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deliciouslyburningcreation-blog · 3 years

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Titanium Coated Rotary Cutter Blades

New Post has been published on https://sewingmachinerepairauroraco.com/titanium-coated-rotary-cutter-blades/

Titanium Coated Rotary Cutter Blades

Product Description

Features

TITANIUM coated SKS-7 tungsten steel blades which give greater life span with a razor sharp cutting edge which will last a lot longer than uncoated steel blades. SK-7 imported blades, after 7 special processing made, compared with the average length of domestic cutting board six times longer.The ideal cutting paper, fabric, leather, plastic, cloth, etc.For cutting at home,office, school, shop, especially the use of technology.Because the blade is made of stainless steel, it retains its sharp edge.Repeated cutting is not affected, leaving no trace after cutting 45mm rotary blade cuts up to six layers of fabric at a time.

Use Tips

1. Sharp knife, use caution, not to be out of reach of small children;

2. If the long-term not in use , please drop some of the oil in the cutter head ,

extended service life.

3. Round knife blade for consumables, due to personal use habits and different

Titanium coated rotary cutter blades,More durable, no rust!

Specification

Thickness :0.3mm,Hole Diameter:8mm,Diameter: 45mm.TITANIUM coated

Package Includes

10 x TITANIUM coated 45mm Rotary Cutter Blades

1 x storage case

Great replacement for many brands cutter

Suitable for most brands of rotary cutter,when you order,please confirm the hole size!

Application extensive

The ideal cutting paper, fabric, leather, plastic, cloth, etc.For cutting at home,office, school, shop, especially the use of technology.Because the blade is made of high-strength Japanese steel(SKS-7), it retains its sharp edge. Repeated cutting is not affected, leaving no trace after cutting 60mm rotary blade cuts up to six layers of fabric at a time.

How sharp is the blade?

Cuts through 6-10 layers at onceBe WARNED, very sharp! Excellent Fabric Cutter Blades! Do not touch the blade when you use it to avoid injury.AUTOTOOLHOME also has a full line of high-quality stainless steel blades, perfect for cutting cloth, paper film, photographs, leather, vinyl, wallpaper and more.We offer several sizes included 18mm, 28mm, 45mm, and 60mm as well as decorative edges for creative projects.

More Sizes

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COMPATIBLE, these replacement blades are compatible to for all type rotary cutters. VERY SHARP, supplied in a free snap close case, be aware that theses blades are sharp and need to be kept secure. The ideal cutting paper, fabric, leather, plastic, cloth, etc.For cutting at home, office, school, shop, especially the use of technology. Package include 10pc blades and 1pieces case

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kindranvr2145-blog · 4 years

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16Mm To Digital Video - Transferred, Converted And Restored With Modern-day Dvds

The 35mm film, ᧐n the οther hand hand, is the basic film gauge սsed ɑѕ chemical still photography and motion shots. It ᴡaѕ first introduced ᧐n thе market іn 1892. Photo cameras ᧐f tһіѕ οld times used movies. Ρerhaps you may һave 35mm films οf ѕtill photos іn үоur possession yߋu actually wish уou рut bу.

youtube

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cutterslaser · 5 years

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Fotoba Xld320hs Super Wide x/y Roll to Sheet Cutter in NJ – Fotoba Cutter

The Fotoba Xld320hs Super Wide x/y Roll to Sheet Cutter:

The Fotoba XL series cutters are super fast to eliminate the bottlenecks in your finishing department. A single cutter is capable of handling the output of several printers.

The XL Cutters uses Fotoba Cutmarks to follow the edge of the image. Regardless of any feed misalignment, the XL Cutter will automatically realign itself to the edge of the printed image.

The FOTOBA XLD320HS can cut a 150 foot Roll in under 10 minutes!

The XL Series can handle media with a maximum thickness of 40 mil including polycarbonate, laminates and encapsulated media, photo paper, vinyl, self-adhesive vinyl, graphic arts film, duratrans, canvas and much more.

