#moulding hot press machine

[metallurgyandmetrology]

if you are planning to buy moulding or mounting machine the multitek technologies is one of the best solution for you to buy moulding machine according to your need from Multitek Technologies.

[chaotic-orphan]

Whumptober No.2

Trust issues

Amusement Park | Role Reversal | “You got away with the crime while the knife's in my back.” (Charlotte Sands, Rollercoaster)

Oof this one was hard and I DID WRITE IT YESTERDAY but I fell asleep before publishing like a dumbass ahahahahahahah anyways!!!! NOBODY SAW SHIT

*~*~*~*~*

Hero gasped, a hollow, choking sound that was more like a person drowning coming up for air, the breath stolen from their lungs as they fell to their knees. White hot pain blinding them, gasping that wretched sound.

They could feel their body heal around the blade, feel their skin latch onto the metal and try to mould it back together, heal Hero with the blade inside. Blood pooled in Hero’s throat and bubbled out of their lips, coughing as they reached behind for the blade.

A hand slid into theirs, interlocking their fingers with a lover’s touch and Hero froze. “Oh sweetheart, don’t worry. I’m doing this for you.”

Hero’s body trembled as they reached their other hand over their shoulder going for the blade. “Ah, ah, ah,” Villain cooed behind them, hand on the blade adding a little pressure. “I wouldn’t dear, the dagger’s serrated with gnarly dips in the design. If you pull it out, it will rip.”

“V— V— Vil, why?”

They felt Villain’s presence leave their back, but knew Villain was close, still holding Hero’s hand, bringing it in front of them where Villain kneeled, pressing a kiss to the back of Hero’s knuckles.

“Because… you are too foolhardy, Darling. It will get you killed one day.”

“Su… super—”

“Superhero?” Villain prompted, their hand going to Hero’s chin and tilting their head up to look them in the eyes. “I know. They’re heading for a trap, but don’t worry. I told Supervillain I would handle you.”

“You… y-y-” Hero tried but they couldn’t find the words. Villain didn’t seem to care. They leaned forwards and captured Hero’s lips in a kiss. When Hero jerked back the blade scraped bone and Hero gasped lurching forwards again into Villain’s arms. “Wo- won’t forgive you.”

Villain held Hero like a child in their arms. “I know. But you will, one day. I can’t use any drugs on you because your body is a machine and would just expel them from your system,” they said fondly, pushing Hero’s sweaty hair from their forehead. “I did consider slicing your Achilles but I heard that’s painful. I just wanted to incapacitate you with the least amount of pain.”

“This hurts,” Hero cried. “This hurts, please.”

Villain smiled fondly at Hero, brushing their thumb over Hero’s blood dried lips, the red stain coming off like chipping paint. “I said least amount of pain, dear. Not zero. If I asked you to stay we both know you wouldn’t and it’s okay. It’s what I love about you, so I made the decision. I’ll be your bad guy. You can hate me if you want, but at least you’ll be alive. At least your conscience can rest easy hmm?”

“Villain… please,” Hero whispered, tears streaming down their cheeks. “Let me go.”

“No, Hero, I love you too much. I will never, never let you go.”

Villain held Hero quietly until their sobs died down, head resting on Hero’s that was curled into their chest staring blankly at the wall ahead.

[tojiphile]

ALL FAIRYTALES HAVE A HAPPY ENDING + GOJO SATORU

a/n. comfort fic. non-canon compliant. slight angst but happy ending of course <3 pre-established relationship with satoru, kissing, cuddling, words of affirmation.

most nights, satoru comes home late. when you first started dating him, it used to worry you. his absence plagued you with thoughts worse than cheating. you’d spend hours wondering if your boyfriend was still safe, praying for him to just be alive.

now, you’ve come to understand—he has a role, a part to play, a cog in the machine that makes the world run, that allows it to survive. still, that didn’t mean you had to like it.

now, on most nights when he’s back home late, you’re able to crawl into your side of the bed, and go to sleep. you stir when he joins you, cuddling up into you and pressing a kiss on your forehead. “you’re home?” you’d sigh into his neck. “i’m home.” he’s reply, whispering sweet nothings in your ear until you fall back asleep.

but tonight is different. you’re not one for superstitions (satoru proves them all wrong), but you can’t help but feel a sick sense of dread in your stomach. something was wrong. you ate dinner alone in front of the tv, flipping through channels. you stopped when you saw the news.

“this just in: shibuya is under attack! as of 7:00pm, shibuya has been placed under lockdown by a mysterious invisible wall. government officials are looking into the situation now. our sources tell us that the civilians trapped are crying for help desperately, all looking for one satoru gojo.”

you freeze.

“if anyone has any information on the situation, please call the hotline below…” the announcer’s words faded away as all your intrusive thoughts raced through your mind, your heart hammering in your chest. where was satoru? was he okay?

hands trembling, you reach for your phone and dial your boyfriend. it rings exactly three and a half times before the call ends. you call again, and again, and again, but he never picks up. so, you ring the only person you can think of—kiyotaka ijichi. satoru might jokingly insult the man sometimes, but all in the times you’ve been worried, kiyotaka had answered your questions, trying his best to remain calm, giving you answers as to where your boyfriend was.

he doesn’t pick up either.

you pace the living room. you know that satoru can handle anything. he was a living reminder of it. even in the times he’d come home, battered and bruised, he’d give you that same cocky grin, pointing his thumb at himself and declaring, “i’m the strongest!”

so you try your best to calm down, breathing deep breaths. whatever this was, satoru would come home. you just have to take a shower, go to bed, and when you wake up, he’ll be right there next to you, warm and inviting.

and you do just that. but as you lay awake in bed, staring at the ceiling full of little glow in the dark stars that satoru helped you stick up, you couldn’t fall asleep. this was different somehow, you could feel it.

you return to the living room after pouring yourself a glass of wine. but just as you’re about to sit down, you hear the jingle of keys, a heavy sigh, a click, and the front door swings open.

“i’m home.”

satoru stands in the doorway. he looks too exhausted to move. there’s dried blood on his face and his eyes are glowing a vibrant sky of blue. you drop your of glass of wine, not caring as it shatters to the ground and race to your boyfriend. as you approach him, he finally lets his guard down, eyes returning to their normal hue.

you wrap your arms around him, clasping him tightly as you press your head into his chest. you can’t help the hot tears of relief that spill as you mumble, muffled by his clothes, “welcome home.”

he pulls you in, squeezing you tight, as if he was trying to mould the two of you together so you would never have to leave his side. he hugs you in all his despair, because you were the only reason he still fought.

after suguru passed, satoru lost the will to live. he fought, yes, he fought. but battle after battle, the bloodshed was never worth anything. there was no joy, no happiness because there was no love left to lose. he fought a good fight, but if he had lost, he would have stopped fighting.

but now, here, with you in front of him, holding onto him like he’s everything you’ve ever needed packed into a man-sized box, he knows that in your eyes, he’s more than just a figure of greatness. gojo satoru is simply a man who has wants and needs and flaws and feelings.

so for you, who sees him for him, he fights. everyday, he fights to come back home to you, to take you in his arms and hold you tight. he wants to press his body against yours and feel your warmth, and he doesn’t want to let it go even as he sees the morning light.

he kisses the top of your head and whispers, “i promised you i’d come home. i don’t break my promises. and after all…”

you can feel him smile into your head, “i am the strongest.”

(extra:

at his cheeky comment, you give him a firm whack on his buttocks, and he yelps in surprise, pulling away from you.

“mean!” he pouts, “i just got back from a long fight and won against the king of curses! shouldn’t you, my lovely girlfriend, be taking care of me?”

you shoot him a glare. “i thought you died! don’t play around at a time like this!”

he chuckles, “aw, was my poor baby worried about me?”

satoru wraps you up in another an embrace, but as you’re about to return he hug, you let out a yelp as he throws you over his shoulder and says, “let me take care of you now!”

you try to squirm out of his grip, but he’s holding onto your waist tightly. you can only see his ass from this point of view but you yell at him anyway, “i hate you!”

a smile. “i love you too.”)

