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Author Topic: Eiki 6100's need help getting parts Jon Byler Film Handler Posts: 7 From: Opelika, AL, USA Registered: Feb 2010 posted 06-16-2010 02:11 PM                     there is an end of film cut off, and fortunately on the rewind you can run the film past it and have the thing stop automatically. as to 6000' of film on the floor, I will have to purchase something that long first most of my personal collection is old cartoons from the 30's and 40's on 400' reels at best.  |  IP: Logged Jeff Taylor Jedi Master Film Handler Posts: 601 From: Chatham, NJ/East Hampton, NY Registered: Apr 2000 posted 06-18-2010 10:10 AM                     No disrespect to the other comments in this thread, but I've owned and run a LOT of Eiki's, and have found the Ushio sourced switcher supplies to be quite reliable as are the amps--I can't comment though on the electronic controls. All of the Japanese 16mm projectors were designed and built in a "cottage industry" kind of surrounding with frequent minor design changes and parts substitutions, and given the even more limited production runs of the pedestal vs table-top machines I doubt that Nobel Prize level electronic engineering expertise went into the control circuits. As indicated, the switcher supplies were Ushio sourced, and most of the amps were either Panasonic or another major Japanese electronic supplier's product, so I'm guessing the control circuits may have originated in-house. Could there have ever been more than a few hundred 6xxx machines ever produced--perhaps 1,000 tops? Not enough to justify outsourcing or mass production.  |  IP: Logged Jon Byler Film Handler Posts: 7 From: Opelika, AL, USA Registered: Feb 2010 posted 06-18-2010 04:23 PM                     I have no idea of the total number of these made, but mine are serial number 7927 and 7935, so if they numbered them sequentially that would put them at the very least about 8000 units made. but this may also include the variant 6120's and the 9100/9120's. I have no idea what year mine are from, or when they stopped making these, so there could be many more out there. it seems like every small college had a pair, and probably many more at larger universities. I am guessing a fair number of small so called art house theaters had one or two of these at one point too? I am happy so far. they seem designed to keep the possibility of operator damage to the machine at a bare minimum. You could probably trash a film by loading it wrong, but other than perhaps changing the focus while it is locked (and even that, all you are looking at replacing is a rubber sleeve) there is not a whole lot you can do by accident to kill it.  |  IP: Logged Gary A. Hoselton Film Handler Posts: 59 From: Portland OR U.S.A. Registered: Nov 2005 posted 06-21-2010 01:31 AM                     Jon, my experience is EX-6000 and EX-4000P. These machines feel pretty much handbuilt, a lot of garage shop farmouts. Don't assume they started at serial 0001, may have started at 7001. They put a nice picture on screen, tho get horizontal weave if leading edge of perfs is nicked because claw doesn't pull straight down but describes a figure 8--look at claw head on when turning cam shaft. Don't trust electrical wiring diagrams in manual without wringing out wiring. Remove lens lock and put in parts box, for have to refocus often with 16mm emulsion on pressure plate side as film thickness varies and some film with curl comes along. Use only urethane O-rings, rubber ones stretch too much and can pop off. When you remove screw in end of camshaft, loctite it (blue 242) as shaft turns in direction to loosen screw and then shutter runs into things. Install an ISCO Vario Kiptaron 65-35mm zoom lens for your shorter throw, and put 1/4" spacer in series with upper anamorphic adapter rod so bracket will clear ISCO lens. Best to service head before using much, especially oiling sprocket shafts and lube cam tank, and setting loop length and tension around sound drum. No adjustment for claw stroke, so as up-down cam wears stroke shortens and may get vertical jitter with estar prints that are overpitch. Rewinding on projector not a good idea, too much chance for film slap damage; use bench rewinds. Wipe loop resetter rubber with alcohol swab every six months to maintain friction. Nothing holds film laterally on sound drum, so if film tends to pop off replace input roller with a flanged roller from junk Eiki portable. Plug and jack from solar cell are chrome plated, if you get noise or rectification in sound may need to change to gold plating,or pull two plugs together with a rubber band to obtain more contact pressure. Front fan is noisy, if not in a booth make foamcore shroud held with magnets to aim flow and noise down. If waste light from vent atop lamphouse reflects off ceiling then rear wall to fog screen during dark scenes, hang black bedsheet behind projector. Etc.  |  IP: Logged Jeff Taylor Jedi Master Film Handler Posts: 601 From: Chatham, NJ/East Hampton, NY Registered: Apr 2000 posted 06-21-2010 06:24 PM                     As an aside, I have no idea where they sourced the intermittents for the few such pedestal machines they produced, but one man literally hand built all the cam tanks for the shuttle type machines, pedestal or otherwise, through most of the 16mm projector production runs until they carried him out feet-first. Parts were literally hand filed until they fit properly!  |  IP: Logged

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