Features:

Self squaring to the edge of the image (X)

Automatic tracking to the image edge (Y)

Cutting by length & quantities for media conversion

Vertical Slitters: Single, 8mm double or adjustable double

Cutting by length & quantities for media conversion

Max linear speed 50-ft per minute

Vertical Slitters: Single, 8mm double or adjustable double

Self squaring to the edge of the image (X)

Automatic tracking to the image edge (Y)

Max linear speed 50-ft per minute

Get in Touch Now! Call us: (201) 265-5670 or

Visit us: http://www.colex.com

#fotobacutter #digitalcutter

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mbcoldstorage · 5 years

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The Winnipeg-based artist makes multi-media work at the intersection of film, poetry, politics, and architecture.

by Mónica Savirón | 19 MAR 2019

Rhayne Vermette; courtesy of the artist. Punchers, burins, blade knives, and guillotine splicers invade Rhayne Vermette’s working space. Born in Notre Dame de Lourdes, Manitoba, and residing in Winnipeg, for this self-taught artist, collage, photography, and film are the tools that demolish the house of rhetoric. Inspired by architects who infused a reinterpretation of building with wood, glass, and stone, Vermette questions methodological foundations and surroundings—in her case, to make the towers fall. What once was defined as path and pillar do not govern the artist or her work. She breaks down structures that mirror the dysfunctional models and causalities of closed structures. Her schemes and patterns are not affixed or in service to a system. Instead, she shows what is beneath the logic of

make-sense

enunciations, and their own relational dynamics. By deconstructing edifices of rules, meaning takes its power back. Scratches, flares, glue, and tape are the weapons of the artist’s anti-language.Highly laborious and musical, Rhayne Vermette’s works are moving fragments of a whole that transform themselves both poetically and politically. A female character in a film (

Take My Word

, 2012) will continue evolving in another a year later (

Full of Fire

). Each image is a composition of movable motifs that respond and react in disregard to categorical, self-contained conventions. The artist choreographs shifts and alterations in what had been previously built up as truth or context, stratification and alienation. In one of her first films,

Tricks are for Kiddo

(2012), multiple little pieces of 16mm found footage gets overlapped in varying densities and taped to clear leader into different positions. An animation results from reshooting the collage on an optical printer while running the film at constant speed. Scenes that were not meant to convene are assembled together over the flying carpet of the celluloid strip, unmatched juxtapositions in the stream of consciousness.

Tricks are for Kiddo

, by Rhayne Vermette; courtesy of the artist. 2012, 2 minutes, HD from 16mm, color, sound,The concept of rebuilding from what is broken or left out also resides behind Vermette’s

Black Rectangle

(2013), a film that relates to Kazimir Malevich’s painting

Black Square

(1913). The Kiev-born artist adopted the cracked, non-representational, geometric form as a “refuge” for the cultural and social revolts that would lead to the October Revolution. Both protecting and hiding, in Vermette’s film black rectangular sections adhered to transparent celluloid act as barricades or curtains. The placement of each element within the frame is marked by the white spacing that surrounds or cuts them, as in 19th century French poet Stéphane Mallarmé’s theory of

espacement

between words on a page (

Poem. A Throw of the Dice Never Will Abolish Chance

, 1914). Thanks to these delimitations, clusters of similar materials manage to show their own singularities. A closer visual connection comes from Marcel Broodthaers's interpretation in 1969 of Mallarmé’s poem, a translation in graphic forms: black blocks substitute the words, their width stretching in relation to the original type size. In

Black Rectangle

, the obstructing shapes take over the optical track field of the 16mm frame, and create an ominous, seemingly destructive, popping and cracking sound when they travel through the gate of the film projector. Ideas of place and absence translate into visual and audible breaks in the action through rhythmic repetition or silence, an idea developed in Jacques Derrida’s chapter

Différance

(

Margins of Philosophy

, 1972): “An interval must separate the present from what it is not in order for the present to be itself, but this interval that constitutes it as present must, by the same token, divide the present in and of itself... this interval is what might be called

spacing

, the becoming-space of time or the becoming-time of space.” Vermette’s body of work pushes this theory towards a feminist perspective: what matters is not the story that gets repeated as believable, but who is allowed to talk and what their silences speak to.

Kazimir Malevich’s

Black Square

, 1913. Reproduction from the State Tretyakov gallery, Moscow.

Excerpt from

Poème. Un coup de dés jamais n’abolira le hazard

, by Stéphane Mallarmé, 1897: “WILL ABOLISH / AS IF / An insinuation / in the silence / in some close / acrobatics”.

Image from Poème.

Un coup de dés jamais n’abolira le hazard

, by Marcel Broodthaers, 1969.