[littlelemontarte]

coffee-chocolate mousse with a lemon confit insert and a coffee icecream with caramelized hazelnuts

because @silenceandiblog asked, here are the recipes, for probably six people:

lemon confit

- 50g lemon peel

- 150g lemon juice

- 75g sugar

carefully peel the lemon, so that you don't have any of the white parts. put the zests into a small pot, fill it with water halfway and bring to a boil. blanch the lemon peel for a minute. sieve them and repeat two times (this will reduce the bitterness). once you've blanched the lemon peel three times, put them into a pot, add the lemon juice and sugar and let it cook for 40-50 minutes. fill the hot mixture in a marmelade glass.

if you want to serve this the way i did, you can fill some of the lemon confit into a silicone mould (mine contained 30ml per cavity) and freeze it for at least three hours.

coffee mousse:

- 4g gelatine (note: i used this much gelatine because i wanted to fill it into a silicone mould which means the mousse had to be a bit more stable compared to being served in a glass. if you want to serve it differently, you can definitely reduce the amount of gelatine to at least 2g or maybe even go without it completely)

- 125g cream (1)

- 35g coffee beans

- 1 stick (1.8g) instant coffee

- 70g milk chocolate

- pinch of salt

- 125g cream (2)

heat up cream (1) with the coffee beans and bring to a boil. allow it to infuse for at least thirty minutes but you can let it steep for up to two hours.

soak the gelatine in cold water. melt the chocolate with the instant coffee and the salt over warm water. reheat the cream/coffee mixture and let the gelatine dissolve in it. sieve out the coffee beans and add the warm cream to the chocolate. use a hand blender to make sure everything emulsifies. let it cool down a bit (till it's handwarm).

whip up cream (2) and carefully fold it under the chocolate mixture.

option 1: you fill it into a silicone mould (mine had 100ml per cavity). fill the individual cavity up to two third, add the frozen lemon confit insert, press down lightly and add as much mousse as needed. you can leave it like this or add a biscuit base of your choice. freeze over night and unmould it the next day, carefully let it unfreeze in the fridge.

option 2: you serve it as a glass dessert. pick a glass of your choice and fill in the mousse. let it rest in the fridge over night. add as much lemon confit as you want when you serve it.

(note: this cream is relatively bitter and very focused on the coffee flavour. you can leave out the instant coffee and reduce the amount of coffee beans if that's more your taste)

coffee icecream with hazelnuts

(note: i used an icecream machine to make this)

- 600g cream

- 50g coffee beans

- 150g sugar

- pinch of salt (1)

- cinnamon to taste

- 100g chopped hazelnuts

- 25g maple sirup

- pinch of salt (2)

for the hazelnuts, preheat the oven to 160° (fan oven). combine the hazelnuts with the maple sirup and the salt, put it on a baking sheet and bake it for twenty-twentyfive minutes. let it cool.

put 500g of cream in a pot, add the sugar, coffee beans and pinch of salt (1) and bring to boil. let it cool down and let the coffee beans infuse in the fridge over night.

the next day, sieve out the coffee, add the remaining 100g of cream and cinnamon to taste (i added less than a teaspoon but this is individual preference). fill it into an icecream machine and let it cool according to the instructions of the machine. in the last ten minutes, add the hazelnuts. fill the finished ice cream into a container and put it in the freezer till serving.

assemble the mousse and the icecream on a plate of your choice, serve and enjoy :)

[melmordfjordslorn]

@lovleycrowley

Phase Six: Wish You Wear Ear (2019–2021)

During a brief hiatus for the band, on the 3rd of September 2019 while visiting Iran to see Lake Urmia, Noodle made note of how climate change had taken a toll on the lake. She came to a realization regarding the fleeting state of nature on Earth, and sent a post-card to Murdoc, 2D, and Russel at Studio 13 with a message detailing her desire to build a machine and see the world before it’s gone. The post-card arrived at Studio 13 on the 12th of September.

On the 7th of September, 2D sent a post-card to the band while visiting Beirut, informing Noodle that he got the parts for the machine she had mentioned, asking what they were for. The post-card arrived at Studio 13 on the 24th of September.

On the 14th of September, Murdoc sent a post-card from his annual drunken holiday in Ibiza. The post-card arrived at Studio 13 on the 26th of September.

On the 21st of September, Russel sent a post-card from Mexico while working on his hot sauce business, "Hobbs Hot Sauce". He included a message telling the band that he’d “be seeing [them] and the machine REAL soon”. The post-card arrived at Studio 13 on the 4th of October.

The machine (revealed as the "Song Machine") was activated on the 28th of January. The following day, the band announced their next project, Song Machine, a multimedia series of songs/music videos released episodically through 2020, as a continuously-updating playlist via streaming services.

In a statement to the press, Russell said "Song Machine is a whole new way of doing what we do. Gorillaz breaking the mould ‘cos the mould got old. World is moving faster than a supercharged particle, so we’ve gotta stay ready to drop. We don’t even know who’s stepping through the studio next. Song Machine feeds on the unknown, runs on pure chaos. So whatever the hell’s coming, we’re primed and ready to produce like there’s no tomorrow. Y’know, just in case.”

Throughout the course of the series, the band collaborates with musicians they’ve met on their various trips around the world, inviting them to record at their now renamed West London studio, officially dubbed the new Kong Studios. In the music video for “Désolé”, 2D, Noodle, and Russel travel to Lake Como via a mysterious teleporting door in Kong Studios and record with Fatoumata Diawara. Murdoc is left behind and unable to reopen the portal, leaving him lonely and depressed at Kong. When questioned about this, Murdoc claimed he wasn’t upset about being left behind and didn’t care about their trip to Italy. Shortly before enviously asking 2D and Russel about portals just “in case [he] ever [needs] to find one for future reference”.

In the face of a global pandemic, the band practiced social distancing, sequestering themselves in various parts of Kong Studios. Murdoc locked himself in Kong’s basement, explaining how he was working on “something big” that would “change the effing world”. After a look through his online purchase history, this “something big” appears to have involved nearly £500 worth of pine wood and a blow up doll. Meanwhile, Russel caught up on television while experimenting with an assorted variety of food/entertainment combinations.

As the months passed, Murdoc continued providing social media updates regarding his secret project, before finally unveiling it in the music video for Pac-Man. This special project, his very own orgone accumulator (based on the pseudoscientific concept of Wilhelm Reich), was built solely by Murdoc in the basement of Kong Studios. Throughout the video Murdoc can be seen contentedly sitting and relaxing in his creation, which in an act of jealousy and defiance, he claims can also act as his own private teleportation portal despite not showing any interest or apparent ability of opening a portal of any kind.

In the Strange Timez music video, the band took a trip through space to destroy a billboard on the moon. In the music video for The Valley of the Pagans, the band traveled through a portal to Los Angeles for a drive around the city before abruptly falling through another portal leading them to Plastic Beach.

In the music video for The Lost Chord, the band found themselves back at Plastic Beach ten years after the Black Clouds’ attack on the island. Past trauma resurfaced as they explored the remains of the island. Murdoc is seen overcome with guilt at the sight of a damaged and deactivated Cyborg Noodle. Soon after, a sea monster awoke from the depths of the ocean and began destroying the island. The deactivated Cyborg Noodle is seen opening her eye as she lifelessly sinks to the bottom of the ocean. A portal back to Kong suddenly opened up as the ruins of the island sunk into the ocean. 2D, Noodle, and Russel escaped as the portal closed, leaving Murdoc stranded in the ocean. In the spirit of friendship and forgiveness, 2D quickly reopened the portal and reached out, saving Murdoc’s life.

