Digital BW, The Print

Mark, thanks for your concern about my mental health, people keep
telling me it's in question <G>

Claude, very quickly...
The Cone driver made dots unintrusive by partitioning multi density
gray inks, a task now very common with most of the methods we all use.
I don't think the 3000 was a variable dot machine, and the results had
little or nothing to do with manipulating dot size to my knowledge,
just ink assignments and transitions.
My suspicion is that the 7500 is also not a variable dot machine. I
think Roy uses one and would certainly know. Your best bet for great
smooth mono ink results with any of these printiers is to use the
right tools to properly partition the inks, like QTR, IJC, Paul
Roarke's RGB methds, etc..
Manipulating dots sizes on top of that is not something I'd care to
advise on at this point, despite the small adavntages I'm glimpsing
with these tests.
Tyler

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, claudej1@... wrote:
>
> Tyler,
> 
> Will this variable dot be created by the RIP taking over direct control 
> of the heads?? IOW, in my case I have a 7500 printer with low miles 
> that I want to dedicate for the task, using neutralized, custom mono 
> ink mixes, keeping my 7600 for studio color work on RC. I want to print 
> both Photo and Matte black on the 7500, varible dot, and the remaining 
> heads with various dilutions of gray. Would this be an "insane squared" 
> path? Can the v12 make my 7500 into a variable dot machine?? I remember 
> the original Cone driver with the 3000 made that unit into a finer 
> dither than the vanilla Epson driver of the time. Is this a tri-level 
> version of the same?? More details, please.
> 
> Claude
> 
> 
> improvements are slight to the naked eye, but any move toward a more
> photographic output is significant to me, and the difference can seen.
> So for me, without going to a 6 or 7 ink setup, v12 has allowed me to
> improve output and remains a very interesting and evolving tool.
> Tyler
>