Caption:

Black Rectangle

, by Rhayne Vermette; courtesy of the artist. 2013, 2 minutes, HD from 16mm, color, sound. Indexes of power, the quick images’ shallow depth is brought into the open in Vermette’s work by aggregating layers, both in space and in improbability. The shards of celluloid she brings together from inside the frame or the sprocket hole area, and the sequential cuts, being sharp or dissolved, shed light on materiality and memory. Similarly, the sounds mixed from different sources and at equal volume levels interfere intelligibility. Vermette’s web of sounds mirrors the frustration and aggressivity that take place in communication. Wavering from high to low, and from left to right, sounds have the effect of implacable, movable wind around obelisks of Babelian misunderstanding. By shifting hierarchy among sounds, Vermette may baffle expectations of inattentive listening. A different approach to perceiving sound allows for the creation of new expressions and, therefore, new ways of thinking. Existentially and syntactically, tacit subordinations (“the way things are”) have no part in the calligraphy and cartography of the artist’s work. Constructions are, ideologically and formally, torn down—the beginning and the end of disbelief. It is inevitable to associate Vermette’s interest in structures, or her detachment, with the Structural/materialist film movement. The repeated use of contrasting patterns and geometric shapes at different exposures and focal lengths speaks to a methodology in which time affords dimensionality. The most important aspect of the presentation of an image is its framing and the passing time between moving parts: the entr’acte. The process and its artificiality are the film. The square or rectangle that surrounds the image is the same of a window, of a house’s wall, the artist’s room, and the flat table she works on. Vermette is interested in what those spaces permit, and how they can be animated through scale, perspective, duration, and imagination. She challenges materials and constructions, and breaks them down to chaotic configurations that, in turn, become a vindication of basic forms. Through fixed camera-pointing, loops, and transitions, perspective gets displaced. “Only by forgetting can I see the place again as it really is,” we hear in Vermette’s film

Les Châssis de Lourdes

(2016), made with footage the artist’s father had shot in their family home. The quote is from David Byrne in his film

True Stories

(1986) after his band’s concert,

Stop Making Sense

, and regarding the nature of the chronicles published in tabloid newspapers at the time. His narration is a fitting and cohesive explanation of the metaphysical concerns that ignite Vermette’s work: the evolution of aspirations through time and experience or, what is the same, the pursuit of life after catastrophe.

Still from

Domus

, by Rhayne Vermette; courtesy of the artist. 2017, 15 minutes, HD from 35mm, 16mm and Super-8mm, color, sound.Vermette’s work as a whole is neither experimental nor documentarian or fictional, but something mutable that brings together elements from all those categories, a kind of multi-media architectural settlement of the mind where ruins and reigns collide. For Vermette, the film frame is not a cage or rigid container, but one of those homes whose structures are capable of swinging during earthquakes, adapting to the changing phases, morphing and readjusting, moving along. This is reminiscent of Japanese building design, but also of Italian Carlos Mollino’s work, which Vermette has studied for many years, and served as inspiration for her films

Turin

(2015) and

Domus

(2018). Reflecting on a utopian architecture, and with the versatility that mixing 35mm, 16mm, Super-8mm, black and white paper copies, and negative film affords,

Domus

frees itself from plots, maps, and models. Vermette recites stanzas that channel the free spirit of her subject, inspired by artist Al Jarnow’s time-lapse, stop-motion film

Celestial Animation

(1985):

In this space,divided by time,defined by light,we wait. Through what filter does a dream emerge instrument of precision a constructive prosceniumfor a perspective of vision waiting by night in the shadow of its framea darkness crowds the landscape and crouching behind this cold partitionborn from memoryand new to my languagehe comes.

Vermette utilizes cutter knives to craft line-based compositions on celluloid the way Mollino used pencils to sketch his buildings. Mollino had a Surrealist eye, and the dream-like two-room apartment he designed and built in Turin, the Casa Miller, was the set to stage his photographic work. He manipulated negatives, prints, and Polaroid film to achieve, if nothing else, at least his conceptual desires. An image of the interior entrance of this apartment became the front cover of the leading architectural journal

Domus

in 1937. In his photographs, the arrangement of furniture, fabrics, shapes, and bodies highlights what his vision as an artist was about: the creation of spaces that bring closer material architecture and sentient beings, shelters to be sentimental shells meant to last. Vermette sees this same potential in the malleability of celluloid, its organic ability to transcend. Connection and progression do not happen naturally, though. They need to be conjured, repeatedly, and often incited by failure. That is the case in