In May of 2021, a demonic sinkhole opened beneath Kong Studios, leaving it inoperable and under renovation. During this time, the band went on a road trip in Murdoc's Winnebago, taking their instruments and recording equipment along with them. The band released a surprise EP titled Meanwhile in August of 2021. The EP was released as an "homage to Notting Hill Carnival", an annual event that usually takes place in London every August, but couldn't occur in 2020 or 2021 due to the global pandemic. The EP features frequent Notting Hill Carnival performers Jelani Blackman, Barrington Levy, AJ Tracey, and Alicai Harley.

In December 2021, the band was contacted by a rogue agent of the Department of Musical Corrections, "a covert organisation operating in the murky shadows of the music industry" with the goal to "stifle originality" in the world of pop-music. The DMC agent, known only as GFlat, revealed on social media that Gorillaz had been on the top of the organizations "most subversive" watchlist for decades. GFlat claimed that "a storm [was] coming", and began leaking classified DMC documents to the public through the Gorillaz discord. This culminated in the release of Demoz, a collection of early Gorillaz demos that had previously been locked away in the DMC vaults.

[viratsteelspecial-blog]

What is the differences between the H11 and H13 Hot Work Steel? Looking to source Hot Work Tool Steel from India?

If we compare between H11 and H13, H11 tool steel consists of less vanadium than the commonly used H13 hot work tool steel. This gives H11 steels the higher toughness, with some reduction in wear resistance and tamper resistance.

H13 is another popular alloy from the family of Chromium Hot Work Steels corresponding to the ASTM A681 standard. With a Carbon content that can vary from 0.32 to 0.45 percent it is also a low Carbon steel like H11 ( 2343 steel ) and the Chromium content can be in the 4.75 to 5.5 percent range. It differs from H11 principally in its Vanadium content which is at least 0.8 percent and could be as high as 1.2 percent. This, when coupled with its significant Molybdenum content of around 1.5 percent, lends great strength to the alloy while the high Chromium ensures that it does not turn soft even at relatively high temperatures.    

Compared to H11, H13 ( 2344 steel ) has less impact toughness but greater wear resistance as well as temper resistance.

As a general rule more other constituents in an allow cause the thermal conductivity to drop and while the thermal conductivity of H11 tool steel is 42.2 W/mK, the thermal conductivity of H13 tool steel is 28.6 W/mK. For applications such as stamping higher thermal conductivity may be preferred (so that cooling takes place quicker leading to shorter cycle times). For applications where such conductivity is not that important, H13 tool steel may be preferred for its longer life and greater resilience to the development of fractures.  

APPLICATIONS: Forging Dies, Punches / Dies for Extrusion on non ferrous alloys, Pressure Die Casting of Aluminium Alloys, Moulds for Thermo plastic polymer injection with high polishability. Die Inserts, Extrusion Press Tools, Forming Dies, Mandrels, Hot Shear Blades, Rolls for Hot Rolling Machines,Tools for Nuts,Screws, Bolts, Rivets, Fasteners, etc

Mode of Supply: The Prime Supplier of Hot Work Steel in India is "VIRAT SPECIAL STEELS," an ISO 9001:2008 certified company. Recognized globally as suppliers of quality steel they enjoy enviable affiliations with the leading producers of special steels and heavy engineering across the world. So their advice and solutions should prove invaluable in the choice of steel for different applications – 

such as guidance on whether H13 or H11 is better suited for your process.

Learn more: https://www.viratsteels.com/hot-work-steel.html https://www.viratsteels.com/h13.html https://www.viratsteels.com/h11.html

Email us: info@viratsteels.com Call Us Now: +91-9814021775

[zetarvac]

All about Thermoforming Production Process

Thermoforming involves heating, vacuum forming, cooling and other processes of PVC, PS, PET and other resin sheets in a thermoforming machine to shape them according to the shape of the mold, and then punch them into a single product using a die on a punch machine, and finally packaging products made through folding, punching and other processes.

This kind of packaging product has the characteristics of cheap materials, simple technology, low investment and considerable profits. It is suitable for packaging small daily necessities, small electrical appliances, toys and other commodities. It is not suitable for packaging products with high cushioning requirements and heavy products.

Compared with traditional cold forming processing technology, hot forming process is characterized by a constantly changing temperature field on the processed sheet. Under the action of the temperature field, the basic structure and mechanical properties inside the sheet change, resulting in changes in the stress field of the sheet. At the same time, the stress field of the material reacts on the temperature field. Therefore, the vacuum forming plastic manufacturing process means that the internal temperature field and stress field of the sheet coexist and Mutually coupled change processes.

There are several thermoforming methods used in actual production, and the most basic ones are six: differential pressure forming, overmolding, plunger-assisted molding, suction molding, countermolding, and twin sheet forming.

Ⅰ. Thermoforming Production Process

The main production processes of thermoformed products include mold removal, pull tabs, punching, folding, punching, packaging, etc.

Mould or Drawing

A thermoforming project starts with design, which requires a model or drawing of the product, or a sample provided by the customer.

Mold Design & Making

After the customer confirms the sample, the plaster mold used for proofing is used as the master mold. After electroplating copper, the production mold is made according to a certain quantity and position. There are three types of conventional molds: plaster mold, copper mold, and aluminum mold. The plaster molds are mainly used for proofing and generally cannot be used for mass production. The production time is generally 24 hours.

The copper mold is a plaster mold electroplated with a layer of copper, which has enhanced strength and wear resistance and is not high in cost. It is the most commonly used mold in production. The general production cycle is 100 hours, at least 3 days, and the service life is about 100,000 pieces. When the quantity reaches more than 1 million, aluminum molds can be made.

The aluminum molds are made of pure aluminum, which is costly and requires machine processing. The general mold making time is 3 days. Aluminum molds have good production quality, fast heat dissipation, high product precision, and long service life. If the customer requires precise products and the copper mold cannot meet the accuracy requirements, aluminum molds must be made even if the quantity is small.

Install the Mold

Based on product and material information, the mold's cavity count and expected cycle time can be estimated. With this data, the moldmaker has all the details to build the tooling accordingly. The mold consists of two mold halves, each mounted on a removable platen of a vertical toggle press.

Heating & Forming

The thermoforming machine heats the raw material coils or plastic sheets through the vacuum forming machine, vacuum thermoforms them, and cools them, and then automatically cuts them into predetermined sizes. This process is the most important process of pressure forming.

The length of the sheet is between 600 and 1170mm according to actual needs. Different materials, different thicknesses, and different temperature adjustment requirements require considerable experience from the startup personnel. The adjustment test usually takes 3 pictures.

Punching

After heated plastic sheet and forming, there are usually multiple products (according to the number of mold rows), which need to be punched into a single product on a punch. This process is called punching.

If the customer has special requirements, this process should be added when perforating the thermoformed part.

Folding

For some products that need to fold over two or more corners of the thermoformed product to insert paper cards, this process is required. This process is completed by a folding machine.

Package

Must pay attention to the packaging of thermoformed products, and determine the appropriate packaging method according to the strictness of customer requirements, product materials, shapes, etc.

If the customer has no special requirements, packing and plastic bags can be used. For products that are white or brightly colored, easily scratched by friction, or cannot attract dust or fingerprints, gloves are often worn during production.

Ⅱ. Thermoforming Materials

Commonly used vacuum forming materials include PVC (accounting for approximately 50%, density is 1.36g/cm³), PS (accounting for approximately 30%, density is 1.06g/cm³), PET (accounting for approximately 10%, density is 1.39g/cm³) , PP (about 10%, density is 0.92g/cm³).

Among them, the maximum thickness of PVC is generally 0.8mm, and that of PS is generally up to 1.2mm. Films exceeding this thickness are difficult to pull and may easily cause damage to the equipment.

