#dungs air and gas valve

[mahalaxmisales]

Industrial Equipment & Burner Spares Supplier | Maha Laxmi Sales

Maha Laxmi Sales . is a reliable industrial equipment supplier in Ahmedabad, India. We deal with high-quality products and specialize in burner spares such as Brahma ignition transformers, sequence controllers, gas solenoid valves, etc. Our products range from quality brands like Riello, Danfoss, Madas, and Siemens. We also provide Madas air gas ratio regulators, Vanaz gas pressure regulators, Suntec oil pumps, and Dungs gas solenoid valves. Browse our online shop for the finest industrial equipment and spare parts. Visit for more info:- https://www.mahalaxmisales.com/

[nguyen-khac]

TỪ MƯỢN CHỈ BỘ PHẬN XE ĐẠP

Xe đạp từ lâu là phương tiện quen thuộc gắn liền với đời sống thường nhật của chúng ta. Thế nhưng các bạn có biết rằng nguồn gốc tên gọi các bộ phận trên xe đạp vốn là từ mượn tiếng Pháp, được sử dụng rộng rãi và phổ biến cho đến ngày nay. Và sau đây là một số tên gọi vay mượn từ tiếng Pháp chỉ bộ phận xe đạp (Je Parle Français, n.d.):

Ghi đông - guidon: tay lái của xe đạp.

Pê đan - pédale: bàn đạp.

Phanh - frein: cái phanh của xe đạp.

Gác đờ bu - garde-boue: tấm chắn bùn ở bánh xe.

Gác đờ sên - garde-chaîne: thanh che dây xích; ở miền Nam mọi người còn hay gọi là cạc-te - carter de chaîne.

Gạc ba ga - porte-bagages: yên sau.

Van - valve: van xe.

Săm - chambre à air: ruột bánh xe.

Ắt hẳn ai trong chúng ta cũng đã từng ít nhất một lần nghe qua những tên gọi thân thuộc như vậy, điều này cho thấy tiếng Pháp đã được Việt hóa và sử dụng một cách rộng rãi trong lời ăn tiếng nói hằng ngày của người Việt.

Hơn nữa, PGS.TS. Phạm Văn Tình trong bài “Những lưu ý khi sử dụng những từ tiếng Việt gốc Pháp” (2022) đã nhận định “trước kia, có nhiều từ gốc Pháp khi đưa vào giao tiếp tiếng Việt đã bị Việt hóa cách đọc, biến âm đi khá nhiều”; vì thế có sự chênh lệch khá nhiều giữa từ gốc với từ phiên sang tiếng Việt.

Các bạn còn biết thêm bộ phận xe đạp nào mượn từ tiếng Pháp có thể trao đổi ngay bên dưới nhé!

Tài liệu tham khảo:

Je Parle Français. (n.d.). Từ mượn tiếng Pháp và sự giao thoa văn hóa Pháp - Việt. Je Parle Français.

Phạm Văn Tình. (2022, ngày 22 tháng 11). Những lưu ý khi sử dụng những từ tiếng Việt gốc Pháp. Tuyên giáo.

🍀 Theo dõi trang Tiếng Việt giàu đẹp - Giải chữ giữ đời để biết thêm nhiều kiến thức thú vị về tiếng Việt.

Facebook Tiếng Việt Giàu Đẹp

Nội dung: Hương Giang

Hình ảnh: Hương Giang

#Tu_muon_khac

#Tieng_Viet_giau_dep

[denovoburners]

DUNGS AIR and GAS Pressure switch LGW-_A2, LGW_A4…..

The differential pressure switches LGW3A2, LGW10A2, LGW50A2, LGW150A2, LGW3A4, LGW10A4, LGW50A4 and LGW150A4 are adjustable differential pressure switches per EN 1854 for automatic burner controls.