Tudor Village: A One Shot Deal

(2012), a film where Vermette explores the town’s sounds, and her experience trying to capture with her camera a lunar eclipse. Embracing mistakes and defeat, her meticulous work reflects on those aspects of the artistic process that are outside control. The deviations and strangeness of derailing lead the way to wider reach and depths.In search of that place that resembles the trace of the heart, Vermette’s work draws a consistently evolving trajectory. Now in preparation of a scripted film with an all-female crew, she questions her familiar modus operandi, switching the order and routines of her creative process, the labyrinth’s corridors and itineraries. Actors and performative acts further the implications of art as destruction, testing models of command, pushing the artist’s creative walls, and expanding the terrain as in a panoramic shot. The art of architecture in film is no other than light projected in the darkroom of the mind, a sensorial space for the construction of other words, worlds, and politics, those beyond the burned house in the time of rebirth.

Rhayne Vermette transferring the final scene of

Domus

. Image by Ed Ackerman.

The Toronto International Film Festival, TIFF, will present the special program "Enfolded Space: The Work of Rhayne Vermette" on March 20 with the artist in attendance.

Under the title "Armed Woman at Desk," this piece will appear in a forthcoming collection on the work of Rhayne Vermette, edited by Stephen Broomer, and published by Sightline Books.

***

The Very Eye of Night

is a series of columns on nonbinary and female avant-garde film and video artists. The title refers to Maya Deren’s last completed film.

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simonhawketts · 5 years

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This post describes a new addition to my worryingly growing 8mm projector collection – the Bolex 18-5 Super 8 movie projector.

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Front case rather poor quality

Case off

Case off and ready for film

Lens swung open showing film path

Main control knob

Lamp with adjustment controls

Fungus on filter glass

Framing knob and drive knob

Mains connector and table lamp socket

Serial number and type on the base

Internal mechanics

The three drive belts and the shutter

Film end clipper in the front case

Mains connector

My Bolex 18-5 Super Projector

As with most of my vintage photo gear collection I bought this projector from eBay. It was advertised as being in good condition, but untested because it didn’t have a power lead and since the photos which accompanied the sale seemed to confirm that the unit looked in good condition, I bought it with a ‘Buy it now’ purchase for £15.

Although at the time of purchase I didn’t have a power lead for a Bolex 18-5 series projector, as it happened I purchased another unit in the series (a standard 8 machine) a few days later and that came with a power lead. The reason this is important is because most manufacturers of early projectors seemed to adopt their own design for a power connector and it becomes difficult these days to connect them to the mains without the proper lead.

When the 18-5 super turned up a few days later, I discovered that it was not as advertised a Bolex 18-5L, which was the last model in the series, but the earlier 18-5 Super. This actually pleased me because the 18-5L model used two different styles of lamp and one of them is obsolete and very expensive to buy. Prior to receiving the unit I was concerned that I might get the model with the obsolete lamp, so the fact that it was an 18-5 Super was a relief. I should point out that the 8V 50W lamp in the unit I received is also difficult and expensive to get, but I happen to have a couple of those so it’s not quite so important to me.

Front case rather poor quality

When I unpacked the unit I found that the seller had been accurate in the other aspects of the sale. The unit does seem to be in very good mechanical condition, although the cosmetic appearance is not so good. The outer case has several areas of flaking paint and rust, and both the ‘Bolex’ labels have fallen off, although fortunately the one on the lamp housing is still with the projector. I will certainly be able to stick the label I have on with epoxy but I’ll need to try to locate one of the labels which were applied to the outer case. As a temporary measure I’ve attached the label on the lamp housing with double sided tape.

As to the flaking paint and rust, I’ll probably rub the case down and re-spray it with a car spray paint.

After I applied some power and turned the unit on I discovered the lamp works and the motor turns, but the drive remained completely stationary. After removing the back cover I found that this was because the drive belt (or belts in this case, as there are three) had gone hard and broken and were laying in the bottom of the unit. Since belts are pretty cheap, I sent for a set (about £3 from a supplier from eBay), and once they were fitted the unit seems to be running well.

Projector Description

The 18-5 series were produced by Bolex in the early 1960s and covered the period when home movies moved from Standard 8 film to Super 8 film. There were a total of 4 models made: the 18-5, the 18-5 auto, the 18-5 super and the 18-5L super. The first two were standard 8 units, the second two were super 8 – Bolex didn’t produce a dual standard version of this model. The unit discussed in this article, the 18-5 Super, as the name suggests is a Super 8 model.