The color of the material is generally determined according to the customer's requirements. Generally, PANTON color standards, color drafts, color separation standards, etc. need to be provided. The customer can also specify the approximate color and provide the customer with the color based on the product inventory. If there is no requirement from the customer, generally colorless and transparent materials that are easiest to produce can be used.

If you order colored sheets, they generally need to be more than 2 tons before they can be customized. Colored materials are denser than transparent materials. Flocking materials generally use PS materials with smaller density. If the density is high, it is easy to produce lint-free parts of the surface after stretching.

Generally, materials with brighter colors are easier to produce and do not have high requirements for packaging. Scratches on light-colored materials are easy to see, so packaging requirements are strict. Generally, flocking materials need to be protected from scratches and indentations.

When the products are put together, friction will easily occur in the tight contact areas and cause them to turn white. In places like this, special attention must be paid when packaging. If the requirements are strict, consider using plastic bags, copy paper and other methods for protection. Flocking materials are generally ordered according to length (meters).

Material properties generally include anti-static properties. Anti-static materials are produced by soaking or adding anti-static ingredients. The latter method has long-lasting anti-static properties. The static value of anti-static materials can generally reach 106~1012Ω.

In addition, there is environmental protection, among which APET is the most environmentally friendly and PVC is recyclable. Generally speaking, the thicker the material, the longer it takes to heat and the slower the production speed. The thinner the material, the faster it can be produced, but the longer the roll will be.

Ⅲ. Thermoforming Mold

Lower Mold

The lower mold is an essential mold in thermoforming production. According to different production processes and materials, they can be divided into plaster molds, copper molds, and aluminum molds. When customers provide samples, drawings or physical objects, plaster molds for adding samples need to be made.

The gypsum mold is made of gypsum powder and water is added to it to set it into a certain shape. It hardens after dehydration to form a mold. Materials and tools such as gypsum powder, drill bits, emery cloth, and wooden boards are required. Because it is handmade, there will be a deviation of about 2mm from the drawing. Plaster molds can be prototyped directly after being made and are not suitable for mass production.

The plaster mold can be modified after it is formed, and it is generally easier to make it smaller than to make it bigger. After the customer confirms the sample, the proofed plaster mold can be used as the seed mold (master mold), and multiple sub-molds can be produced according to production needs. The size of the sub-mold will not deviate greatly from the seed mold, generally around 0.5mm.

After the lower mold is made, it needs to be fixed on a plywood about 8mm thick, and then it can be mounted on the mold basin during production. When the heated sheet passes through the mold, it is sucked by the vacuum pump and attached to the lower mold to make a product with the same shape as the lower mold.

Upper Mold

Sometimes vacuum suction alone is not enough to shape the product, and a certain external force needs to be applied to make the upper mold. The upper mold is not required for all products, but depends on the needs of production.

When testing the machine, if the thermoforming is not good and a upper mold is needed, the operator will make the upper mold according to the shape. The material of the upper mold is generally iron or wood, and the surface in contact with the product needs to be wrapped with soft sponge or flannel.

Cutting Die

Generally, multiple vacuum forming molds are used to open multiple molds. After forming, they need to be cut into finished products according to the size and shape of the product. The process of cutting into finished products is the punch press, and the mold used is the cutting die.

Cutting die can be divided into three types according to different materials and production processes: iron dies, wood die, and laser cutting die. Among them, iron die are thicker and can generally be made into cutting dies with more regular shapes, such as rectangles, ovals, etc., and are not suitable for shapes that are too curved.

The blade used in the wooden die is the beer machine cutting die used for color boxes. It needs to be stacked with a certain number of layers according to the height of the product, and sometimes a cushion is required. For cutting dies that require higher precision, laser die can be made, similar to wood sample knives.

After the die is made, the product that needs to be positioned generally needs to be fixed with a finished product in the die to facilitate positioning when punching the product. For products that do not require positioning, such as edgeless thermoformed products, iron knives are generally used as molds.

Ⅳ. Dimensions and Tolerances

Thermoforming dimensions can be obtained in three ways: copying according to customer samples, making molds based on drawings, and designing by yourself based on the actual object. Because the shape of pressure forming is generally customized based on the actual object, the shape is often irregular. Many dimensions are inaccurate or cannot be marked when the drawings are made, so there is a large deviation when making according to the drawings. For the sake of accuracy, it must be accompanied by a physical trial installation. The size deviation of products made based on sample replicas is not large.

The general thickness tolerance is 0.1mm, and the product deviation is ±2mm. The main reasons for tolerance are:

1. Deviation caused by manual mold removal. This deviation is generally less than 2mm.

2. Deviation caused when the seed mold copies the sub-mold. This deviation is small, generally less than 0.5mm.

3. Thickness deviations in the same mold caused by different materials and thermoforming temperatures. This deviation is small, generally less than 0.1mm.

4. The thickness tolerance depends on the specific situation. The larger the same area is stretched, the thinner the thickness of the piece becomes. Different operators and different forming temperature will also make the thickness of the same part different.

Among the above reasons, the first one is the main reason for dimensional tolerance, but because the mold can be modified and corrected, the deviation of thermoforming process can generally be controlled within 2mm.

It should be noted that the material thickness is two sizes (0.05mm) smaller than the finished product thickness. Although there are phenomena such as when the surface area of the finished product is much larger than the surface area of the material, the thickness of the finished product will be much smaller than the thickness of the material, the surface area of the finished product is much larger than the surface area of the material, and the thickness of the finished product will be much smaller than the thickness of the material, but overall Generally speaking, the general difference is 0.05mm.

Vacuum forming is a very definite product. If you want the size to be right, you must take the actual product and try it out.

Ⅴ. Draft Angle

All products stamped with molds need to set the draft angle during design, and the same is true for thermoforming. The general draft angle for thermoforming is 3°. The draft angle will cause the size of the upper surface to be smaller than the size of the lower surface. If the thermoforming is placed in a box, there will be a gap between the upper surface and the box wall. When the draft angle is the same, the size of the gap is related to the height.

Calculation Formula

The calculation formula is: d=h×tgθ

d——Size of the gap on each side.

h——Height of thermoforming.

θ——Draft angle, usually 3°.

Ⅵ. Mold Layout and Material Setting

Mold arrangement refers to arranging the molds on the mold plate and fixing them. The distance between the molds depends on the height of the product. The general rule is that the distance between the molds is equal to the height of the mold, and the distance between the mold and the four sides of the mold plate is equal to the height of the mold divided by 2. The high point of the mold refers to the highest point of the mold.

The height of the product refers to the highest dimension of the product. See Figure 2-1. Neither h1 nor h2 is the height of the product. The largest h is the height of the product.

When arranging the mold, the width must be arranged to the edge. The length can be more or less, but no more than 1120mm at most and no less than 600mm at least. Between 600 and 1120mm, the longer the better. The number of molds for APET materials cannot be too many, between 600 and 800.

The mold plate width plus 50mm equals the material width, and the mold row length plus 50mm equals the sheet length.

Conclusion

Thermoforming is a process that uses high temperature and high forming pressure to form raw materials into products of the desired shape and structure through steps such as heating, air pressure regulation, and cooling. This process can be used for processing materials such as plastics, metals and ceramics. By controlling parameters, products with different properties, shapes and sizes can be manufactured. The hot press molding process is widely used in automobiles, electronics, aerospace and other fields, providing high-quality products to all walks of life.

Thermoforming is different from injection molding, blow molding, rotational molding and other forms of processing plastics. Thin gauge thermoforming is used primarily to create disposable cups, containers, lids, trays, blisters, clamshells and other products for the food, medical and general retail industries. Thick-gauge vacuum forming includes parts as diverse as car doors and dashboards, refrigerator liners, utility vehicle floors and plastic pallets.