We have All Range of Dungs Available Contact Us to Know more,

DE NOVO INDUSTRIAL GAS/OIL BURNERS SPARES & PARTS DISTRIBUTOR MORE EFFICIENT & ENVIRONMENTALLY FRIENDLY BURNER & Burner SPARES PARTS Call us: +91 - 011 - 45755000 / +91 - 9910499471/72 E-mail id: enquiry@denovoindia.com / info@denovoindia.com Web address: www.denovoindia.com

[aftabalam786]

WHAT IS HYBRID/DUAL FUEL TECHNOLOGY?

Hybrid/Dual Fuelling System is an innovative retrofit technology that allows liquid-fired engines to operate on a mixture of liquid fuel and Natural Gas. This is achieved through the use of technologies that are installed externally of the engine.

A hybrid/Dual Fuel System delivers Natural Gas to the cylinders via Air-Gas Mixer located in the standard engine air-intake system. The Gas is then ignited by a diesel “pilot” that acts as an ignition source for the air-gas mixture.

The system requires precise regulation and control of the fuel supply gas. The Hybrid/Dual Fuel System is supplied with a “gas train” consisting of a gas filter, zero-pressure gas regulator, and electrically activated gas solenoid valve. The gas train is designed to accept low-pressure gas and supply regulated gas to the engine at slightly negative pressure.

Hybrid/Dual Fuel solution has been designed for operation both on Manual and Automatic mode through the “State of Art Electronic Controller”. This has been done for ease of operation as per the availability of PNG etc.

The State-Of-The-Art controller monitors critical engine and Dual-Fuel System parameters and activates/ deactivates gas mode according to programmed limits. It provides safety to the engine, while operating in the Dual-fuel mode.

Conversion allows the engine to operate on gas mixtures ranging from 50% upto 70% + of total fuel consumed. Engines converted to Dual-fuel exhibit diesel-like performance in critical areas as efficiency, stability and load acceptance.

The compatible Fuel Gases are – Pipeline natural gas (PNG); Coal-bed Methane (CBM); Compressed natural gas (CNG); Bio-gas (landfill, wastewater); Liquefied natural gas (LNG); wellhead gas.

Hybrid/Dual Fuel solution has been developed as fully integrated solutions with critical components sourced from European suppliers like Dungs, Germany.

In case of eventuality PNG supply is stopped, the sensors on sensing low PNG pressure gives signal to Controller and it automatically reverts the engine to 100% diesel operation irrespective of PNG settings or load condition.

The Changeover from Hybrid/Dual Fuels to 100% Diesel Fuel is seamless and without effecting the operation of DG set and neither it requires action by the Engineer. When the PNG supply is resumed, then the Engine automatically reverts to its predefined settings of PNG+Diesel.

The performance of DG Set in terms of Efficiency, Load bearing capacity, Stability, Reliability is not effected and remains the same as before.

[r3dz3pp3lin]

The Art of Noises

Dear Balilla Pratella, great Futurist composer,

In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming Futurist music, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.

Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.

Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.

And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.

The Middle Ages, with the development and modification of the Greek tetrachordal system, with the Gregorian chant and popular songs, enriched the art of music, but continued to consider sound in its development in time, a restricted notion, but one which lasted many centuries, and which still can be found in the Flemish contrapuntalists’ most complicated polyphonies.

The chord did not exist, the development of the various parts was not subornated to the chord that these parts put together could produce; the conception of the parts was horizontal not vertical. The desire, search, and taste for a simultaneous union of different sounds, that is for the chord (complex sound), were gradually made manifest, passing from the consonant perfect chord with a few passing dissonances, to the complicated and persistent dissonances that characterize contemporary music.

At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.

This musical evolution is paralleled by the multipication of machines, which collaborate with man on every front. Not only in the roaring atmosphere of major cities, but in the country too, which until yesterday was totally silent, the machine today has created such a variety and rivalry of noises that pure sound, in its exiguity and monotony, no longer arouses any feeling.