Bolex had a reputation for producing very good quality, solidly engineered projectors and the unit I received seems to confirm that reputation. Apart from the obvious cosmetic problems caused by age, the actual unit performs well and is extremely well built.

The first thing I noticed when I put a film through the projector is how well the auto feed works. I’d plugged the unit it to the power and loaded an empty Super 8 reel on the take up side. With a full Super 8 film on the feed reel, I offered up the end of the film to the auto feed and pressed the button at the top. The power turns on and pulls the film into the projector and after a few seconds it has been threaded around the film path and through a channel at the bottom of the projector to appear at the take up spool, in the first case very nearly catching on the spool.

The other obvious noticeable feature of the 18-5 Super is the quiet operation. The projector purrs in operation rather than making a loud clattering noise, although I did notice a temporary increase in noise when a film join passed through the projector.

Fungus on filter glass

After I’d watched a couple of short film on the 18-5 I had noticed that there was a lot of dust and debris showing on the edges of the film, and if I completely defocussed the image the projected frame had a very distinct ‘bubbly’ image showing. After a bit of investigation I found that the glass filter between the shutter and the film had a lot of dirt on it and what looked like some distortion in the actual glass. The dirt could be removed with a cotton bud, but the distortion, which was leading to the ‘bubbly’ effect, could not. On closer inspection it looks as if the glass has some fungus growing on the top of one of the surfaces. It doesn’t actually affect the picture because it is completely defocussed when the picture is focused, but I’m going to try removing it with some vinegar.

Many projectors have a variable speed adjustment so that the frame rate can be adjusted during playback. The 18-5 doesn’t have a speed control adjustment as such, but does allow the speed to be selected between two fixed options, 18 fps and 5 fps – hence the name. Bolex were very clever in the design of this projector; in order to stop the image flickering when 5 fps is chosen, the projector has a novel shutter which switches to have more blades when the slow speed is selected. This results in the image not being as bright but because the number of projected images remains high and therefore not flickering, the picture is more realistic.

Projector controls

As well as the auto load controls which I’ve described above the Projector has a few other controls although in practice, as I’ve used it over the last few weeks I’ve found it to be a very reliable unit which doesn’t need much ‘tweaking’.

The main operating control is on the back of the projector under the mains voltage selection. It takes the form of a large rotating knob with the off position straight up and then, in clockwise order, Run, Run at 18 fps with the lamp, run at 5 fps with the lamp, Off, reverse with the lamp and reverse without the lamp.

With this control you can carry out the majority of the projector’s operation but there is also a framing knob on the front of the projector if this is needed. I’ve found that I’ve not needed to adjust this once I set it on the first film I put through the projector. There is also a set of knobs in the lamp housing to correctly position the light source. I suspect these need to be set when the lamp is changed, but I’ve not needed to move them at all.

The Bolex has a ‘table lamp’ feature in the same way the Eumig P8 has; A socket above the mains input will be live when the projector is not running and then off when the film is in motion. This was provided to enable a table lamp to be plugged in and give the projectionist a useful light to see to change the films.

Another useful feature is the film cutter which is included in the case lid. This can be pulled out and used to trim the end of the film so it correctly feeds through the projector’s autofeed mechanism.

The following is a short video clip of the projector in operation. It was taken in quite a bright room so the projected image is difficult to see but in a normal darkened room the image is quite bright enough.

Bolex 18-5 Specifications

Bolex 18-5 Super 8 projector

Two speed (18fps and 5fps) projector for Super 8 film

8V 50W lamp type CXR 8V/50W

Solidly built and well engineered

Reliable automatic threading

14-25mm f/1.3 HiFi zoom lens

3 belt drive system

Project forward at 18 fps or 5 fps without flicker

Reverse projection at 18 fps

Power rewind

400ft reel capacity

Adjustable feet for position and stability of image

Quiet operation

Film trimmer in front case

Ser No 3117352

Bolex 18-5 Super 8mm movie Projector This post describes a new addition to my worryingly growing 8mm projector collection - the Bolex 18-5 Super 8 movie projector.