[hlhrapidlimited]

Understanding the Key Cycles of the Injection Moulding Process

Injection molding is a method for producing a wide variety of plastic products. It is utilised in a variety of industries to create intricate and challenging plastic parts. The procedure is divided into stages to ensure that the pieces are completed correctly. Knowing about these steps speeds up the production of superior components. Let's look at the key steps of injection moulding.

1. Clamping Cycle:

This stage starts the whole process by firmly closing the mold. It's important to keep the mold safe while injecting.

Machines use either hydraulics or mechanics to press the mold shut perfectly, making sure the final product looks the same every time.

Getting the right pressure is crucial to avoid extra bits, bending, or mistakes in the parts.

2. Injection Cycle:

During the injection process, hot liquid plastic is pressed firmly into a closed mould.

The plastic begins as microscopic fragments, which are melted and forced into the mould with a special instrument including a screw or plunger.

Controlling how hot it is, how hard it is pressed, and how quickly it goes in is critical to ensuring that the pieces appear excellent and do not have any issues such as holes or bending.

Once the mould is filled, the pressure holds the plastic in place until it hardens, ensuring that the components come out exactly as they should.

3. Cooling Cycle:

When the mold is full, the cooling part starts to make the liquid plastic harden.

Making sure it cools down fast is important to keep the parts the right size, make them faster, and stop them from bending or getting weak inside.

The mold has special channels to cool it down quickly, so the parts can be made faster without making them worse.

Deciding how long it takes to cool it depends on things like what kind of plastic it is, what shape the part is, and what you want it to be like in the end.

4. Ejection Cycle:

When the liquid plastic has cooled down and become hard enough, it's time to take the part out of the mold.

Things like pins or plates push the part out of the mold very carefully.

Doing this the right way is important to keep the part and the mold safe, and to make sure everything keeps working well for a long time.

Making sure the part has the right angles and shape helps it come out of the mold easily without getting bent or stuck.

5. Post-processing Cycle (optional):

Sometimes, more steps might be needed to finish the parts just right.

This could mean cutting off extra bits, making the surface smooth, putting parts together, or checking to make sure they're good enough.

Doing these extra steps makes the product better and makes sure it's just how the customer wants it to be.

Knowing how injection molding works is important for making plastic parts that are always good quality, made fast, and don't cost too much. Each step in the process is super important for making sure the parts look the same every time, have fewer mistakes, and can be made faster.

 Using fancy machines, being careful with how everything is done, and coming up with new ways to design molds helps companies make the most out of injection molding for all sorts of industries. If you would like to learn more, visit our website: www.hlhrapid.com

About the Author:

HLH Rapid is a leading rapid prototype manufacturer, renowned for its cutting-edge services. Specializing in rapid prototyping, we excel in turning ideas into reality with precision and efficiency. The expertise lies in understanding the distinct cycles of the injection molding process, ensuring consistent quality, streamlined production, and cost-effectiveness.

[eastasiamanagementuniversity]

I took technical classes at Tanjong Katong Secondary Tech. School aka TK Tech, which was also situated along Haig road. I learnt a jumble of practical skills on how to produce household essentials made out of scant materials like epoxy resin, acrylics, plywood, aluminium and alloy sheets. We had to do a variety of hands-on tasks such as measuring distances and gradient, drilling of holes, hot pressing or moulding the required shapes, soldering joints, shaving grain, woodworking, riveting nuts, buffering corners, filing edges, all of which employed a variety of tools like the triple bit mill-drill machine, mould plates, wood planer, chisel, mallet, hacksaw, G-clamp, rivets, file tool, sandpaper, protective goggle, navy blue apron etc.... We made plates, soap dishes, paper weights and shoehorns out of epoxy, as well as platters and ashtrays produced from alloy. Other creations included simple machine crafted products like stools and benches that came from lumber stacked in the workshop. We all had bits of shite stuck to our faces and had to do a great deal of sanitizing thereafter

[metallurgyandmetrology]

If you are looking for moulding and mounting hot press achine with single and double disk then Multitek is one of the best solutions for you. Multitek has a dedicated team of experts to manufacture customized Moulding machine according to customers need. Fell free to visit us. https://www.multitek.in/mounting-moulding-machines

#moulding #mounting #hot #press #machine #mounting #mouldingmachine #mountingmachine

[chemicalsectorupdates]

Paper Cups Market Forecast: Projections and Strategic Recommendations

The Versatile Yet Humble Paper Cup History Paper cups were invented in the late 1890s by Lawrence Luellen, a dentist from St. Louis, Missouri. Prior to paper mugs, drinks were served in glasses, mugs or metal cups. Luellen saw an opportunity to create disposable drinking cups for public places like circuses and fairgrounds where it was difficult to clean glassware. In 1890, he patented a cup-making machine that could rapidly produce paper mugs by pasting paper onto a paper mache mould. These early paper mugs were not lined and would dissolve if any liquid was left in them for too long. While paper mugs only gained popularity over time as the manufacturing process improved, Luellen's invention laid the foundation for what would become a ubiquitous single-use item. By the 1920s, cup manufacturers started lining paper mugs with wax or plastics to prevent disintegration and leakage. This made paper mugs a more viable option for on-the-go drinking outside the home. During World War II, paper mugs saw a boom in demand as traditional glassware was in short supply. This cemented their role as a versatile and disposable alternative. Types of Paper Cups There are a few main categories of paper mugs based on material, size and use: Hot cups - Made from thick paperboard lined with a heat-resistant plastic or wax coating. They are designed to hold hot beverages like coffee and keep the drink insulated for a period of time. Popular sizes include 8 oz, 12 oz, 16 oz and 20 oz. Cold cups - Similar in composition to hot cups but thinner to avoid over-insulation of cold drinks. Often used for beverages, snacks and frozen foods. Sizes range from 8 oz to 36 oz party cups. Takeaway cups - Tall and narrow cups ideal for on-the-go drinking. Sturdy construction makes them leakproof for travel. Many fast food restaurants use branded takeaway cups. Portion cups - Short and wide cups used for individual servings of food like soup, ice cream or salad. Convenient for events, airlines and cafeterias. Common sizes are 4 oz and 6 oz. Party cups - Disposable cups for events and gatherings where paper options are preferred over glass or plastic. May have colorful designs or themes printed on them. Range in size from 8 oz to 24 oz. Confectionary cups - Small cups designed to hold individual candies, nuts or snacks. Usually 2 oz or smaller in size. Often feature colorful patterns for visual appeal. Materials and Manufacturing Process Paper cups are made from paperboard - a thick, fibrous material stronger than regular paper. The manufacturing process involves: - Card stock paper is fed continuously through a series of rollers to create the stiff paperboard material. - Dies or moulds shape the paperboard into cups. Modern high-speed machines can rapidly form hundreds of cups per minute. - A heat-resistant plastic liner is applied to the inside using a spray or dip coating method. This prevents liquid absorption. - Inks are printed onto the outside surface through a multi-color rotary press for branding or designs. - Cups pass through an oven to cure the lining and ensure a moisture-proof seal. - Lasers or blades cut thecups from the continuous roll and they are stacked into boxes for shipping. - Quality checks ensure structural integrity and compliance with food safety standards. The paper cup remains both tremendously useful yet strains sustainable practices due to its fleeting usage. While improvements are being made, further innovations are still needed to balance convenience with reduced environmental fallout from this ubiquitous product. Whether reusable alternatives can achieve comparable affordability and scale also remains to be seen.