To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise. This evolution towards “noise sound” was not possible before now. The ear of an eighteenth-century man could never have endured the discordant intensity of certain chords produced by our orchestras (whose members have trebled in number since then). To our ears, on the other hand, they sound pleasant, since our hearing has already been educated by modern life, so teeming with variegated noises. But our ears are not satisfied merely with this, and demand an abundance of acoustic emotions.

On the other hand, musical sound is too limited in its qualitative variety of tones. The most complex orchestras boil down to four or five types of instrument, varying in timber: instruments played by bow or plucking, by blowing into metal or wood, and by percussion. And so modern music goes round in this small circle, struggling in vain to create new ranges of tones.

This limited circle of pure sounds must be broken, and the infinite variety of “noise-sound” conquered.

Besides, everyone will acknowledge that all musical sound carries with it a development of sensations that are already familiar and exhausted, and which predispose the listener to boredom in spite of the efforts of all the innovatory musicians. We Futurists have deeply loved and enjoyed the harmonies of the great masters. For many years Beethoven and Wagner shook our nerves and hearts. Now we are satiated and we find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in rehearsing, for example, the “Eroica” or the “Pastoral”.

We cannot see that enormous apparatus of force that the modern orchestra represents without feeling the most profound and total disillusion at the paltry acoustic results. Do you know of any sight more ridiculous than that of twenty men furiously bent on the redoubling the mewing of a violin? All this will naturally make the music-lovers scream, and will perhaps enliven the sleepy atmosphere of concert halls. Let us now, as Futurists, enter one of these hospitals for anaemic sounds. There: the first bar brings the boredom of familiarity to your ear and anticipates the boredom of the bar to follow. Let us relish, from bar to bar, two or three varieties of genuine boredom, waiting all the while for the extraordinary sensation that never comes.

Meanwhile a repugnant mixture is concocted from monotonous sensations and the idiotic religious emotion of listeners buddhistically drunk with repeating for the nth time their more or less snobbish or second-hand ecstasy.

Away! Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plainitive organs. Let us break out!

It’s no good objecting that noises are exclusively loud and disagreeable to the ear.

It seems pointless to enumerate all the graceful and delicate noises that afford pleasant sensations.

To convince ourselves of the amazing variety of noises, it is enough to think of the rumble of thunder, the whistle of the wind, the roar of a waterfall, the gurgling of a brook, the rustling of leaves, the clatter of a trotting horse as it draws into the distance, the lurching jolts of a cart on pavings, and of the generous, solemn, white breathing of a nocturnal city; of all the noises made by wild and domestic animals, and of all those that can be made by the mouth of man without resorting to speaking or singing.

Let us cross a great modern capital with our ears more alert than our eyes, and we will get enjoyment from distinguishing the eddying of water, air and gas in metal pipes, the grumbling of noises that breathe and pulse with indisputable animality, the palpitation of valves, the coming and going of pistons, the howl of mechanical saws, the jolting of a tram on its rails, the cracking of whips, the flapping of curtains and flags. We enjoy creating mental orchestrations of the crashing down of metal shop blinds, slamming doors, the hubbub and shuffling of crowds, the variety of din, from stations, railways, iron foundries, spinning wheels, printing works, electric power stations and underground railways.

Nor should the newest noises of modern war be forgotten. Recently, the poet Marinetti, in a letter from the trenches of Adrianopolis, described to me with marvelous free words the orchestra of a great battle:

“every 5 seconds siege cannons gutting space with a chord ZANG-TUMB-TUUMB mutiny of 500 echos smashing scattering it to infinity. In the center of this hateful ZANG-TUMB-TUUMB area 50square kilometers leaping bursts lacerations fists rapid fire batteries. Violence ferocity regularity this deep bass scanning the strange shrill frantic crowds of the battle Fury breathless ears eyes nostrils open! load! fire! what a joy to hear to smell completely taratatata of the machine guns screaming a breathless under the stings slaps traak-traak whips pic-pac-pum-tumb weirdness leaps 200 meters range Far far in back of the orchestra pools muddying huffing goaded oxen wagons pluff-plaff horse action flic flac zing zing shaaack laughing whinnies the tiiinkling jiiingling tramping 3 Bulgarian battalions marching croooc-craaac [slowly] Shumi Maritza or Karvavena ZANG-TUMB-TUUUMB toc-toc-toc-toc [fast] crooc-craac [slowly] crys of officers slamming about like brass plates panhere paak there BUUUM ching chaak [very fast] cha-cha-cha-cha-chaak down there up around high up look out your head beautiful! Flashing flashing flashing flashing flashing flashing footlights of the forts down there behind that smoke Shukri Pasha communicates by phone with 27 forts in Turkish in German Allo! Ibrahim! Rudolf! allo! allo! actors parts echos of prompters scenery of smoke forests applause odor of hay mud dung I no longer feel my frozen feet odor of gunsmoke odor of rot Tympani flutes clarinets everywhere low high birds chirping blessed shadows cheep-cheep-cheep green breezes flocks don-dan-don-din-baaah Orchestra madmen pommel the performers they terribly beaten playing Great din not erasing clearing up cutting off slighter noises very small scraps of echos in the theater area 300 square kilometers Rivers Maritza Tungia stretched out Rodolpi Mountains rearing heights loges boxes 2000 shrapnels waving arms exploding very white handkerchiefs full of gold srrrr-TUMB-TUMB 2000 raised grenades tearing out bursts of very black hair ZANG-srrrr-TUMB-ZANG-TUMB-TUUMB the orchestra of the noises of war swelling under a held note of silence in the high sky round golden balloon that observes the firing...”

We want to attune and regulate this tremendous variety of noises harmonically and rhythmically.

To attune noises does not mean to detract from all their irregular movements and vibrations in time and intensity, but rather to give gradation and tone to the most strongly predominant of these vibrations.

Noise in fact can be differentiated from sound only in so far as the vibrations which produce it are confused and irregular, both in time and intensity.

Every noise has a tone, and sometimes also a harmony that predominates over the body of its irregular vibrations.

Now, it is from this dominating characteristic tone that a practical possibility can be derived for attuning it, that is to give a certain noise not merely one tone, but a variety of tones, without losing its characteristic tone, by which I mean the one which distinguishes it. In this way any noise obtained by a rotating movement can offer an entire ascending or descending chromatic scale, if the speed of the movement is increased or decreased.

Every manifestation of our life is accompanied by noise. The noise, therefore, is familiar to our ear, and has the power to conjure up life itself. Sound, alien to our life, always musical and a thing unto itself, an occasional but unnecessary element, has become to our ears what an overfamiliar face is to our eyes. Noise, however, reaching us in a confused and irregular way from the irregular confusion of our life, never entirely reveals itself to us, and keeps innumerable surprises in reserve. We are therefore certain that by selecting, coordinating and dominating all noises we will enrich men with a new and unexpected sensual pleasure.

Although it is characteristic of noise to recall us brutally to real life, the art of noise must not limit itself to imitative reproduction. It will achieve its most emotive power in the acoustic enjoyment, in its own right, that the artist’s inspiration will extract from combined noises.

Here are the 6 families of noises of the Futurist orchestra which we will soon set in motion mechanically:

1

2

3

4

5

6

Rumbles   Roars   Explosions   Crashes   Splashes   Booms

Whistles   Hisses   Snorts

Whispers   Murmurs   Mumbles   Grumbles   Gurgles

Screeches   Creaks   Rumbles   Buzzes   Crackles   Scrapes

Noises obtained by percussion on  metal, wood, skin, stone, tarracotta, etc.

Voices of animals and men:   Shouts   Screams   Groans   Shrieks   Howls   Laughs   Weezes   Sobs

In this inventory we have encapsulated the most characteristic of the fundamental noises; the others are merely the associations and combinations of these. The rhythmic movements of a noise are infinite: just as with tone there is always a predominant rhythm, but around this numerous other secondary rhythms can be felt.

