Arnaud Van Tilburgh
~ Elite 1000 Member ~
It must have been March 2011 when Chris demonstrated one of his first prototype handpieces he was working on. One of the main differences about it that got my attention was its low speed.
Since then as Chris was improving that handpiece, making new prototypes, I began to realize about this new features this system would have. At the same time Chris developed a digital controller for that handpiece, able to run at one hit at a time.
As I was very interested how the handpiece progressed and the way it looked, I asked Chris to send me a prototype I could test. It took a while before Chris finally came up with one that pleased him enough to have it tested by me.
I used it connected to my GraverSmith, using the lowest speed and from that moment the handpiece became my main one. Of course I shared my experiences with Chris while he was still improving the features of his engraving system.
Then came the Basel Messe and suddenly the whole system was born and had a name…. the En-Set, system for engraving and stone setting.
Chris Tira and Jordi travelled to Basel for launching the En-Set. My son in law and I made the trip to Basel to be able to test both the handpiece and the two versions of the En-Set controller. I pre ordered one, and a few weeks later Jordi shipped mine from Barcelona.
It was well and safely packed. The manual for the En-Set I already received by email in PDF format, so it was piece of cake connecting my compressor with the oil filter at the back, the power supply, the foot pedal and handpiece. Then it was time to play with my new “toyâ€
The En-Set controller has an on-off switch indicated by a green led, and a turning knob for changing the PSI, that is all. A good start is setting the pressure somewhere between 40 and 50 PSI.
The pedal is a bigger one than all my other ones I use and I like that. With the controller turned on, by pushing the pedal you will be familiar in no time to run the handpiece at the different speeds, even the one hit at a time doesn’t need much practice. Here in Europe most cars don’t use an automatic gearbox, but using the pedal of the En-Set is just like driving a car. The more you push the pedal, the more speed.
The handpiece ergonomics I already was familiar with I, using the prototype one. The final handpiece is even better. It has a nice wooden end, not as big as a regular classic hand pushing handpiece, but well balanced so it feels comfortable in your hand. The tiny air tube is connected on the back instead of at the side, that way you don’t have to line up the graver with the handpiece. The collet system has only one screw, so it doesn’t matter neither which side a regular or flat graver is put in. The quick change collet system has a unique system using a “ball†to keep it in place in the handpiece.
It also uses different coloured rubber rings that can be changed and make it clear to organize you gravers.
The engine of the handpiece itself has a striker that hits the graver collet in a way like hammer and chisel when pushing the pedal; you can use one of the three striker heads that come with the handpiece. These striker heads have different weight, and can be changed easily by unscrewing the handpiece. For most engraving and stone setting I use the middle weight one.
Besides changing the striker weight to adjust the power of the handpiece, there is also a setscrew on the collet holder system of the handpiece. It can be turned in and out the way the striker hits the graver collet less or more. That way the graver itself can move more or less in and out with every hit. This is especially useful when you like the hammer and chisel marks while cutting.
Yes it takes a bit of time experimenting with these different ways the handpiece can be fine-tuned, but sure it is worth spending a few hours to explore that. I prefer tuning the collet holder the way it only moves out less than half an mm.
So in fact once the handpiece is adjusted the way you like it, adjusting the air pressure on the controller is all it takes to adjust the power of the handpiece depending on the job you want to use it for. If you want to use the En Set only for engraving this will do.
If you also do stone setting, or like I do, you need a lot of power to hammer Titanium, then you can switch to the heavy striker head and turn the air pressure all the way up to 10 PSI and use the lowest speed. In a way the striker length decreases when using more speed the way you actually don’t cut that much faster at maximum speed.
The best way I can explain this is by comparing it with hammer and chisel. You can hit the chisel hard once a second, or you can hit the chisel softer two times a second finishing a cut at the same time. One difference, the En Set can go much faster than on could do with a hammer.
Then there is the sound the En Set produces, sure you won’t get nervous of that, in fact it is pretty relaxing when you hear the valve opens and one fraction later hearing the striker hit the graver. So when you want to do a Bulino scene you don’t have to release the foot pedal as you can use the rhythm to place the graver tip in between every hit. That way you can easily darken bigger parts in your scene. I can’t do scrimshaw, but probably this technique will work too for that purpose. And the handpiece itself can easily be hold like a pen.
The other advantage of the digital controlled valve is that the En Set uses less air and only when you use it.
Curious as I am, I had to open the En Set controller to see what is inside and how it works.
Four screws to unscrew the top cover of the controller to be able to take a look at the inside. Plenty of room on the inside so all the components are nicely ordened.
The biggest part in the centre is the manometer and regulator to set the air pressure. Then there is the digital part that is connected with the foot pedal and an electromagnetic valve. Some air tubes and electricity wires to make it work.
So there are no really mechanical moving parts in there. As far as I understand how it works, the digital part calculates when and how long the electromagnet valve opens controlled by an electro foot pedal. So the principle is quite smart and controls the out coming air in an economic way, no air spoiled.
I will have to explore the capabilities of the En Set much more and probably I will find other applications where the En Set will be useful and perhaps one day one of you may point on some too.
