Product of the Month

Heidelberg Eurobind Pro

With the Eurobind Pro, Heidelberg has entered into a new arena where it will find itself facing off against some unfamiliar foes. The 6,000 cycles per hour (cph) Eurobind fits into a niche that has historically been dominated by the likes of Muller Martini and Kolbus. From the outside, it would seem like a brave departure but it's one that the manufacturer is confident will pay off.

The Eurobind Pro model is the follow up to the 600, but it is around 50% faster than its predecessor thanks to its longer build, which accelerates the paper through the in-feeder.

For your money, you get a gatherer, the binder itself, a cooling tower and a three-knife trimmer at the end, although the binder can be sold as a separate entity if you already have

Xerox Colour 550/560

If you took boxing as your guide, you would class Xerox's latest digital printer, the 550/560, as a featherweight or bantamweight as it sits below standard 'lightweight' production models.

Digital printers are defined by average monthly print volume (AMPV), the sweet spot for the number of A4 pages per month that the machine is built to produce during its life. Vendors will tweak the up-front price, the click charge and any servicing costs to reflect this figure. Give a lightweight machine

KBA Rapida 75E

KBA hopes to make more headway in the hotly contested B2 market with the latest version of its Rapida range, the Rapida 75E.

Originally launched at Drupa 2008 in a relatively basic configuration, and with a top speed of 15,000sph, KBA chose the next big international exhibition to take the wraps off the revamped version. At Ipex it showed the 75E under a banner that proclaimed it to be 'the energy-saving champion' and to provide 'the best value in its class'.

KBA says the 'E' stands for both

Pantone Capsure

Printers have had digital tools to control colour for more than a decade now, with spectrophotometers or on-console scanning systems essential in colour managed workflows.

Designers and print buyers, on the other hand, while they may use some tools for calibrating monitors and possibly proofers, have had less in the way of digital aids in their part of the workflow - selecting and specifying colour. With the rise of cross-media campaigns, they need to match colour on screen, in print and often