Conclusions

1.    Futurist musicians must continually enlarge and enrich the field of sounds. This corresponds to a need in our sensibility. We note, in fact, in the composers of genius, a tendency towards the most complicated dissonances. As these move further and further away from pure sound, they almost achieve noise-sound. This need and this tendency cannot be satisfied except by the adding and the substitution of noises for sounds.

2.    Futurist musicians must substitute for the limited variety of tones posessed by orchestral instruments today the infinite variety of tones of noises, reproduced with appropriate mechanisms.

3.    The musician’s sensibility, liberated from facile and traditional Rhythm, must find in noises the means of extension and renewal, given that every noise offers the union of the most diverse rhythms apart from the predominant one.

4.    Since every noise contains a predominant general tone in its irregular vibrations it will be easy to obtain in the construction of instruments which imitate them a sufficiently extended variety of tones, semitones, and quarter-tones. This variety of tones will not remove the characteristic tone from each noise, but will amplify only its texture or extension.

5.    The practical difficulties in constructing these instruments are not serious. Once the mechanical principle which produces the noise has been found, its tone can be changed by following the same general laws of acoustics. If the instrument is to have a rotating movement, for instance, we will increase or decrease the speed, whereas if it is to not have rotating movement the noise-producing parts will vary in size and tautness.

6.    The new orchestra will achieve the most complex and novel aural emotions not by incorporating a succession of life-imitating noises but by manipulating fantastic juxtapositions of these varied tones and rhythms. Therefore an instrument will have to offer the possibility of tone changes and varying degrees of amplification.

7.    The variety of noises is infinite. If today, when we have perhaps a thousand different machines, we can distinguish a thousand different noises, tomorrow, as new machines multiply, we will be able to distinguish ten, twenty, or thirty thousand different noises, not merely in a simply imitative way, but to combine them according to our imagination.

8.    We therefore invite young musicians of talent to conduct a sustained observation of all noises, in order to understand the various rhythms of which they are composed, their principal and secondary tones. By comparing the various tones of noises with those of sounds, they will be convinced of the extent to which the former exceed the latter. This will afford not only an understanding, but also a taste and passion for noises. After being conquered by Futurist eyes our multiplied sensibilities will at last hear with Futurist ears. In this way the motors and machines of our industrial cities will one day be consciously attuned, so that every factory will be transformed into an intoxicating orchestra of noises.

Dear Pratella, I submit these statements to your Futurist genius, inviting your discussion. I am not a musician, I have therefore no acoustical predilictions, nor any works to defend. I am a Futurist painter using a much loved art to project my determination to renew everything. And so, bolder than a professional musician could be, unconcerned by my apparent incompetence and convinced that all rights and possibilities open up to daring, I have been able to initiate the great renewal of music by means of the Art of Noises.

_ Luigi Russolo

[btu02-blog]

Jual Dungs Gas Pressure Switch

Incorporated in 2015, PT. Burnerindo Teknik Utama is established as a One-Stop- SparePart-Solution, particularly in the spare parts for burners and steam boilers. We prioritize in supplying top quality and genuine spare parts for all types and brands of burner and steam boilers, such as :Weishaupt, Riello, FBR, Siemens, Suntec, Dungs, Danfoss, Satronic / Honeywell, Krom Schroder, Elster, Brahma, Giuliani Anello, Coprim, Madas, Steinen, Monarch, RMG, Gestra, Mobrey.

 In our business, we are able to provide the best and most competitive prices compared to other suppliers as we maintain direct and solid business relations with worldwide suppliers and partners. We also deliver the best technical service that is supported by a team of highly trained and experienced professionals who are always ready to answer your business needs.

