Digital BW, The Print

Is anyone using Neutral Piezzotone in a 6 channel printer with QTR? If
so, how is it working for you?

John

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" 
<deanwork2003@y...> wrote:
>
> Is anyone using Neutral Piezzotone in a 6 channel printer with QTR? If
> so, how is it working for you?
> 
> John
>

Does this mean you got your 7000 running? Or are you considering 
switching your 10K over?

John, I really think you're going to be the bleeding edge on this setup.
Tyler

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean"
<deanwork2003@y...> wrote:

>
> Is anyone using Neutral Piezzotone in a 6 channel printer with QTR? If
> so, how is it working for you?
> 
> John
>

Hi Greg, 

Actually both. It looks like I have another 7000 to try it out with,
and if I like it then I want to do it with the 10K since I still have
about 50% of the life in that machine. And, it's fast.

By Jan I'm going to be finally set up to do larger Piezzotone, one way
or another. I just haven't decided what set to use yet. I don't have a
thing against the selenium tone set. I really like the quads, they are
 beautiful but the new set seems to be totally clog free and quite
smooth. I'm still listening, and I will do it, I will, I will....

Right now I'm trying to buy a house. Not cheap in this city.

John



--- In DigitalBlackandWhiteThePrint@...m, "Greg"
<dfaprinting@y...> wrote:

>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean" 
> <deanwork2003@y...> wrote:
> >
> > Is anyone using Neutral Piezzotone in a 6 channel printer with QTR? If
> > so, how is it working for you?
> > 
> > John
> >
> 
> Does this mean you got your 7000 running? Or are you considering 
> switching your 10K over?
>

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
<tyler@t...> wrote:
>
> John, I really think you're going to be the bleeding edge on this 
setup.
> Tyler
> 


Shouldn't be too much of an issue when using one of the RIPs (QTR or 
StudioPrint), just need to leave out the darkest gray, and stretch the 
full black a bit more, maybe a longer overlap between black and the 
other shades. It's the lightest inks that will make the biggest 
difference in the quality.

And normally those early printers were pretty bullit proof (notice the 
word normally). As long as parts are available, there doesn't seem to 
be a compelling reason to get rid of them (just repurpose them). The 
9000/9500 is a tank, but it is a bit slow (speed kills?).

That is what Mr. Cone says.
What I am thinking is that these earlier printers should be almost
clogg free with that set, making them ideal, if the tonality is right.
Which is THE most important if, as Tyler suggests.

john


--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Greg"
<dfaprinting@y...> wrote:

>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
> <tyler@t...> wrote:
> >
> > John, I really think you're going to be the bleeding edge on this 
> setup.
> > Tyler
> > 
> 
> 
> Shouldn't be too much of an issue when using one of the RIPs (QTR or 
> StudioPrint), just need to leave out the darkest gray, and stretch the 
> full black a bit more, maybe a longer overlap between black and the 
> other shades. It's the lightest inks that will make the biggest 
> difference in the quality.
> 
> And normally those early printers were pretty bullit proof (notice the 
> word normally). As long as parts are available, there doesn't seem to 
> be a compelling reason to get rid of them (just repurpose them). The 
> 9000/9500 is a tank, but it is a bit slow (speed kills?).
>

John,

I've set my printer up for this, but due to some head problems
its not quite operational.  But from what the experiments it works quite
nicely.  The original idea for K6 was to leave out the middle gray but
my experimenting with that convinced me the jump was too large from
K3 to K5.  Dots were much more visible in this range.  I decided to leave out
the lightest ink since the next-to-lightest is still very light.  There is one
profile in the 2.3.1 download for this setup with Y being K4 rather than K7.

I'd recommend that setup but I haven't seen the leave-out-the-K2 scheme.

Roy



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Greg" <dfaprinting@y...> 
wrote:

>
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
> <tyler@t...> wrote:
> >
> > John, I really think you're going to be the bleeding edge on this 
> setup.
> > Tyler
> > 
> 
> 
> Shouldn't be too much of an issue when using one of the RIPs (QTR or 
> StudioPrint), just need to leave out the darkest gray, and stretch the 
> full black a bit more, maybe a longer overlap between black and the 
> other shades. It's the lightest inks that will make the biggest 
> difference in the quality.
> 
> And normally those early printers were pretty bullit proof (notice the 
> word normally). As long as parts are available, there doesn't seem to 
> be a compelling reason to get rid of them (just repurpose them). The 
> 9000/9500 is a tank, but it is a bit slow (speed kills?).
>

There you go Roy. Thanks for that insight. Now that makes total sense
to me, and avoids messing with near black values, although it could
work both ways I suspect. I'll ask you more in a couple of weeks when
I actually get down to doing something serious.