For more technical details I refer to the engraversstudio.com where Chris DeCamillis demonstrates the En-Set for its different purposes of use.
arnaud
Since then as Chris was improving that handpiece, making new prototypes, I began to realize about this new features this system would have. At the same time Chris developed a digital controller for that handpiece, able to run at one hit at a time.
As I was very interested how the handpiece progressed and the way it looked, I asked Chris to send me a prototype I could test. It took a while before Chris finally came up with one that pleased him enough to have it tested by me.
I used it connected to my GraverSmith, using the lowest speed and from that moment the handpiece became my main one. Of course I shared my experiences with Chris while he was still improving the features of his engraving system.
Then came the Basel Messe and suddenly the whole system was born and had a name…. the En-Set, system for engraving and stone setting.
Chris Tira and Jordi travelled to Basel for launching the En-Set. My son in law and I made the trip to Basel to be able to test both the handpiece and the two versions of the En-Set controller. I pre ordered one, and a few weeks later Jordi shipped mine from Barcelona.
It was well and safely packed. The manual for the En-Set I already received by email in PDF format, so it was piece of cake connecting my compressor with the oil filter at the back, the power supply, the foot pedal and handpiece. Then it was time to play with my new “toyâ€
The En-Set controller has an on-off switch indicated by a green led, and a turning knob for changing the PSI, that is all. A good start is setting the pressure somewhere between 40 and 50 PSI.
The pedal is a bigger one than all my other ones I use and I like that. With the controller turned on, by pushing the pedal you will be familiar in no time to run the handpiece at the different speeds, even the one hit at a time doesn’t need much practice. Here in Europe most cars don’t use an automatic gearbox, but using the pedal of the En-Set is just like driving a car. The more you push the pedal, the more speed.
The handpiece ergonomics I already was familiar with I, using the prototype one. The final handpiece is even better. It has a nice wooden end, not as big as a regular classic hand pushing handpiece, but well balanced so it feels comfortable in your hand. The tiny air tube is connected on the back instead of at the side, that way you don’t have to line up the graver with the handpiece. The collet system has only one screw, so it doesn’t matter neither which side a regular or flat graver is put in. The quick change collet system has a unique system using a “ball†to keep it in place in the handpiece.
It also uses different coloured rubber rings that can be changed and make it clear to organize you gravers.
The engine of the handpiece itself has a striker that hits the graver collet in a way like hammer and chisel when pushing the pedal; you can use one of the three striker heads that come with the handpiece. These striker heads have different weight, and can be changed easily by unscrewing the handpiece. For most engraving and stone setting I use the middle weight one.
Besides changing the striker weight to adjust the power of the handpiece, there is also a setscrew on the collet holder system of the handpiece. It can be turned in and out the way the striker hits the graver collet less or more. That way the graver itself can move more or less in and out with every hit. This is especially useful when you like the hammer and chisel marks while cutting.
Yes it takes a bit of time experimenting with these different ways the handpiece can be fine-tuned, but sure it is worth spending a few hours to explore that. I prefer tuning the collet holder the way it only moves out less than half an mm.
So in fact once the handpiece is adjusted the way you like it, adjusting the air pressure on the controller is all it takes to adjust the power of the handpiece depending on the job you want to use it for. If you want to use the En Set only for engraving this will do.
If you also do stone setting, or like I do, you need a lot of power to hammer Titanium, then you can switch to the heavy striker head and turn the air pressure all the way up to 10 PSI and use the lowest speed. In a way the striker length decreases when using more speed the way you actually don’t cut that much faster at maximum speed.
The best way I can explain this is by comparing it with hammer and chisel. You can hit the chisel hard once a second, or you can hit the chisel softer two times a second finishing a cut at the same time. One difference, the En Set can go much faster than on could do with a hammer.
Then there is the sound the En Set produces, sure you won’t get nervous of that, in fact it is pretty relaxing when you hear the valve opens and one fraction later hearing the striker hit the graver. So when you want to do a Bulino scene you don’t have to release the foot pedal as you can use the rhythm to place the graver tip in between every hit. That way you can easily darken bigger parts in your scene. I can’t do scrimshaw, but probably this technique will work too for that purpose. And the handpiece itself can easily be hold like a pen.
The other advantage of the digital controlled valve is that the En Set uses less air and only when you use it.
Curious as I am, I had to open the En Set controller to see what is inside and how it works.
Four screws to unscrew the top cover of the controller to be able to take a look at the inside. Plenty of room on the inside so all the components are nicely ordened.
The biggest part in the centre is the manometer and regulator to set the air pressure. Then there is the digital part that is connected with the foot pedal and an electromagnetic valve. Some air tubes and electricity wires to make it work.
So there are no really mechanical moving parts in there. As far as I understand how it works, the digital part calculates when and how long the electromagnet valve opens controlled by an electro foot pedal. So the principle is quite smart and controls the out coming air in an economic way, no air spoiled.
I will have to explore the capabilities of the En Set much more and probably I will find other applications where the En Set will be useful and perhaps one day one of you may point on some too.
For more technical details I refer to the engraversstudio.com where Chris DeCamillis demonstrates the En-Set for its different purposes of use.
arnaud
