SKU: 46687991590

3TTT Mutant Silver NOS Classic 100 mm 1" A-Head Stem

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Description

3TTT Mutant Silver NOS Classic 100 mm 1" A-Head StemOriginal part produced in the 1990s New old stock! Still unused after all these years Worldwide shipping 3TTT Mutant ahead handlebar stem, hailing from Italy and in production during the 1990s (yet still new & unused after all this time!). Made from aluminium and weighing in at 217 grams. A fine choice for keeping your classic bike authentic, but also great for any other compatible bike. OVERVIEW Condition New Old Stock* Production Era 1990s Country

✓ Original part - produced in the 1990s
✓ New old stock! Still unused after all these years
✓ Worldwide shipping

3TTT Mutant ahead handlebar stem, hailing from Italy and in production during the 1990s (yet still new & unused after all this time!). Made from aluminium and weighing in at 217 grams. A fine choice for keeping your classic bike authentic, but also great for any other compatible bike.

OVERVIEW


Condition - New Old Stock*
Production Era - 1990s
Country - Italian
Material - Aluminium
Weight - 217 g
Stock Code - D-STA35C

*New old stock items may have marks from storage over the years, and as we often have multiples they can vary from piece to piece, but they are always genuine new & unused items.

TECHNICAL INFO


Extension Length (ctc)* - 100 mm
Steerer Size (OD) - 1" (25.4 mm)
Bar Clamp Size - 25.8 mm
Stack Height - 40 mm
Angle - 80 Degrees

*See help section.

SHIPPING, TAXES & RETURNS

We've been safely sending orders around the world since 2010. There's a handy shipping calculator on the shopping cart page so you can see the cost of postage as soon as you've added it to your basket. Your order will be carefully packed and sent with tracking & insurance, we despatch most orders within 2-3 days but larger items and orders placed before the weekend can take an extra day or two to process.

We accept returns, please notify us within 14 days and ensure the item arrives back with us no later than 30 days after the order was received.

EU Customers – for orders under €150 (excluding shipping), VAT will be collected at checkout, but from 1st July 2026, due to new EU import regulations, there may also be a customs duty payable to the carrier. For orders over €150, all import fees will be payable to the carrier, with nothing collected at checkout.

USA Customers – import fees are now collected at checkout for all orders to the US, so there won’t be any surprise charges when your order arrives.

Other International Customers – local import fees may still apply, charged by your customs office or courier before delivery. These are not collected by us, so please check your local rates before purchasing.

Any applicable fees will appear at checkout.

HELP SECTION

Extension Length (ctc)* - measured from the centre of the handlebar clamp to the centre of the steerer clamp, to the nearest 5 mm. This measurement is taken through the middle of the extension, not along the top or bottom.

Steerer Size (OD) - OD means outside diameter, this is the most important measurement when checking the stem fits your bike. This should match the measurement of the outside of your fork's steerer column, where the stem will be clamped.

Bar Clamp Size - this should match the outside diameter of your handlebars and should be as close as possible to ensure a good and safe fit.

Stack Height - the height of the part that clamps to the forks. This is the minimum amount of space you will need on the fork's steerer column for the stem to fit (minus a few mm as the top of the steerer tube needs to sit just below the top of the stem).

Angle - the angle of the stem's extension in relation to the the fork steerer. Bear in mind the steerer sits at the same angle as the head tube, so a 90 degree stem would not be parallel to the ground. Some manufacturers refer to this as rise or drop, in which case an 80 degree stem would drop 10 degrees from a right angle. Most a-head stems can be flipped although it does depend on the design.


Shipping Notes
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Exchange/Return Notes
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SKU: 46687991590

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4.3 ★★★★★
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Product Reviews
P
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pepe
Charlottesville, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 5, 2013
C
Verified Purchase
Charles H. Hooker Jr.
Bozeman, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
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Reviewed in the United States on July 4, 2023
D
Verified Purchase
Donald Walker
Lake Worth, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
J
Verified Purchase
Judith R. Hert
Chelsea, US
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 22, 2015
C
Verified Purchase
Common Arts Farm
Grantham, US
★★★★★ 4
Creativity which has the power to change the world
A few caveats to those who are generally interested in creativity studies: Csikszentmihalyi's analysis and discussion of creativity does not directly relate to those who are personally creative. People who enjoy engaging in creative activities are not demoted, in his terms, but are simply not a part of the study. It is unfortunate that his language makes it seem this way; he distinguishes between the two by saying that Creativity has the power to shape a domain or the world, while creativity applies to those who enjoy coming up with new recipes, who are engaged in research that may not change a domain, but may "tweak" it, etc. What he is trying to discover are the underlying principles and traits of creativity in those whose work has made a significant change. Think Albert Einstein, Eleanor Roosevelt, Mark Strand: people who are either widely known for their influence, or who have been influential within their area or domain. This book provides an interesting view into the minds and work habits of Creative individuals, and concludes by offering general advice to those who wish to make their own lives and work more creative. It is a useful book, but one which requires a great deal of supplemental reading, in order to truly engage in creativity studies.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 29, 2003

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