rain spray as seen in the photo gallery.
  • There is screen between the bathtub floor and the walls around the perimeter. Adjustable cord keeps the bathtub elevated, ensuring the screen slopes downwards away from the bathtub. Any condensation, which single wall shelters may experience, will run down the walls and out through the downward sloping screen, rather than onto the floor. Click here for tips to avoid condensation.
  • This tent has a seamless, sewn in 6.75 inch (17 cm) tall bathtub floor. The bathtub floor is a rectangle 40" wide by 90" long (102cm x 2.3m). Plenty of space for a wide sleeping pad with room to stretch out plus space for gear beside you.
  • Our "Lite" tent floor is made from .75 oz/sqyd Dyneema Composite fabric. It weighs 25% less than our standard floor material and packs up smaller, with the trade off of slightly less abrasion and puncture resistance. Choose spots on dry leaves or soft pine needles when possible to minimize ground splash-up and condensation, and be sure to move any pointy twigs, rocks or thorns from your spot. As with all DCF material, it is very easy to patch on-trail with the included seam tape. The Altaplex Classic is available with more durable, more opaque fabric.
  • If you are particularly tall, you might try propping up the head and/or foot guy-lines with Trekking Pole Cups, or check out the Offset Solo for additional head and foot room.
  • In order to keep the weight as low as possible, this tent does not have a built in internal pocket. Save weight by using your backpack's pockets for nighttime storage, or add a Stick-On Mesh Tent Pocket.
  • A separate groundsheet is NOT required for this shelter. The floor material is reasonably durable, and all Dyneema® Composite Fabric gear can be easily patched in the field with repair tape. If you do prefer to use a groundsheet as a precaution, Flat Groundsheets are available.
  • All of our tents do pretty well in the wind. The material can handle high wind loads. As long as your stakes stay in the ground (use rocks if available) your tent will stay standing. Dyneema® Composite Fabric is not a particularly noisy fabric; however, almost any tent will make a little noise in the wind. Earplugs are not a bad idea for windy nights.
  • Dyneema Composite Fabric is naturally waterproof and is not treated with any potentially harmful chemicals such as flame retardants or water repellents.
  • All Zpacks gear has a two year limited warranty against defects in materials or workmanship. Please see our return / warranty policy.
  • Made in the USA.

Specs:

  • Weight displayed next to colour option. It shows the weight of the tent including guy lines, sewn in linelocs, and taped seams.
  • The following items are also shipped with this tent:

    • Medium DCF Stuff Sack - .28 oz (8 g)

    • 54" DCF repair tape strip - .14 oz (4 g)

    • Two spare zipper sliders - .16 oz (4.5 g)

    • Total additional items: .58 oz (16.5 g)

    *Up to 10x stakes are required but are not included. We have a variety of Ultralight Stakes to choose from.

  • Exterior Dimensions:
    • Peak height: 56"-58" (147 cm)
    • Width at center: 52" (132 cm)
    • Width including vestibules: 73" (185 cm)
    • Vestibule space: 24" (61 cm)
    • Length: 100" (254 cm)
  • Interior Dimensions:
    • Peak height: 56"-58" (147 cm)
    • Floor width: 40" (102 cm)
    • Floor length: 90" (2.3 meters)
    • Floor Area: 25 square feet (2.3 square meters)
    • Zipper entry height: 36" (91 cm)
  • Packed Dimensions:
    • Packed Size: 5" diameter by 11" tall (12.7 x 28 cm) / 216 cubic inches (3.5L)
    • Stuff Sack Size: 6" diameter by 12" tall (15 cm x 30 cm) size Medium. The intentionally loose stuff sack makes packing easy and it will squish down in your backpack.

Please note: The Great Divided Trail discount does not apply to this item.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 40000173256

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4.3 ★★★★★
Based on 29 reviews
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Product Reviews
D
Verified Purchase
Diana D
Port Orchard, US
★★★★★ 5
Very well written and easy to read.
Format: Paperback
Few people are as qualified as Philip Meyer to write a book on storytelling for lawyers. With a background as a trial lawyer, he has plenty of practical, real-life experience in the courtroom. His approach is not that of an academic giving purely theoretical advice, but that of a seasoned lawyer who knows the ins and outs of the legal profession. His experience as a professor (of both law and writing) has honed his ability to effectively communicate his ideas to a broad audience. Not only is this book helpful for the practicing lawyer, it is also useful and not too complex for the legal neophyte or casual reader. This book breaks storytelling (narrative) down to its core components and analyzes them one by one. In the process of analyzing each part of a story, Philip Meyer skillfully explores each component with a non-legal example (e.g. movies, books, etc.) before applying it to a legal example (e.g. courtroom proceedings, appellate briefs, closing arguments, etc.) By first analyzing each part of a story (i.e. plot, setting, etc.) from a well-known story that resonates with the reader, he sets a strong foundation before transitioning to a legal story, thus making it easy for the reader to identify and better understand each part of the legal story. I highly recommend this book to anyone remotely interested in storytelling and persuasion as they relate to the legal profession.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 22, 2016
J
Verified Purchase
JR
Omaha, US
★★★★★ 4
Must Read for Novice Litigators
Format: Paperback
This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation. I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation. For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following: ABA webinar available with an internet search for "Storytelling for Lawyers"
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 25, 2018
T
Verified Purchase
Tahoeman
Birmingham, US
★★★★★ 5
Much needed guide to narration in law practice
Format: Paperback
Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 10, 2014
D
Verified Purchase
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
D
Verified Purchase
DoubtfulReader
Lake Worth, 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

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