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haixinggroup · 3 years

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arch hydraulic curving roof machine

no girder arch roof forming machine parameters Main frame Welded from 350mm H-beam. Roller shaft diameter 70mm, solid shaft with retaining pad shaft material 45# steel chrome 0.03mm Transfer method 1.0 inch chain Medium plate thickness 16mm Main motor 3kw, Siemens Bede Motor Hydraulic power station 4kw, gear pump: Shanghai Lichao Cutter material Cr12, heat treatment HR50-60 Cutting method Hydraulic four-column cutting Length tolerance ±2mm PLC High-precision computer control cabinet: Taiwan Delta; touch screen, frequency converter: Mitsubishi Production speed 1.5-3 m/min Voltage 380V, three-phase, 50 Hz Feed width 914mm or or according to customer requirements Number of rows 3 rows Equipment size 6500*1350*1400mm Pressing mold material Cr12 Raw material thickness 0.28~0.8mm no girder arch roof forming machine pictures

Packing & Shipping a.The main body of no girder arch roof forming machine with water-proof plastic, then fixed to container by 8mm diameter steel wire and angle iron. b.Rollers and shafts are covered with anti-rust oil. c.PLC control system and motor pump are packed with waterproof paper and plastic film. d.Spare parts in a carton box. e.Manual decoiler was nude packing. f.The output-table put into a carton box. g.If the machine is too long, we will divide it into two parts and pack them in one package with steel wire. h.Fit for ocean shipping.

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haixinggroup · 4 years

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Metal Roof Tile Wall Panel Roll Forming Machine

Metal Roof Tile Wall Panel Roll Forming Machine parameters Decoiler/uncoiler Manual decoiler/ Electric decoiler/ Hydraulic decoiler according to customer requirements Cutting blade Manual cutter/ Electric cutter/ Hydraulic cutter/ Servo motor cutter according to customer requirements Mainframe 350mm/ 400mm/ 450mm H beams, 45# steel Middle plate 16mm/ 18mm/ 20mm/ 22mm or according to machine demands,45# steel Machine cover Welded by 8mm diameter wire mesh and 35mm diameter angle steel Wheel 45# steel, surface heat treatment chrome plating, hardness HRC 58-60℃ Shaft Diameter: 70mm / 75mm / 80mm /85mm /90mm (depends on different design) Solid shaft, high quality 45# forged steel, with anti-return pad Number of rolls Common 9 rolls - 25rolls (according to different design) Chain 1 inch/1.2inch /1.5 inch /2inch according to machine demands Voltage 220V/50HZ/single phase power; 380V/50HZ/3 phase; 415V/50HZ/3 phase; 440V/50HZ/3 phase; or as requirement Main motor power 3KW/4kW/5.5KW/7.5KW or as actual demands Hydraulic pump station Gear pump Pump station motor power 3KW/4KW/5.5KW/7.5KWor as actual demands Reducer 6#/ 8# Gear Reducer Hydraulic pressure 10-12MPa according to the oil pump and pump motor Shearing knife Cr12 / Cr12MOV, heat treatment, HRC 58-60℃ Cr-plating size: 0.05 mm Cutting method Hydraulic guide column cutting; Hydraulic connecting rod cutting; Electric cutting; Servo motor tracking cutting Control System PLC Control System, 360 degree rotation PLC Display languages Chinese, English, (Spanish or Russian) Productivity 8-12m/min; 10~15m/min Length tolerance ±2mm Cutting tolerance ±1mm Raw material Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Aluminum steel coil/ Stainless steel coil Feeding thickness 0.3-1.0mm(Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Stainless steel coil); 0.3-1.5mm (Aluminum steel coil) Metal Roof Tile Wall Panel Roll Forming Machine picture details

Metal Roof Tile Wall Panel Roll Forming Machine parts 01. Mainframe: GB H steel, hard texture. 02. Operator station: 360-degree rotation display. 03. Cutter: The main material is Cr12, which has high hardness. 04. Retaining pad: Prevent the nut from loosening. 05. Easy hanging: Prevent the machine from scratching during the movement. 06. Wheel: generally 45# steel, good hardness. 07. Travel switch: Limit the position or travel of the machine. 08. Rear hand knife: cut in advance to prevent waste. 09. Resin wheel: used to record the length of discharge and record data is more accurate. 10. Electric control cabinet: The main motor and PLC are famous brands. Packaging & Delivery Packaging Details: a.The main body of machine with water-proof plastic, then fixed to container by 8mm diameter steel wire and angle iron. b.Rollers and shafts are covered with anti-rust oil. c.PLC control system and motor pump are packed with waterproof paper and plastic film. d.Spare parts in a carton box. e.Manual decoiler was nude packing. f.The output-table put into a carton box. g.If the machine is too long, we will divide it into two parts and pack them in one package with steel wire. h.Fit for ocean shipping. Port: Tianjin, Qingdao, Shanghai, Yiwu port About us Tianjin Haixing Imp & Exp Co., Ltd. is a manufacturer and exporter specializing in the design, development and production of cold roll forming machines. The company is located in the northwest of Tianjin, China, and cooperates with a number of production plants and related companies. We have a high-quality professional team, skilled personnel, strong technical force, strong and independent research and development capabilities, advanced production equipment and perfect after-sales service system. Our customers are all over the world, such as 65 countries in Germany, the United States, Mexico, Chile, Bolivia, Italy, Australia, Kuwait, Saudi Arabia, South Korea, Japan, South Africa, Kenya and other different regions. We have extensive experience in the needs of different countries, such as profile, thickness range, use, installation, etc. Read the full article

