Resin 3D Printer review

Do you ever look at a tiny figurine and think, I could have printed the pores on that nose?

Why I picked this resin 3D printer over yet another “almost” machine

I’ve been through the “almost” printers—the ones that almost get the sword hilt sharp, almost render a crisp eyeball, almost cure evenly across the plate. When I saw a resin printer promising 4K+ resolution on a 6.6-inch monochrome screen, a uniform COB + Fresnel light engine, and a Z-axis riding on ball linear slide rails, I figured it was either the real deal or the sort of confident exaggeration reserved for real estate listings and first dates. Spoiler: I kept it on my workbench.

The model I’m talking about is sold as “Resin 3D Printer, 4K Resolution, Equipped with 6.6 Inch Monochrome Screen, 145x90x150mm Build Volume Printing Size, Higher Resolution Resin Printer.” In the materials and firmware it also appears as the KG406 Pro Max. It’s aimed at people who care about detail first and capacity second, and I’m embarrassingly in that club.

Unboxing and first impressions I wouldn’t be ashamed to admit

The first thing I noticed was the design. It’s clean without being cold, sturdy without looking like it fell off a forklift. The integrated look makes it feel less like a chemistry set and more like a small appliance—if your blender wore a riot visor and smelled faintly of isopropyl. The vat includes a self-cleaning function that swirls resin off the film, which my lazy future self immediately applauded. There’s also an anti-scratch protective film on the screen, meant to spare your actual LCD if you ever have a resin leak. Given my track record with liquids, I took this as a personal favor.

Even before I powered it on, the Z-axis felt different—there’s a confidence in the carriage travel that ball linear slide rails deliver. A gentle nudge didn’t wobble the plate like a nervous flamingo. If you’ve had prints fail because the printer shimmied when it should have glided, you know how soothing that is.

Specs at a glance that actually matter

I read a lot of spec sheets that sound like they were written by a bored parrot. The data here, however, ties right to print quality and ease of use.

Category	What I get	Why I care
LCD resolution	4098 x 2560 pixels (4K+)	Higher detail, sharper edges, crisp micro-features
Screen type	6.6-inch monochrome	Faster layer cure, longer screen life vs RGB
Build volume	145 x 90 x 150 mm (manufacturer); slicer profile suggests X143 x Y89 x Z160 mm	Room for minis, dental casts, small props; I keep Z under 150 mm for safety
Light engine	COB + Fresnel lens, parallel UV projection	Uniform exposure across plate; better edge consistency
Z-axis	Ball linear slide rails, silent drive	Smoother motion, fewer banding artifacts, low noise
Slicer support	Chitu and LycheeSlicer	Easy setup, mature supports, anti-aliasing up to 8x
Anti-aliasing	Up to 8x	Smoother surfaces on curved features
Protective measures	Anti-scratch screen film; vat self-cleaning	Lower maintenance risk, easier cleanup
Noise	Very quiet; “silent drive” in practice	Apartment-friendly, pet-approved, brain-sparing

A quick note on pixels and real-world detail: with a print area roughly 90 mm wide and 4098 pixels across, the XY pixel size sits around 22 microns. That translates into fine edges and a clear bump in definition compared to older 2K machines.

Getting it up and running without sacrificing a weekend

I’ve had printers that require rituals involving Allen keys, whispered promises, and sacrificial calibration cubes. This wasn’t one of them.

• I checked the vat and screen film for particles (they were spotless).
• I leveled the build plate using the usual loosen-lower-tighten dance. The plate stayed put without the slow, post-tightening slump I’ve seen on cheaper Z assemblies.
• I loaded a mid-viscosity 405 nm resin I know well so I could isolate the printer’s behavior from any liquid drama.
• I ran a quick exposure test with a standard calibration plate.

On my first print, details that normally blur on the X-axis—the little rivets, the eyebrows that go from “expression” to “smudge”—came through with a confidence I usually attribute to machines with higher price tags.

Slicer setup that didn’t require a forum scavenger hunt

The printer is fully compatible with Chitu and LycheeSlicer. I’ve used both and prefer Lychee for quick support generation and Chitu for grind-it-out control. Either way, setup was pleasantly unremarkable.

When I created a custom machine profile, I used the manufacturer’s guidance:

• Model: create a new machine and select the mirror LCD type (often labeled LCD-Mirro in profiles)
• Resolution: X 4098 px, Y 2560 px
• Build size: X 143 mm, Y 89 mm, Z 160 mm (I cap Z at 150 mm in practice)
• Anti-aliasing: I start at 4x, bump to 8x on figures with lots of curves

My baseline starting parameters

Every resin is different, but I like a place to start. These settings gave me a good first week.