 Lastly, we always aim for collective customer satisfaction through our international standard and high-quality customer service. The combination of all these business values is the foundation that sets forth our commitment and passion in the industry.

 HONEYWELL/ SATRONIC OIL BURNER CONTROL 01

 Honeywell/ Satronic Oil Burner Control

 (For 1 or 2 Stage oil burners up to 30 kg/h capacity)

•             TF 801

•             TF 802.1

•             TF 804

•             TF 830

•             TF 830.3

•             TF 832

•             TF 832.3

•             TF 974

 HONEYWELL/ SATRONIC GAS BURNER CONTROL 05

 Honeywell/ Satronic Gasl Burner Control

 (Controls and supervises gas and dual fuel burner, 1 or 2 stages operation)

•             DLG 976-N Mod.01

•             DLG 976-N Mod.02

•             DLG 976-N Mod.03

 HONEYWELL/ SATRONIC OIL BURNER CONTROL 02

 Honeywell/ Satronic Oil Burner Control

 (For forced air oil burners with more than 30kg/h in intermittent operation, 1 or 2 stage)

•             TMO 720-4 Mod.35

 SUNTEC OIL PUMP 05A

SUNTEC Oil Pump :

•             AE 47 B 1366 6P

•             AE 67 C 7285 4P

•             AE 67 C 7361 4P

•             AE 97 C 7296 3P

•             AEV 97 C 7213 3P

•             AE 97 C 7390 2P

 KROM SCHRODER GAS BURNER CONTROL

 For directly ignited burners of unlimited capacity in continuous operation

•             IFD 258-5/1W (For successor of IFS 258-5/1W)

 SIEMENS GAS BURNER CONTROL 05

 SIEMENS Gas Burner Control

 The LFE 1… burner control is designed for use with forced draft gas and dual-fuel burners of any capacity, in intermittent operation.

•             LFE 1.1/8854

•             LFE 1 /8851

•             LFE 1/ 8853

•             LFE 1/ 8866

•             LFE 1/8867

•             LFE 1/8868

•             LFE 1/8892

 SIEMENS OIL AND GAS BURNER CONTROL 08

 SIEMENS Oil and Gas Burner Control

 •             SIEMENS Flame Safeguards (For the supervision of oil flames) LAE 10 – Supervision in connection with selenium photocell detectors RAR…

•             SIEMENS Flame Safeguards (For the supervision of gas flames) LFE 10 – Supervision in connection with flame detector QRA…. or ionization probe

 STEINEN OIL NOZZLE

 •             Type S Size : 0.50 ~ 4.00 GPH

(Spray Angle 45º) – S Patterns

•             Type SS Size : 4.50 ~ 28.00 GPH

(Spray Angle 45º) – SS Patterns

•             Type S Size : 0.50 ~ 4.00 GPH

(Spray Angle 60º) – S Patterns

•             Type SS Size : 4.50 ~ 26.00 GPH

(Spray Angle 60º) – SS Patterns

 FLUIDICS OIL NOZZLE

 Fluidics Regulating Oil Nozzle – Type WE

•             Size : 90 kg/h – 50º

•             Size : 225 kg/h – 50º

•             Size : 250 kg/h – 50º

•             Size : 550 kg/h – 50º

Fluidics Regulating Oil Nozzle – Type WS4

 (For Weishaupt Burner)

•             Size : 100 kg/h – 50º

•             Size : 180 kg/h – 50º

•             Size : 250 kg/h – 50º

•             Size : 300 kg/h – 50º

 For more details on our products and services, please feel free to visit us at Jual Dungs Gas Pressure Switch, Jual Brahma Gas Solenoid Valve, Jual Krom Schroder Gas Regulator, Jual Giuliani Anello Gas Filter & Jual Siemens Burner Control

[denovoburners]

Dungs air pressure switch - De Novo

DUNGS AIR and GAS Pressure switch LGW-_A2, LGW_A4…..