Thanks again,

John 



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Roy Harrington"
<roy@h...> wrote:
>
> 
> John,
> 
> I've set my printer up for this, but due to some head problems
> its not quite operational.  But from what the experiments it works quite
> nicely.  The original idea for K6 was to leave out the middle gray but
> my experimenting with that convinced me the jump was too large from
> K3 to K5.  Dots were much more visible in this range.  I decided to
leave out
> the lightest ink since the next-to-lightest is still very light. 
There is one
> profile in the 2.3.1 download for this setup with Y being K4 rather
than K7.
> 
> I'd recommend that setup but I haven't seen the leave-out-the-K2 scheme.
> 
> Roy
> 
> 
> 
> --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Greg"
<dfaprinting@y...> 
> wrote:
> >
> > --- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Tyler Boley" 
> > <tyler@t...> wrote:
> > >
> > > John, I really think you're going to be the bleeding edge on this 
> > setup.
> > > Tyler
> > > 
> > 
> > 
> > Shouldn't be too much of an issue when using one of the RIPs (QTR or 
> > StudioPrint), just need to leave out the darkest gray, and stretch
the 
> > full black a bit more, maybe a longer overlap between black and the 
> > other shades. It's the lightest inks that will make the biggest 
> > difference in the quality.
> > 
> > And normally those early printers were pretty bullit proof (notice
the 

> > word normally). As long as parts are available, there doesn't seem to 
> > be a compelling reason to get rid of them (just repurpose them). The 
> > 9000/9500 is a tank, but it is a bit slow (speed kills?).
> >
>

Leaving out the lightest ink is probably the easiest method, as long 
as you don't start to get visible dots in the highlights. Chances are 
that you won't see any dots up there anyway.

And I wouldn't go so far as to say that the older machine would be 
clog free. Part of the reason that the newer printers have fewer 
problems is the cleaning routine that they use when you turn them on. 
If you set the default cleaning on an old 7 or 9 series machine to a 
heavier cleaning, many of the clogging problems go away. But I would 
still recommend using it as often as possible.

True, but the nozzles are not quite as fine as the newer machines, but
primarily I was refering to the slippery and clog resistant nature of
the K7 inkset in those machines vs the previous set. But, yea, you
don't want anything to sit in there too long I wouldn't imagine. But I
work everyday.

John



--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "Greg"
<dfaprinting@y...> wrote:

>
> Leaving out the lightest ink is probably the easiest method, as long 
> as you don't start to get visible dots in the highlights. Chances are 
> that you won't see any dots up there anyway.
> 
> And I wouldn't go so far as to say that the older machine would be 
> clog free. Part of the reason that the newer printers have fewer 
> problems is the cleaning routine that they use when you turn them on. 
> If you set the default cleaning on an old 7 or 9 series machine to a 
> heavier cleaning, many of the clogging problems go away. But I would 
> still recommend using it as often as possible.
>

--- In DigitalBlackandWhiteThePrint@yahoogroups.com, "john dean"
<deanwork2003@y...> wrote:
>
> True, but the nozzles are not quite as fine as the newer machines,

Right, that kinda has me leaning toward leaving out the K2 for that
printer...
Besides, even the K3 is probably darker than the dark gray in the quad
sets, so the K3 to K transition should be easy enough. Sometimes I
think the quad sets are all too dark anyway, the dark gray is
generally jammed right up against K.
Conversely, If Roy sees no dots with his K6 without the lightest,
there's a reliable answer. The above is all theory.
The only K6 prints I've seen were custom mixed/diluted.
Also, the printers I know with 7000/9000s using the non-K7 piezotone
sets have no ink problems. For a 7000 I wouldn't make ink delivery or
performance too much of a deciding factor. Newer model? Then I'd
factor it in to my decision, but not too highly.
Tyler