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Cut a section to the same width as the roll and feed that section into the printer after rotating it 90 degrees. Does the banding still follow the feed direction? If so, it's definitely the printer, otherwise, wow is that a borked roll of media.

We were planning on making it our go-to for vinyl, and had to quickly abandon it. The labels we make for our display cases (about 11" wide) were shrinking as much as 1/8", and we had to completely re-do a wall wrap after the seams, which had a 1/2" overlap, shrunk to the point of completely...

Yup. #Adjust2 will compensate for a bit of it, but that's a substantial amount. Keep the rear screw loose, and just tighten/loosen the front screw as needed when moving/securing the print head. After you've secured it, boot it up, print a test pattern, and repeat as needed until it's close. At...

Well that explains why nobody ever answers my email :|

Pics of both a test print, and the test pattern would help. Is it deflection, or just misalignment?

You could use one more, shorter bulb piece at the top to round out the design, as it feels a little lopsided right now. I'll throw in another vote for getting rid of those roots by the way. Overdone, doesn't fit the rest of the design, and they look menacing.

Wish I had a solution, but I might at least be able to offer a temporary workaround. Our Mimaki JV3 does this as well, but only on 4, 8, and 16 pass modes. 6 pass works fine.

This thread is what you're looking for. Running a 250SP here, and on ours, it's system parameter 60, "MecaSiz". The value varies from -1 to 2, with 2 being the 250. I'd imagine your 130 should be set to either 1 or 0.

Just spitballing, but since you have to reprint anyway, have you isolated the take-up as the source by printing the panels without tension/take-up?

For lam, have you checked out PMP out of Montreal? They have a 5mil for floor graphics that's certified skid proof. Don't know about adhesion to grout though, but Richard there is super informed on all the limits and benefits of any given stock.

:rock-n-roll: The only thing I hate more than spec, is a dogpile. Good job on saying what needs to be said.

Profiles in Onyx are editable to a degree, though I've generally just re-profiled entirely if I'm unhappy with one I've produced. For the sake of avoiding proprietary editing modes, can you describe generally what you would do to the profile while editing it in ProfileMaker, if you ran into the...

Yeah, pretty much everything has a slight magenta shift. It's not really noticeable until I'm printing something that's suppose to have an overall neutral tone. FL lighting that I know also skews, but the magenta shift is evident under true lights as well. So it definitely seems like something...

Naw, that's just the thing. I've always had my ink limits where I thought them to be perfect. A 100% print of anything comes out perfectly saturated, without pooling. Seems that whenever I've experimented with lower than normal limits, the final profiling portion automatically shifts the skew...

I've been doing all of our own profiles since day one, and while I've never gone to a seminar or otherwise taken a course, I am confident that my skills in the area are pretty sharp. There is one area of it that's always been a nagging issue though. No matter how much my profiles have improved...

Did you just delete your archived jobs from the job window, or did you also empty the job folders in the Onyx directory?

Select All Object > Expand Appearance

Except we're not talking about just giving someone their logo or wrap art. This is about supplying somebody with files they're intending to use, explicitely, to cut the designer out of the process. That's no longer a partnership, it's a hostile takeover.

Super happy if that works for you. It's just not the default is all, and it shouldn't be assumed that the client gets anything but the end result. Also, by supplying the client with what they need only for specific projects, you're increasing the odds that they'll come back to you when they need...

They paid for the time that went into the design, and the final product, not the blueprint. Any designer worth their salt states on contracts that designs remain the property of the designer, unless explicitly stated otherwise.