One of the questions that Selmach Machinery often hears is: “what machines do I need for a fabrication workshop?” Clearly, the machinery needs of customers can vary greatly, so it is difficult to choose a one-size-fits-all set-up. However, Selmach has put together a guide of the key pieces of equipment worthy of consideration. These include welding machines, pillar drills, steelworkers, roller tracks and bandsaws.

According to Selmach, a bandsaw can achieve a lot of cutting requirements. The company can offer bandsaws in a large variety of specifications, with choices varying depending on the level of automation and maximum cutting capacity required.

For those starting out on a budget, Selmach offer its Sterling Swift range of bandsaws. The Sterling 210 is the most economical saw in the company’s entire range, but still delivers industrial-grade cutting. With 190 x 150 mm for the widest cut, Selmach says it is suitable as a first saw. Featuring a gravity-downfeed, users can set the saw to cut and carry on with other tasks.

Alternatively, for a bit more future-proofing, the company recommends its Bianco ranges. The Bianco 280 MS and 420MS are heavy-duty Italian-made bandsaws. The series features many more options, including larger capacities and increased automation.

For companies doing something more specialist, such as setting up in the structural steel market, Selmach’s Sterling DGSA range may prove better. These heavy-duty, pivot-action, saws are suitable for cutting large steel beams, with features such as hydraulic vices and double mitring.
For further information www.selmach.com

Vollmer recently launched its next-generation saw blade sharpening and servicing machines, the CS860 and CSF860. Here, the company explains the new CSF860 technology for the side grinding of circular saw blades in more detail.

With a new foundation, construction, frame, software and hardware, the new CSF860 is an entirely different machine from its predecessor, the CHF270. As with all machines in the Vollmer portfolio, the foundation blocks of all product developments are flexibility, productivity, reliability and quality.

As a baseline statistic, the CSF860 is 2-4% more productive than the previous CHF270, which is a result of the machine’s kinematics and design. Users can also add up to 20% cycle time savings derived from new software updates that precisely calculate the grinding area and eliminate ‘air cutting’.

In addition, there is a new saw carrier and R2 axis for the flange management system that eliminates 10-15 minute changeover times between different blade types. It is possible to eliminate the manual measuring of 2 to 3 minutes per saw blade with the new measurement and calibration system, which also eradicates the 25+ seconds of non-productive grinding wheel calibrating and checking.

While these statistics typify just a few of the cycle time and automation benefits, energy consumption has been reduced by more than 10%, while the new construction introduces ergonomic features for the operator, such as a ‘deep cut’ door that opens further than before. This gives the operator greater access to the work envelope, and for heavy blades that may need lifting via an overhead gantry, the new door design also opens at the top for overhead access.
For further information www.vollmer-group.com

Earlier this summer, the fourth Art in Manufacturing series took place at various locations near Blackburn, an event that involved embedding artists into working industrial environments. By way of example, the repetitive beats created by the machines that make giant steel saw blades at the 80-year-old Lancashire Saw Company inspired resident artist Jacqueline Donachie.

Jacqueline Donachie is an award-winning Scottish artist based in Glasgow. She has forged an international reputation for a socially-engaged art practice and was the recipient of the inaugural Freelands Award. Responding to her residency at Lancashire Saw Company, Donachie presented IMPERIAL. Inspired by the evocative sounds of the factory’s machinery and its canal location, the new film work amalgamates the combination of fast beats, slow canals and the repetition of industry.

The original soundtrack makes a connection to the underground dance scene of the late 1980s that was particularly prevalent and influential in Blackburn and East Lancashire. This Art in Manufacturing commission was in partnership with Super Slow Way’s Pennine Lancashire Linear Park pilot project. The film’s premiere took place at the Mill on the Leeds and Liverpool Canal, inviting audiences to experience the canal and rediscover it as a place of cultural activity.

Elena Jackson, co-director of the National Festival of Making and curator of Art in Manufacturing, says: “This was the first time we presented work from resident artists after two years of festival cancellation. In that time, our factory partners have maintained their commitment to the programme and the artists in residence with them, working through the most challenging of periods to realise the artistic outcomes that we saw over the festival weekend.”
For further information www.festivalofmaking.co.uk