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haixinggroup · 4 years

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aluminum trapezoidal sheet roof wall panel machine

aluminum trapezoidal sheet roof wall panel machine parameters Decoiler/uncoiler Manual decoiler/ Electric decoiler/ Hydraulic decoiler according to customer requirements Cutting blade Manual cutter/ Electric cutter/ Hydraulic cutter/ Servo motor cutter according to customer requirements Mainframe 350mm/ 400mm/ 450mm H beams, 45# steel Middle plate 16mm/ 18mm/ 20mm/ 22mm or according to machine demands,45# steel Machine cover Welded by 8mm diameter wire mesh and 35mm diameter angle steel Wheel 45# steel, surface heat treatment chrome plating, hardness HRC 58-60℃ Shaft Diameter: 70mm / 75mm / 80mm /85mm /90mm (depends on different design) Solid shaft, high quality 45# forged steel, with anti-return pad Number of rolls Common 9 rolls - 25rolls (according to different design) Chain 1 inch/1.2inch /1.5 inch /2inch according to machine demands Voltage 220V/50HZ/single phase power; 380V/50HZ/3 phase; 415V/50HZ/3 phase; 440V/50HZ/3 phase; or as requirement Main motor power 3KW/4kW/5.5KW/7.5KW or as actual demands Hydraulic pump station Gear pump Pump station motor power 3KW/4KW/5.5KW/7.5KWor as actual demands Reducer 6#/ 8# Gear Reducer Hydraulic pressure 10-12MPa according to the oil pump and pump motor Shearing knife Cr12 / Cr12MOV, heat treatment, HRC 58-60℃ Cr-plating size: 0.05 mm Cutting method Hydraulic guide column cutting; Hydraulic connecting rod cutting; Electric cutting; Servo motor tracking cutting Control System PLC Control System, 360 degree rotation PLC Display languages Chinese, English, (Spanish or Russian) Productivity 8-12m/min; 10~15m/min Length tolerance ±2mm Cutting tolerance ±1mm Raw material Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Aluminum steel coil/ Stainless steel coil Feeding thickness 0.3-1.0mm(Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Stainless steel coil); 0.3-1.5mm (Aluminum steel coil) aluminum trapezoidal sheet roof wall panel machine picture details

aluminum trapezoidal sheet roof wall panel machine parts 01. Mainframe: GB H steel, hard texture. 02. Operator station: 360-degree rotation display. 03. Cutter: The main material is Cr12, which has high hardness. 04. Retaining pad: Prevent the nut from loosening. 05. Easy hanging: Prevent the machine from scratching during the movement. 06. Wheel: generally 45# steel, good hardness. 07. Travel switch: Limit the position or travel of the machine. 08. Rear hand knife: cut in advance to prevent waste. 09. Resin wheel: used to record the length of discharge and record data is more accurate. 10. Electric control cabinet: The main motor and PLC are famous brands. Packaging & Delivery Packaging Details: a.The main body of machine with water-proof plastic, then fixed to container by 8mm diameter steel wire and angle iron. b.Rollers and shafts are covered with anti-rust oil. c.PLC control system and motor pump are packed with waterproof paper and plastic film. d.Spare parts in a carton box. e.Manual decoiler was nude packing. f.The output-table put into a carton box. g.If the machine is too long, we will divide it into two parts and pack them in one package with steel wire. h.Fit for ocean shipping. Port: Tianjin, Qingdao, Shanghai, Yiwu port About us Tianjin Haixing Imp & Exp Co., Ltd. is a manufacturer and exporter specializing in the design, development and production of cold roll forming machines. The company is located in the northwest of Tianjin, China, and cooperates with a number of production plants and related companies. We have a high-quality professional team, skilled personnel, strong technical force, strong and independent research and development capabilities, advanced production equipment and perfect after-sales service system. Our customers are all over the world, such as 65 countries in Germany, the United States, Mexico, Chile, Bolivia, Italy, Australia, Kuwait, Saudi Arabia, South Korea, Japan, South Africa, Kenya and other different regions. We have extensive experience in the needs of different countries, such as profile, thickness range, use, installation, etc. Read the full article