The differential pressure switches LGW3A2, LGW10A2, LGW50A2, LGW150A2, LGW3A4, LGW10A4, LGW50A4 and LGW150A4 are adjustable differential pressure switches per EN 1854 for automatic burner controls.

We have All Range of Dungs Available Contact Us to Know more,

DE NOVO INDUSTRIAL GAS/OIL BURNERS SPARES & PARTS DISTRIBUTOR MORE EFFICIENT & ENVIRONMENTALLY FRIENDLY BURNER & Burner SPARES PARTS Call us: +91 - 011 - 45755000 / +91 - 9910499471/72 E-mail id:enquiry@denovoindia.com / info@denovoindia.com Web address: www.denovoindia.com

[btu02-blog]

Burnerindo Teknik Utama

Incorporated in 2015, PT. Burnerindo Teknik Utama is established as a One-Stop- SparePart-Solution, particularly in the spare parts for burners and steam boilers. We prioritize in supplying top quality and genuine spare parts for all types and brands of burner and steam boilers, such as :Weishaupt, Riello, FBR, Siemens, Suntec, Dungs, Danfoss, Satronic / Honeywell, Krom Schroder, Elster, Brahma, Giuliani Anello, Coprim, Madas, Steinen, Monarch, RMG, Gestra, Mobrey.

In our business, we are able to provide the best and most competitive prices compared to other suppliers as we maintain direct and solid business relations with worldwide suppliers and partners. We also deliver the best technical service that is supported by a team of highly trained and experienced professionals who are always ready to answer your business needs.

Lastly, we always aim for collective customer satisfaction through our international standard and high-quality customer service. The combination of all these business values is the foundation that sets forth our commitment and passion in the industry.

HP TECHNIK OIL PUMP 02

HP Technik Oil Pump :

•             PON 4-D-L-4-25 (Equivalent with Suntec E4NA/J4CAC)

•             PON 6-D-L-4-25( Equivalent with Suntec E6NA/ J6CAC)

•             PON 7-D-L-4-25 (Equivalent with Suntec E7NA/ J7CAC)

•             PON 4-I-L-4-25 (Equivalent with Suntec E4NC/ J4CCC)

•             PON 6-I-L-4-25 (Equivalent with Suntec E6NC/ J6CCC)

•             PON 7-I-L-4-25 (Equivalent with Suntec E7NC/ J7CCC)

SUNTEC OIL PUMP 06

SUNTEC Oil Pump :

•             AN 47 A 7344 4P

•             AN 57 C 7282 4P

•             ANV 57 A 7359 4P

•             ANV 57 CK 7208 4P

•             AN 67 A 7345 4P

•             AN 67 A 7238 4P

•             ANV 67 A 7309 4P

•             AN 67 B 1335 6P

•             AN 67 C 1336 6P

•             ANV 67 CK 7204 4P

•             AN 77 A 7255 2P

•             AN 77 A 7256 2P

•             AN 77 C 7341 2P

•             ANV 77 A 7203 2P

•             AN 97 C 7257 2P

 HONEYWELL/ SATRONIC OIL BURNER CONTROL 03

Honeywell/ Satronic Oil Burner Control

(For burners for hot air generators and burners with more than 30 kg/h in intermittent operation)

•             DKW 972 Mod.05

•             DKW 976 Mod.05

 In our business, we are able to provide the best and most competitive prices compared to other suppliers as we maintain direct and solid business relations with worldwide suppliers and partners. We also deliver the best technical service that is supported by a team of highly trained and experienced professionals who are always ready to answer your business needs.

Lastly, we always aim for collective customer satisfaction through our international standard and high-quality customer service. The combination of all these business values is the foundation that sets forth our commitment and passion in the industry.

For more details on our products and services, please feel free to visit us at Jual Dungs Gas Pressure Switch, Jual Krom Schroder Gas Regulator, Jual Giuliani Anello Gas Filter, Jual Siemens Burner Control & Jual Gestra Blowdown valve