Let's talk about setups and microing.

[tonypep]

Not sure about newer models but on older M&Rs there is actually a freewheel position where you can turn the micro about 10 degrees right or left without moving the screen. It is recommended that the micro is in this position when running production.

[alan802]

Tri-loc, test print one color at a time while keeping a mental note of what is out, don't move anything until we make it all the way around. Many times only the base needs to be moved. Often times nothing need to move.

This

[shellyky]

Tri-loc, test print one color at a time while keeping a mental note of what is out, don't move anything until we make it all the way around. Many times only the base needs to be moved. Often times nothing need to move.

This

Third this...my underbase usually always needs moved up, i usually move it up before even testing at this point since i know its going to be off....I assume because it's sticking the shirt down on this stroke, its different from every other stroke thereafter?

[inkman996]

Tri-Loc in run a test print of the whole design. If any color needs a tweak it is very very tiny so I make a micro on what needs it the run another test print. 100% of the time its all thats needed. More times than not with the tri-loc no micro is ever needed.

Hey Dan when I get your seps I usually swap out your thin reggies for even much thinner ones I use .1pt they are so thin they rarely even wash out but are perfect for pre-regging on the light table.

[alan802]

Could be that printhead is a tad high.  Check the off contact on that printhead versus all the others next time you set up a job like that.  That will eliminate that issue and we can then move on to the next.  It could be several things, so check or change one thing at a time to figure out what it was.

We use thin regis too, they sometimes won't spray out on thicker stencils.  I don't know what point they are, I think .5.

[mk162]

I have tried both thick and thin and thin is a ton easier.  Try it sometime, it just is.

[cvreeland]

I only use the tape trick when I'm lining up 2 screens that are the same color, say for a white/flash/white. That way I can tell which one is which & move accordingly. Also, it's a little faster than having to print both heads each time you make a move, because you can just stand at the head you're adjusting, print, look, move, wipe, print again.

For everything else, clamp 'em all down (tri-lock -- best investment of the past 10 years), run a test print of the whole thing, make whatever moves are needed, then test print the whole thing again.

I like to set the dwell time at about 6 seconds so that I can walk around the press during the test print & watch each head for squeegee pressure, & make sure ink is clearing the screen, & I can make those adjustments right then.

Our old series I Challengers, there's a lot of play in the print heads due to the length of the rods that attach the screen brackets, so lots of micro-regging on them, including moves after adjusting squeegee pressure. On the newer series II machines, a 6 color job will usually need 2 or 3 micro moves to be ready to go.

[ericheartsu]

Does anyone here run the newman pin system? i'm interested to see how accurate it is. I understand i'll have to bump things here and there, but as a whole, how quick is it to use to register?

[ebscreen]

I'd think that the base would be off most often as it is typically printed with more pressure than top colors, and as Shelly said, is
responsible for tacking the shirt to the pallet.

We do the tape thing for waterbase a lot. Way easier to see where you're at on top of tape than in the shirt.

Regging to film makes sense, but typically destroys the film, and at least for our machines, is difficult to determine
initial placement in terms of height on the pallet. A permanently marked pallet might be nice, but we'd have to redraw
every time we change the paper currently.

I think the most important thing is a pre-reg system, as has been said before countless times. Even if it's
nothing more than a lineup table, or just putting the screen in the head and the film on the pallet and lining up that
way.

[Screened Gear]

we'd have to redraw every time we change the paper currently.

I haven't done this but I am thinking about it. For your marks on the pallet paper set up a screen with all your neck lines and reg mark. Then before adding tack print all the boards (purposely) with a very thinned out ink. Flash it and your done. Keep the screen and you never have to mark your boards again.

[inkman996]

we'd have to redraw every time we change the paper currently.

I haven't done this but I am thinking about it. For your marks on the pallet paper set up a screen with all your neck lines and reg mark. Then before adding tack print all the boards (purposely) with a very thinned out ink. Flash it and your done. Keep the screen and you never have to mark your boards again.

I mark all my boards one time only right on the rubber. All palettes have a thick black center line and one has lines for left chest, right chest, full front height etc. With even semi dirty palette paper you can still see enough of the marks, if it becomes to hard to see its time to change the paper anyways.

[IntegrityShirts]

I have a DIY triloc registration pallet that I rarely use anymore since getting used to the press.

I have one regular pallet on press with a center line drawn and drop marks for reference.  I align the base screen to those marks, print on shirt with registration marks, flash it, then use that to register all other screens, tape reg marks and start printing.

For single color prints I tape the reg marks before putting the screen on press because I can still see through them to align with the centerline on the pallet.

Most of my jobs are 1-2 color though, with the rare 3+

[screenprintguy]

 I can tell you what not even reading back in this thread. If you have a press that can accommodate Tri Loc pallet, and are in the position to add a CTS unit, like the M&R I-Image that we just added, you will set up multi color jobs all day with literally 99% lock and load accuracy. This thing is awesome man, 8 color sim process, or 8 color spot color jobs, I don't have to trap my seps nearly as much if at all anymore for perfect reg yielding a higher quality print, fast fast fast, and dead on. Unless you need to re-level your press which this CTS unit showed us how bad we needed to re-level our pallets, once your press is tight and right, the set ups fly on like you wouldn't believe. The M&R I-Image really is the bomb diggty in my opinion, very happy with the machine and especially the customer service and training they have given us.

[ScreenFoo]

I'd think that the base would be off most often as it is typically printed with more pressure than top colors, and as Shelly said, is
responsible for tacking the shirt to the pallet.

We do the tape thing for waterbase a lot. Way easier to see where you're at on top of tape than in the shirt.

Regging to film makes sense, but typically destroys the film, and at least for our machines, is difficult to determine
initial placement in terms of height on the pallet. A permanently marked pallet might be nice, but we'd have to redraw
every time we change the paper currently.

I think the most important thing is a pre-reg system, as has been said before countless times. Even if it's
nothing more than a lineup table, or just putting the screen in the head and the film on the pallet and lining up that
way.

I think the base being off also has a lot to do with the very different ink viscosity and tack as well, in plastisol at least.

[Gabe]

I usually do this simple math if my bullets are 1pt. thick = 4 hairlines, some micros are more responsive than others
if i turn my micro knobs 1/4 of a turn = a hairline, two hairlines 1/2 turn and so on
Gabe