The function is able to convert quite some encodings: PsLogWrite ( 1, '', 'Conversion to ' ctOutputpath psFileName ' Successful' ) EUR-Sign) // Destination File: UTF8 // If psChangeTxtEncodingExt (psFilePath psFileName, ctOutputpath psFileName, 20273, 65001, True ) Then Begin PsExitCode : = 0 // Source File: EBCDIC in EBCDIC Codepage 273 (German) or Codepage 1141 (German incl. CtOutputPath = 'C:\Test\In_Patrick\Out\' Begin
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I did check and tune the play in all the gibs and bearings. 05 per pass would still lead to highly audible complaints from the machine. And while it did better on aluminium brass and cast iron anything up around. And even that amount needed care and patience with a light chip being all it would manage. But what I learned quickly was that there was no such thing as a "rough cut" since the lathe was not rigid enough to accept anything more than about. Perhaps the cabinet was part of the problem. The lathe in my case being perched on the Myford lower cabinet. The big issue for me on the ML7 was the lack of rigidity that led to loud and nasty chatter when cutting steel items. I realized this fairly early on and started looking around and found my Taiwan made 12x36 and happily did the upgrade. The later Super Seven dealt with some of the issues and there is something to be said for those but the ML7 never really did it for me. But I'd agree 110% with the others that say that a 9" South Bend is easily three times the lathe that an ML7 is. They are a wondrous thing to look at and fondle. After that I dabbled on various school lathes and had access now and then to a Logan at work. Prior to that I'd started out with my Father's large old South Bend. An ML7 was my first lathe for my own home shop. As a result of ”overexposure“, counters (internal spaces) are closed in, while characters become blurred and turn into spots new characteristic forms are created which are astoundingly legible.The fat version ✽eFonte Gros« is particularly appealing. The bold version ✽eFonte Gros« is especially attractive. The characters are ”nibbled at“ from the inner and outer brightness.On the normal and semibold typestyles, ✽eFonte Normale« and ✽eFonte Demi Gras«, the effect is limited almost exclusively to the end strokes and corners, which appears to be strongly rounded off. The distortion principle used simulates the photographic effect of halation and/or overexposure.The light weight, ✽eFonte Léger«, nearly breaks on the thin points, whereas on those points where the lines meet or cross, dark spots remain. A variation of ”Helvetica according to the blur principle.“The underlying typeface is ”Helvetica“, the only true ”run-of-the-mill“ typeface of the twentieth century. |
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