I've got my eye on a used 7600 to replace my 7000 as I want to be able to print large with the Ultrachrome inks
Paul,
I have been using the 7600 for over a year, having upgraded from the 7000.
I was thrilled with the output from the 7000 (except for the drying and solubility issues) and only with persistant persuasion from Ilford (whose Studio System I use)
reluctantly tried out the 7600.
I was gobsmacked by the results - very close, if not better, than the 7000 and instantly dry (if you want to be a nerd, you could put a print under running water after half an hour and
it will not run- we actually tried that!).
Bronzing is not a real issue for colour images though, personally, I dont like the effect on black & white prints. Look at a B & W print obliquely and there can be an almost 'negative' effect (tones reverse).
This problem would only be an issue on Pearl and Gloss papers and completely disappears when sealed.
Can anyone tell me what the approximate costs of servicing these beasts is? I understand they need their ink pads changing every now and again. How much is this? Alternatively can you do this servicing yourself?Can't do it yourself and, unless you have a tame Epson trained engineer it will cost.
My 7600 recently displayed a 'Maintainance 40' error message which meant that the cleaning pump needed replacing.
Fortunately, I have a service contract with SERCO, which costs �500 pa (only �10pw) so there was no charge, but I understand it the engineer's hourly rate is �250 and then there are the parts!
The moral of this tale, clearly, is if you have a machine out of guarantee, get a service contract.
The dot pattern of the 7000 can be pronounced (though it looks great on both Permajet Oyster and Photo Rag). On my 2100 I get a much smoother appearance. I assume that because the 7600 is of the same era as the 2100 that it might have the same finer appearance. Is this correct?
I have no experience of the 2100 but the minimum drop size on the 7600 is around 3 picolitres, about three times smaller than the 7500 where the dot pattern was noticeable.
The RIP I use (Ilford's Studio - derived from Onyx) also has a multi-dot facility (variable dot size) which is produciing extremely smooth total gradation and no discerable 'grain'.
Hope this all helps.
Jonathan Coleman Cavendish Studios Chester
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