[dilutedrink]

HELLO HERE IS THE FIRST DRAFT OF AN ESSAY ON THE EVOLUTION OF THE DESIGN OF MUSIC PUBLICATIONS

I'm planning on adding a lot more information and detail, alongside bringing in more analysis, reference imagery and theory. I referenced Walter Benjamin and would like to go into his theories and their relevance to my topic in much greater detail. I'd also like to focus more on cultural movements, technology changes in sections other than the beginning, and key figures in design for music. Including primary sources is a big goal for improving this work in the future, and i'd like to talk to creatives involved in the field. Throughout the piece I'd like to have a stronger voice to my own opinion running throughout and really place the history of the industry in the frame of the current climate, contextualising it for the reader, and having a more critical take on the systems that have led to the downfall of one of our formerly great cultural objects. weee genuinely love this topic so much i love print media and design and writing and music.

Introduction

The 21st century presents a complex time for music magazines. Once-dominant publications grapple with declining sales and a rapidly evolving media landscape. One can’t help but wonder if there is still a space for music magazines at all, let alone in print. Amidst this decline, however, there appears to be a resurgence of physical media, fueled by a growing distrust in technology. Is there an opportunity for independent publishers to revive the industry with a focus on aesthetics, quality design, and reader-focused business models? Looking at magazine design through a music specific lens gives a unique view on its history, allowing us to gain a deeper understanding of how it has been shaped through social movements and technological advancements. By examining this progression, we gain nuanced analysis of the music magazine, from its inception to the present day.

The Beginning

The first true music-specific publication is widely considered to be Melody Maker, established in 1926 by Lawrence Wright. Recognising the potential of the magazine publishing market, which had grown largely due to an increase in advertising revenue, and the potential to promote his own songwriting, Wright would go on to found one of the major players in the music magazine market for many decades. However, Melody Maker would soon find a challenger in New Musical Express (NME).

In 1952, facing financial difficulties, the paper known as Musical Express was looking for a buyer. Maurice Kinn, a promoter who had advertised in the paper, saw an opportunity and purchased it, starting a new venture into publishing. The paper relaunched as New Musical Express, a direct challenger to Melody Maker, even poaching staff of the older magazine. Despite initially being seen as a paper that wouldn't last longer than a few months, NME went on to dominate the market for music weeklies, becoming one of the most prominent music magazines in the UK throughout history. NME broke from the existing format by understanding there was a gap in the market for a music paper with richer visual content and a more interactive experience, expanding the paper, utilising an image based cover, and moving reader letters to the front of the issue.

These early magazines looked not dissimilar to newspapers of the time, printed on broadsheet to tabloid size paper. Design was highly influenced by the technology used, that being a relief process of printing, generally hot metal type machines such as the linotype. These machines required a worker to input one line of type at a time, creating a mould in the process, into which the machine would pour liquid metal. This machine greatly sped up typesetting and printing, an incredible improvement from older hot metal machines or using moveable type presses for large bodies of text. Linotype machines were limited to one typeface at a time, the process of switching requiring taking out the entire set of characters and replacing them with another. This led to magazines keeping their body text in the same typeface, which helped define each magazine's look, and despite the wide variety of typefaces available today most magazines continue that tradition, tending to stick to a limited number of fonts throughout. Headlines were still created with moveable type, which allowed for a little more variation in type size and style. These headlines would be locked into a frame alongside the lines of body text, advertisements, photos and all other components of a magazine. This block of components would then be inked and printed, finally forming one page of the publication. Images were included via the relief halftone process, which involved exposing images through a type of screen that would break the image up into dots. Via various mechanical and chemical processes this exposed image could be used to create a metal plate where the dots were raised and able to be inked alongside the text of a magazine. Whilst cheap and quick to make compared to alternative methods of reproducing photos, relief halftones were limited to a certain quality, halftone images not hugely advancing until offset printers became the standard technology.

The quality of visuals of music papers in particular would become increasingly essential with time however, a way of differentiating and standing out from the competition, or offering an exclusive experience. The importance of imagery is perhaps most evident in cover designs throughout the years, going back to NME’s relaunch in 1952. Disc embraced a reliance on cover star photography, while Record Mirror set itself apart from other music weeklies by being one of the first to feature a full colour front page.

The effectiveness of quality visuals is also clear in the near obsoletion of letterpress processes in magazine printing by the 1970s, the market overtaken by offset lithography. This is a planographic process, where a rubber roller picks up ink from a flat surface, then transfers it to the paper. Offset lithography allowed for higher quality photographs as it could replicate halftone images that had finer dots of a much greater count than relief halftones could manage. It also encouraged more experimentation with colour as the rubber material used to print onto the page could create an incredibly even solid colour. This method of printing also didn’t warp the paper like the impression of a letterpress block did, the resulting lack of alignment issues meaning four colour processes could be perfected.

These advances in technology enabled the creation of graphics that could fully reflect music alongside the fashion and cultural movements surrounding it, their decreasing price point leading to a surge in underground publications and fanzines.

The Underground Press

Underground publications that covered music really took off in the 1960s, with many started by contributors to sci-fi zines, which were a more established genre. Crawdaddy, which was launched by Paul Williams as a fanzine in 1966 contained critical writing on rock music. Williams had previously contributed to sci-fi zines such as Within. The zine transformed into one of the more notable rock magazines in America, predating both Rolling Stone and Creem, and often sharing writers with them too, notably Lester Bangs, the defining voice of Creem magazine for many years. Creem itself was an independent magazine, influenced by zine style layouts, “The layout was of the slap-it-down/ move-it-out school” as Kenneth Fitzgerald puts it. The magazine closed down in the 1980s, and while a couple editions were produced in the 1990s with a more sophisticated design initiated by Marvin Jarrett, the attempt didn’t regain the former success of Creem’s earlier days and was once more discontinued, Jarrett moving on to found Ray Gun. Today Creem lives on as a small independent operation, led by JJ Kramer, son of Barry Kramer, the magazine’s original publisher.

Back in the UK, International Times was launched as a counter cultural magazine in the same year as crawdaddy, 1966. The launch of the paper was celebrated by an event at the roundhouse in London, headlined by Pink Floyd. The magazine covered politics and underground music that went unacknowledged by the mainstream music press. After IT had laid the groundwork countless more would follow, 70s punk fanzines taking clear inspiration.

Oz in particular is of note when talking about the underground press, its prolific use of colour, psychedelic visuals and an obscenity trial setting it apart from the rest. Frequent intervention by the authorities such as the trial faced by those that ran Oz magazine, among other issues with the format led to the underground press losing coherence and impact over time. Nevertheless these independent publications had massively changed the industry, inspiring greater coverage of media and culture in the mainstream press and pushing design in music magazines forward.

Popular music

Following the lead of underground publications, larger magazines began to adopt more creative layouts and a more informal tone, but as they relied entirely on advertiser funding and ran an overall more expensive operation, could not afford to be nearly as controversial as certain underground papers. The artistic essence of independent magazines was lost somewhat in the process, in line with Walter Benjamin’s theories of mass production altering perception of media. New independent magazines were still being created that pushed boundaries though, the 90s saw the launch of Ray Gun, a chaotic and challengingly designed magazine that covered alternative rock. The magazine was founded by Marvin Jarret and designed by David Carson, whose distressed type and layout design gave Ray Gun a unique appeal. Still, larger papers offered space for professional writers and developed opinions. With writing critically about pop and rock music no longer a foreign concept, this style of content flourished in the majors for a good number of years. However, a change began brewing with the arrival of the internet.

Rise of the Internet

With the growing prevalence of the internet many music magazines started to diversify their content, opening themselves up to a wider range of advertisers and attempting to draw in more readers with a more mass appeal. As advertisers withdrew from magazines in favour of cheaper, targeted marketing offered by the internet, the money in publishing dwindled, leading to many publications closing down, even the legendary Melody Maker, who rather ironically was merged with longstanding rival NME. The majority of publications launched websites and started to discontinue print editions, however a few magazines on the other end of the spectrum pursued the luxury appeal of well designed, high quality magazines. Accepting new formats and ways of communicating content was essential for magazines to persist at the turn of the century, and this greatly impacted the visuals. Clean, simple and navigable designs generally dominate music magazine website design, based on the most effective way to get the content to the reader efficiently. Magazines also use social media accounts to promote articles, usually with photography of artists or events. Creativity in major publications has been somewhat lost with the adoption of the internet, the types and variety of visuals becoming reduced. Despite this there are a number of smaller and newer magazines doing things differently today, and this is possibly the most interesting area of the industry in the present day.