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haixinggroup · 4 years

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1127 trapezoidal metal sheet roll forming machine

1127 trapezoidal metal sheet roll forming machine parameters Decoiler/uncoiler Manual decoiler/ Electric decoiler/ Hydraulic decoiler according to customer requirements Cutting blade Manual cutter/ Electric cutter/ Hydraulic cutter/ Servo motor cutter according to customer requirements Mainframe 350mm/ 400mm/ 450mm H beams, 45# steel Middle plate 16mm/ 18mm/ 20mm/ 22mm or according to machine demands,45# steel Machine cover Welded by 8mm diameter wire mesh and 35mm diameter angle steel Wheel 45# steel, surface heat treatment chrome plating, hardness HRC 58-60℃ Shaft Diameter: 70mm / 75mm / 80mm /85mm /90mm (depends on different design) Solid shaft, high quality 45# forged steel, with anti-return pad Number of rolls Common 9 rolls - 25rolls (according to different design) Chain 1 inch/1.2inch /1.5 inch /2inch according to machine demands Voltage 220V/50HZ/single phase power; 380V/50HZ/3 phase; 415V/50HZ/3 phase; 440V/50HZ/3 phase; or as requirement Main motor power 3KW/4kW/5.5KW/7.5KW or as actual demands Hydraulic pump station Gear pump Pump station motor power 3KW/4KW/5.5KW/7.5KWor as actual demands Reducer 6#/ 8# Gear Reducer Hydraulic pressure 10-12MPa according to the oil pump and pump motor Shearing knife Cr12 / Cr12MOV, heat treatment, HRC 58-60℃ Cr-plating size: 0.05 mm Cutting method Hydraulic guide column cutting; Hydraulic connecting rod cutting; Electric cutting; Servo motor tracking cutting Control System PLC Control System, 360 degree rotation PLC Display languages Chinese, English, (Spanish or Russian) Productivity 8-12m/min; 10~15m/min Length tolerance ±2mm Cutting tolerance ±1mm Raw material Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Aluminum steel coil/ Stainless steel coil Feeding thickness 0.3-1.0mm(Galvanized steel coil/ Galvalume steel coil/ Color steel coil/ Stainless steel coil); 0.3-1.5mm (Aluminum steel coil) 1127 trapezoidal metal sheet roll forming machine picture details

1127 trapezoidal metal sheet roll forming machine parts 01. Mainframe: GB H steel, hard texture. 02. Operator station: 360-degree rotation display. 03. Cutter: The main material is Cr12, which has high hardness. 04. Retaining pad: Prevent the nut from loosening. 05. Easy hanging: Prevent the machine from scratching during the movement. 06. Wheel: generally 45# steel, good hardness. 07. Travel switch: Limit the position or travel of the machine. 08. Rear hand knife: cut in advance to prevent waste. 09. Resin wheel: used to record the length of discharge and record data is more accurate. 10. Electric control cabinet: The main motor and PLC are famous brands. Packaging & Delivery Packaging Details: a.The main body of machine with water-proof plastic, then fixed to container by 8mm diameter steel wire and angle iron. b.Rollers and shafts are covered with anti-rust oil. c.PLC control system and motor pump are packed with waterproof paper and plastic film. d.Spare parts in a carton box. e.Manual decoiler was nude packing. f.The output-table put into a carton box. g.If the machine is too long, we will divide it into two parts and pack them in one package with steel wire. h.Fit for ocean shipping. Port: Tianjin, Qingdao, Shanghai, Yiwu port About us Tianjin Haixing Imp & Exp Co., Ltd. is a manufacturer and exporter specializing in the design, development and production of cold roll forming machines. The company is located in the northwest of Tianjin, China, and cooperates with a number of production plants and related companies. We have a high-quality professional team, skilled personnel, strong technical force, strong and independent research and development capabilities, advanced production equipment and perfect after-sales service system. Read the full article

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