SKU: 95757821202

AGM Adder V2 LRF 35-640

Sale price$1932.75 Regular price$2147.50
Save 10%

Pay in installments of $536.88 with ShopPay, AfterPay and Klarna

Shipping Estimate
USA
  • USA
  • CAN

Ships within 48 hours · Estimated delivery Jul 30 - Aug 4

Promo Codes Available:

For Your Every Summer RSVP, with Code: SUMMER15

Description

AGM Adder V2 LRF 35-640Includes a FREE 1 Year Subscription to CallTuneAI Pro The AGM Adder V2 LRF is the next step in the evolutionary process in the AGM thermal riflescope lineup. Based off the ever popular original 30mm AGM thermal scopes, the Adders, the V2s will improve upon its predecessor in a many ways. The New AdderV2 LRF 35 640s primary goal was to assimilate a feature which many electro optics veterans end up looking at as a necessity, which is a fully integrated

Includes a FREE 1-Year Subscription to CallTuneAI Pro

The AGM Adder V2 LRF is the next step in the evolutionary process in the AGM thermal riflescope lineup. Based off the ever-popular original 30mm AGM thermal scopes, the Adders, the V2’s will improve upon its predecessor in a many ways. 
The New AdderV2 LRF 35-640’s primary goal was to assimilate a feature which many electro-optics veterans end up looking at as a necessity, which is a fully integrated 1000yd laser rangefinder. And although the majority of units in the AdderV2 family will come with an integrated LRF and ballistic calculator, the AdderV2 35-640 will come equipped with the lowest base magnification and widest field of view of the entire bunch. Coming in at 2.5X, the 35-640 sits right in the sweet spot for hunters that find themselves appreciating the wider field of view when hunting large groups of feral hogs, but still has enough base magnification to make hunting predators in wide open fields comfortable as well.
Although the new internal LRF module is one of the major improvements in the new AdderV2’s, its certainly not the only one. Not to be outdone, the new 640x512/12 micron sensor comes in at an industry-leading sub-15mk sensitivity. And we didn’t just pair that new sensor with a common 1024 display, we’ve paired it with an intricate new 2560x2560 micro display and a new shutterless nuc. This display not only provides users with unrivaled image quality, but also with the new semi-circular internal user interface. This new interface will still comfortably provide shooters with the most crucial information, such as battery life, magnification level, range, time and vertical/horizontal pitch scale readout. This unit
also allows users to switch from full step zoom to 0.5X incremental zoom adjustments as well, so there’s no wasted sections of the magnification range. Other improvements include: new red & green monochrome color palettes, 64GB of internal storage capacity, 1000g recoil resistance, a fully integrated on board ballistic calculator, pitch scale activation, media albums which can be viewed on the device (not just your phone), internal 9hr rechargeable battery, cold & warm hue viewing modes, and more. All Adder V2’s come with an American-made ADM one-piece Recon 30mm mount ($220 value).

###

Shot-Activated Recording
Yes
Max. Recoil
1000 g/0.4 ms
Frame Rate
50 Hz
Ballistic calculator
Yes
Detection Range
1800 m
Palettes
Black Hot, White Hot, Red Hot, Fusion, Red Monochrome, Green Monochrome
Dimensions
420 × 88 × 88 mm (16.5 × 3.4 × 3.4 in)
Exit Pupil Diameter
6 mm
Pixel Interval
12 μm
Distance Measurement
Yes
Picture In Picture Mode (PIP)
Yes
Hotspot
Yes
Audio Recording
Yes
Magnification
2.5× – 24× (support 0.5X step continuous zooming)
Image sensor
VOx Uncooled Focal Plane Arrays
Response Waveband
8 μm to 14 μm
FFC (Flat Field Correction)
Semi-Auto, Manual
Standby Mode
Yes
Resolution
640 × 512
Laser Rangefinder
Yes (up to 1000 m measuring range, ±1m accuracy, 905nm Class 1 laser)
Lens system
35 mm, F1.0
NETD
Less than 15 mK (@25°C, F# = 1.0)
Mounting
Standard 30mm
Field of view (H × X)
12.5° × 10.0° (21.9m × 17.5m @100m )
Diopter adjustment range
-4D to 4D
Focusing range
3 m minimal
Hot Track
Yes
Eye relief
45 mm
Display
2560x2560, 1.03 inch OLED
Storage
Built-in EMMC (64 GB)
Record Video
On-board Video Recording
Capture Snapshot
Yes
Battery Type
Two rechargeable Lithium batteries (internal) and one replaceable and rechargeable 18650 Lithium battery (external)
Battery Operating Time
9 hours continuous running (@25°C, LRF on)
Power supply
5 V DC/2 A, USB Type-C interface, Supports QC3.0 (* Only the built-in battery will be charged via the type-C cable. Use the battery charger to charge the external battery)
Operating Temperature Range
-30°C to 55 °C (-22 °F to 131°F)
Weight
0.83 kg ( 1.83 lb)
Protection Level
IP67
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: 95757821202

Discover Niche Categories That Outsell

Top-Converting Item to Boost Your Average Order

4.2 ★★★★★
Based on 30 reviews
Sort
Highest Rating
Newest First
Oldest First
Product Reviews
L
Verified Purchase
L.m
Cuba, US
★★★★★ 5
Get it!! You won't regret it
I don't know what to say but if you are considering buying this,do so... I've been using it a little bit over a week and to be honest I have used all kinds of makeup and lotions and I was never impressed even with experience brands, This stuff I'm already noticing a difference in wrinkles and it's so soothing. Just buy it and try it for yourself, I'll definitely be buying more
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 27, 2025
M
Verified Purchase
MB
Pawtucket, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 10, 2026
R
Verified Purchase
Ruth
Draper, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 19, 2026
L
Verified Purchase
Lana
Bozeman, US
★★★★★ 5
Good
Good
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
San Leandro, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2014

recommand products