Physical Media Revival

As we move further into a tech saturated world a growing number of people have a desire for media in a more tangible format. This has led to the success of independent publications in print such as So Young, a magazine and record label with a focus on emerging talent. The layout design of So Young Magazine is relatively simple yet incredibly appealing in its nostalgic look and use of colour. The magazine is usually composed of interviews with artists, paired with an illustration. So Young uses a wide variety of illustrators, resulting in a huge diversity of visual content. Full colour pages with reversed out text are a frequent occurrence, and photography used tends to have a grainy film quality, adding to the nostalgia appeal. One off pieces and interviews with visual artists make occasional appearances too. Outside of the print magazine So Young also sells merchandise, organises events, and runs a label. These other activities highlight a key change within the magazine industry with the adoption of the internet, the fact that with so much content being available online, magazines could no longer rely on exclusive photography or interviews to get sales, and instead have to market themselves as unique brands, able to be applied to multiple ventures. Dork magazine launched their own radio, featuring a variety of shows and interviews with artists. Smaller magazines of a higher quality can also rely on reader purchases more than advertisers, providing a cleaner, more enjoyable experience.

Whilst the internet resulted in a lot of websites being launched to replace discontinuing print issues, it has also provided the opportunity for the opposite process, smaller magazines gathering a supportive audience first, then launching a print edition funded by readers, such as electric sound, a magazine that started as an interactive ipad app. Brands in other areas of music are getting involved in print too, a number of labels having started their own publications. State51, a record label and music company launched greedmag, a magazine with incredibly unique design, that provides sold out editions available in full on their website.It would seem that print is not dead, it just needed to slow down, the breakneck pace of music weeklies no longer a sustainable option. Even NME, which had ceased its print edition in 2018, is back in print as of 2023, as a sleek bi-monthly magazine. Perhaps scaling back is a better approach for music magazines, allowing them to become closer to the fans and artists together.

Conclusion

The cultural movements led by music have greatly impacted magazine design, leading to the creation of underground zines which pushed design in a more expressive direction, or the rise of celebrities and an increasing interest in their lives leading to greater photography coverage throughout magazines. The importance of advertising to music magazines is not to be underestimated either. By initially bringing more money into magazines, Advertisers increased the amount of competition as more people wanted in on the money to be made in publishing, and that competition drove visual innovation and a higher level of music criticism as ways to stand out. The changes in writing style would also influence the design of the pages, Lester Bangs rough and ready takes complementing the scrappy design of Creem magazine perfectly. Technology has also evidently had a great impact on the music press and its design in the past century, and continues to change it as the market pivots to something more indie and reader funded. This change in my eyes is the best turning point in the industry, and something I hope continues. I think the diversification of magazines into brands and multimedia platforms will create more spaces for people working in the industry to grow, the magazine itself no longer being the main product but its surrounding community, ideas and direction.

[brakemold]

What does a double-layer train brake shoe hot pressing mold look like? (1) This is the train brake shoe hot pressing mold (2) For 630t press (3) Two-layer mold, 8 cavities in total (4) Has heating element (5) Mold dimensions: 900X900X980 (6) Mold weight: 3000KG (7) There are other brake pad molds olling stock brake pad mould lyrics,friction material mold video,railway brake mould pad,brake lining mold 7.3,brake lining mold from wood,brake lining mold epoxy,brake shoe mold gauge,rolling stock brake pad mould set,brake shoe mold on wall,brake mold encapsulation,railway brake mould eliminator,railway brake mould in shower silicone,railway brake mould review,brake lining mold xbox,friction material mold zero,friction material mold voltage,railway brake mould 06,railway brake mould 40,brake shoe mold 4692,railway brake mould machine,friction material mold unistrut,rolling stock brake pad mould under mattress,Disc Brake pads Mold,brake shoe mold 70mm,friction material mold quilt,Truck brake pad mould, JINAN HAIGUANG MOLD CO.,LTD https://brake-mold.cn WeChat/WhatsApp:+86 13953117306

[melmordfjordslorn]

@lovleycrowley

Phase Six: Wish You Wear Ear (2019–2021)

During a brief hiatus for the band, on the 3rd of September 2019 while visiting Iran to see Lake Urmia, Noodle made note of how climate change had taken a toll on the lake. She came to a realization regarding the fleeting state of nature on Earth, and sent a post-card to Murdoc, 2D, and Russel at Studio 13 with a message detailing her desire to build a machine and see the world before it’s gone. The post-card arrived at Studio 13 on the 12th of September.

On the 7th of September, 2D sent a post-card to the band while visiting Beirut, informing Noodle that he got the parts for the machine she had mentioned, asking what they were for. The post-card arrived at Studio 13 on the 24th of September.

On the 14th of September, Murdoc sent a post-card from his annual drunken holiday in Ibiza. The post-card arrived at Studio 13 on the 26th of September.

On the 21st of September, Russel sent a post-card from Mexico while working on his hot sauce business, "Hobbs Hot Sauce". He included a message telling the band that he’d “be seeing [them] and the machine REAL soon”. The post-card arrived at Studio 13 on the 4th of October.

The machine (revealed as the "Song Machine") was activated on the 28th of January. The following day, the band announced their next project, Song Machine, a multimedia series of songs/music videos released episodically through 2020, as a continuously-updating playlist via streaming services.

In a statement to the press, Russell said "Song Machine is a whole new way of doing what we do. Gorillaz breaking the mould ‘cos the mould got old. World is moving faster than a supercharged particle, so we’ve gotta stay ready to drop. We don’t even know who’s stepping through the studio next. Song Machine feeds on the unknown, runs on pure chaos. So whatever the hell’s coming, we’re primed and ready to produce like there’s no tomorrow. Y’know, just in case.”

Throughout the course of the series, the band collaborates with musicians they’ve met on their various trips around the world, inviting them to record at their now renamed West London studio, officially dubbed the new Kong Studios. In the music video for “Désolé”, 2D, Noodle, and Russel travel to Lake Como via a mysterious teleporting door in Kong Studios and record with Fatoumata Diawara. Murdoc is left behind and unable to reopen the portal, leaving him lonely and depressed at Kong. When questioned about this, Murdoc claimed he wasn’t upset about being left behind and didn’t care about their trip to Italy. Shortly before enviously asking 2D and Russel about portals just “in case [he] ever [needs] to find one for future reference”.

In the face of a global pandemic, the band practiced social distancing, sequestering themselves in various parts of Kong Studios. Murdoc locked himself in Kong’s basement, explaining how he was working on “something big” that would “change the effing world”. After a look through his online purchase history, this “something big” appears to have involved nearly £500 worth of pine wood and a blow up doll. Meanwhile, Russel caught up on television while experimenting with an assorted variety of food/entertainment combinations.

As the months passed, Murdoc continued providing social media updates regarding his secret project, before finally unveiling it in the music video for Pac-Man. This special project, his very own orgone accumulator (based on the pseudoscientific concept of Wilhelm Reich), was built solely by Murdoc in the basement of Kong Studios. Throughout the video Murdoc can be seen contentedly sitting and relaxing in his creation, which in an act of jealousy and defiance, he claims can also act as his own private teleportation portal despite not showing any interest or apparent ability of opening a portal of any kind.

