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FWIW we've found it beneficial to use better, more expensive tooling. I'd done a spell of cutting where we were using Amana bits and we were seeing 30% of the lifespan we'd see in the onsrud tooling that were comparable.
We've had mixed luck with DP supplies. I would be very wary if the part is listed in stock at the supplier Vs in stock in their hands. That was our biggest issue with them. We bought, paid and couldn't get a part that appeared to be in stock (at the supplier) and it took weeks to resolve...
We've looked at AXYZ, Multicam and Shop Sabre all pretty closely. Cut quality is a big concern along with support service as a close second. We're solvent gluing heaps of acrylic parts together and repetitive cut quality is of high concern.
Vycom I believe is the manufacturer, they've always been super helpful to talk to when we had questions about the right fit for a particular job we were quoting. It would be worthwhile to get in touch with them to ask any questions. I should have contact info if you can't find anything online.
Anyone using one of these on the forums here? I spoke to someone that operated one several years ago (2015) and he had a lot of great info on issues they were having with the machine after installation. I know the problems I remember it having back then seem to have been addressed as the model...
I'm involved in a family business that just went through the exact same situation and they bought the Vanguard. I have not operated a Fuji/Oce so I can't say this with 100% confidence, but there seems to be far greater control over banding and the smoothing effects you have access to on the...
Artpath is pretty limited, you're going to have to spend some money for new software or get creative in feeding the machine G-code. I thought Enroute had drivers for the Gerbers, I don't have experience with Artcam. Mind the lead screws on the machine, they can take a beating under heavy use...
Cutting thick acrylic isn't exactly a good analogy for how well a router Vs cutting table will work. Feed rates, RPM and the proper tooling will dictate what you can and can't rout quickly with your particular hardware. What the original poster intends to do with the machine seems to be a much...
The trick seems to be to do multiple passes as mentioned above. It makes good practical sense if you need to run the CMYK slow to get the quality you need and you can send the white on a faster mode. Any production shop we've seen running the Oce's or Fuji's was doing that.
That's not the point I was making. On the same machine you can definitely have issues getting matching colors when you run from the fastest mode to the slowest mode. Fine art quality and draft quality on an Oce or Fuji will definitely yield different densities of ink which will wash out your...
The quality without curing will be a mess. I know this from printing with the UV system off by accident on our press. The ink turns into a pool of yuck without the curing passes.
We spent the last 6 months looking at Acuitys, Arizonas, Mimakis, and a handful of other machines. We settled on the Vanguard vk300. We need to be able to reproduce both fine art quality in short runs and a massive amount of coroplast on long runs and we've been very happy with the choice...
We've had success in relieving the bubbles by putting the parts into a pneumatic press and squeezing them. With Acrifix solvent which had a longer dry time and more surfactant in it than we were accustomed to the job yielded nearly optically clear joints. Set and dry times were longer, but it...
Depending on what RIP system you run it's not a huge pain in the ass to set up spot color matches with or without a spectrophotometer. We're a long time silkscreen printer that went digital 12yrs ago so I feel your pain in terms of ink matches. Color gamut and ink density will suffer on a mid...
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