In the Strange Timez music video, the band took a trip through space to destroy a billboard on the moon. In the music video for The Valley of the Pagans, the band traveled through a portal to Los Angeles for a drive around the city before abruptly falling through another portal leading them to Plastic Beach.

In the music video for The Lost Chord, the band found themselves back at Plastic Beach ten years after the Black Clouds’ attack on the island. Past trauma resurfaced as they explored the remains of the island. Murdoc is seen overcome with guilt at the sight of a damaged and deactivated Cyborg Noodle. Soon after, a sea monster awoke from the depths of the ocean and began destroying the island. The deactivated Cyborg Noodle is seen opening her eye as she lifelessly sinks to the bottom of the ocean. A portal back to Kong suddenly opened up as the ruins of the island sunk into the ocean. 2D, Noodle, and Russel escaped as the portal closed, leaving Murdoc stranded in the ocean. In the spirit of friendship and forgiveness, 2D quickly reopened the portal and reached out, saving Murdoc’s life.

In May of 2021, a demonic sinkhole opened beneath Kong Studios, leaving it inoperable and under renovation. During this time, the band went on a road trip in Murdoc's Winnebago, taking their instruments and recording equipment along with them. The band released a surprise EP titled Meanwhile in August of 2021. The EP was released as an "homage to Notting Hill Carnival", an annual event that usually takes place in London every August, but couldn't occur in 2020 or 2021 due to the global pandemic. The EP features frequent Notting Hill Carnival performers Jelani Blackman, Barrington Levy, AJ Tracey, and Alicai Harley.

In December 2021, the band was contacted by a rogue agent of the Department of Musical Corrections, "a covert organisation operating in the murky shadows of the music industry" with the goal to "stifle originality" in the world of pop-music. The DMC agent, known only as GFlat, revealed on social media that Gorillaz had been on the top of the organizations "most subversive" watchlist for decades. GFlat claimed that "a storm [was] coming", and began leaking classified DMC documents to the public through the Gorillaz discord. This culminated in the release of Demoz, a collection of early Gorillaz demos that had previously been locked away in the DMC vaults.

[hsmleindia]

Double-Station Automatic Metallographic Specimen Mounting Press

Metallographic specimen mounting press is a kind of full automatic mounting press, equipped with double working positions and in-out water cooling system. It is suitable for the hot mounting (thermo-hardening & thermoplastic) for all kinds of materials. After the parameters such as heating temperature, heat preserving time etc. are set up, put the specimen and mounting material into the machine, close the cover and press the start button, then the machine will finish the job automatically. It is not necessary for the operator to be on duty. According to different requirements of the material, there are four kinds of moulds that can be chosen to meet the demands at will. It is the ideal specimen preparing instrument for using in factories, scientific research institutes and laboratories of colleges.

[mitchelindustri]

8 Ideas to Increase an Injection Moulding Machine’s Lifespan

The molten material is injected under high pressure into metal moulds during injection moulding. Once it has sufficiently cooled, the completed portion is immediately removed. The procedure is highly automated and can produce vast quantities of goods, particularly plastic components. To produce these high volumes, injection moulding equipment must undergo routine preventative maintenance. To maintain tools and inspection machines prepared for manufacturing, mould maintenance is essential. Moulds that are not properly maintained may produce parts that do not meet standards, leading to additional downtime, raw material waste, and financial consequences.

This article describes some essential things for an injection mould maintenance checklist.

Table of Contents

1. Tonnage

2. Low Pressure Close

3. Set Up Core

4. Mould Open and Close

5. Ejection Set Up

6. Hot Runners and Valve Gates

7. Mould Watering

8. Cleaning and Care

In conclusion,

1. Tonnage

Make sure you are using the right amount of tonnage for each mould. Injection pressure can surpass the required tonnage requirements and blow open the mould if an operator uses too little tonnage. If a user applies too much force, the injection moulding machine will compress the tool’s separating lines, vent areas, and mould components.

Use the formula below to calculate the correct tonnage for each mould to prevent these scenarios:

Cavity Area = Mould Face Length x Width (in/2)

Cavity Area (Pa) = # of Cavities Parts Area (Pa)

Parts Area *(T) = Tonnage (T) = 3 tons/in2.

2. Low Pressure Close

Install a low-pressure closure (LPC) on the press to safeguard the mould. The high-pressure lock-up setting should be no more than 0.05 above the actual mould touch location. Additionally, cycle the mould to lower LPC pressure till it doesn’t lock up. Slowly increasing pressure gives the mould enough pressure to change from low-pressure to high-pressure lock up. Additionally, set the mould close timer to 0.5 seconds longer than the necessary mould close time. Set the mould close timer to 1.26 seconds, for instance, if the actual mould close duration is 0.76 seconds.

3. Set Up Core

Adapt core pressures and speeds to the demands of the application. Remember for inspection machines, speed does not affect pressure set points, but pressure might limit speed. To avoid crash circumstances, fire cores are based on position rather than time. Cycle speed is impacted by core functioning. Keep a close eye on core functioning to spot any indications that parts are pulling or setting irregularly.

4. Mould Open and Close

Clamp speeds undoubtedly influence cycle time, although more incredible speeds are not always preferable because they risk damaging or wearing out the tools. Look for lunging at close, rapid speeds that could lead to mould drop and possible pin and component misalignment. Ensure that the change from close fast to close slow is seamless and that the close slow condition happens right before the component/pin matches up. Ensure the transition between the mould open fast segment and the mould breakaway phase is seamless. The open fast segment should happen after all components have passed through the pins.

5. Ejection Set Up

By over-stroking or ejecting pieces improperly, which causes them to jam between mould halves, incorrect set points might damage the life of the mould. Determine the necessary separation for properly removing components from the mould before establishing forward positions. Ejector pins and lifters endure too much stress from over-stroking. Never should bottoming out the ejector plate be necessary for part extraction. Ensure pressure set points only employ the necessary amount to reduce stress on ejection components.

6. Hot Runners and Valve Gates

Mould life is affected by start-up and shutdown procedures. Poor start-ups result in over-packed cavities that need mould removal and maintenance. Manually fire valve gates to ensure appropriate setup and functional condition before starting any components. To ensure the hot runner drops are heated and ready for start-up, purge plastic through them. Run the barrel dry during hot runner shutdown, then promptly lower hot runner temperatures to lessen the chance of degradation.

7. Mould Watering

Limit mould temperatures to the bare minimum necessary for acceptable part aesthetics because higher mould temperatures might negatively influence mould life. Additionally, make sure there is no more than a 20 F difference in temperature between the stationary and moving mould portions. Temperatures over this range result in poor tool mating and incorrect heat soak conditions, both of which harm the tool. To avoid installing a mould incorrectly, clearly mark circuits and supply and return requirements.

8. Cleaning and Care

Injection moulding machine should always be inspected, cleaned, and greased at least once each shift in production environments. Look for wear indicators like metal shavings, burrs, galling, and parting line wear. To set preventative maintenance frequencies that will aid in reducing unplanned service events, create a regular preventative maintenance schedule, maintain mould service records, and examine recurring service/repair events.

Check to see that the slides are operating correctly and that the slide slots are lubricated. Keep an eye out for loose gibs and detent failure symptoms. After each cleaning and inspection, ensure the slide locations are accurate before leaving the mould. When a mould won’t be used for more than six hours, use a rust preventative and extensively coat textured and glossy parts to guard against rust damage.

In conclusion,

Prolonging the life of your injection moulding machine is a wise investment in efficiency and sustainability, as well as a way to reduce costs. You can ensure that your machine keeps performing at its best for years by putting the concepts covered in this article into practice, such as routine maintenance, appropriate training, and technology upgrades. By extending its lifespan, you may improve productivity while minimising downtime, lessening your impact on the environment, and maintaining the competitiveness of your manufacturing operations in a market that is changing quickly.