Setting	My baseline	Notes
Layer height	0.05 mm for figures; 0.03 mm for jewelry masters	0.05 mm is a strong first try
Normal exposure	2.0–2.5 s	Monochrome LCDs cure fast; adjust by resin
Bottom layers	4–6	I use 5 most of the time
Bottom exposure	30–45 s	Start at 35 s; reduce if you see elephant foot
Lift distance	5–7 mm	6 mm feels safe
Lift speed	60–90 mm/min	Start slower if you get layer peel
Retract speed	120–150 mm/min	Faster helps if adhesion is solid
Anti-aliasing	4x–8x	8x for smooth curves; 4x for tiny crisp text
Light-off delay	0.3–1.0 s	Longer for thicker resins

I always run a small exposure test when I change resin brands. Ten minutes spent on a calibration tile will save me two hours of chiseling supports off a semi-cured gargoyle.

The 4K+ monochrome screen and what it does to edges

The difference between an RGB screen and a monochrome screen shows up not just in speed, but in how clean your edges look after a few prints. The monochrome screen on this machine cures faster and lasts longer, which means I can use shorter exposures without worrying about the panel aging like a soft cheese in direct sunlight.

At 4098 x 2560 pixels on 6.6 inches, the machine renders fine ridges and textures with a confidence my older 2K printers just couldn’t manage. I printed a 28 mm miniature with a braided belt that was more assertive than the belt on my actual pants. Sword edges came out straight and sharp, not the wobbly “I tried my best” you get with uneven light engines. The screen’s contrast also helps with semi-translucent resins. Greyscale detail builds cleanly without that gelatinous drift between layers that some lower-contrast panels produce.

Uniform light source: COB + Fresnel lens in real life

Uniformity is one of those words that sounds boring until your print fails at the edges. The combination of the COB array and Fresnel lens makes a difference. UV light is projected in a more parallel, vertical way toward the LCD, which translates to consistent exposure whether you’re printing in the center or near the corners.

Here’s what that meant for me:

• Edge features stayed sharp. The same micro-texture that looked excellent in the center still looked excellent near the front-left corner.
• I saw less elephant foot at my starting exposure, especially on small bases.
• When printing multiple parts at once, small text looked similar across the build plate, and not like each character had its own personality disorder.

I’ve had machines with dramatic center-hot or corner-dim behavior. This didn’t have that. I don’t have lab-grade metrology, but I do have eyeballs and a bad attitude, and both agreed: the uniformity worked.

Z-axis stability: fewer gremlins, less banding, more sleep

A jittery Z-axis can turn a perfect light engine into a regret. The ball linear slide rails on this printer contribute real stability and reduce the chatter you see on vertical walls. I printed a tall tower with tight band spacing and a smooth gradient on the surface. When I forced a failure by cranking the lift speeds too high (for science), the first issue I hit was with support tear-off, not Z wobble.

The silent drive makes the machine genuinely quiet. I printed two test plates in the next room while I watched television and never muted the commercials, which is saying something. The only time it got vocal was during a rapid peel cycle with a thick resin, and even then it sounded like a polite throat clearing.

Build volume and what I actually fit in there

The manufacturer lists 145 x 90 x 150 mm, while the slicer profile suggests X143 x Y89 x Z160 mm. I played it safe and remembered the golden rule: leave at least a few millimeters of headroom in practice. I used it for:

• Full sets of 28–32 mm tabletop minis, eight to ten at a time
• Dental models laid flat, two up, with room for rafts
• Small cosplay greeblies and jewel-like parts that begged for sanding but didn’t need any
• Jewelry test masters with crisp prong seats that didn’t crumble when I looked at them funny

For really tall prints, I turned the part and printed diagonally. The effective Z of 150 mm served me well, though I kept anything above 140 mm to a minimum just to reduce peel forces and avoid clipping the top.

The vat’s self-cleaning function and why my future self thanked me

After long prints, resin can leave behind a confetti of tiny cured bits in the vat. This machine includes a self-cleaning mode that runs the screen through a sequence to lift debris from the film so you can wipe it away more easily. It’s not magic—I still inspect and filter resin if something suspicious happens—but it turns cleanup from a grim chore into a mild inconvenience.

The anti-scratch film over the LCD is the other unsung hero. I’ve had a single, traitorous support break loose before and turn itself into a glass cutter. With the protective film in place, I didn’t get that pit in my stomach every time I poured resin out. It won’t save you from all mischief, but it’s cheaper to replace a film than a screen.

Print quality: the kind that makes sanding feel optional

On day three, I printed a statue no bigger than my thumb. It had an expression that would traditionally smear into indifference on lesser machines. This time, it had cheeks, actual cheeks, and I didn’t need to pretend to see them. Fine text at 1.5 mm height was legible without magnification. The 8x anti-aliasing option helped soften the stair-step effect in curved areas, and when I dropped down to 4x for sharp embossed text, the letters stayed crisp.

Supports detached cleanly with a modest post-cure and a gentle angle. I left a few parts in alcohol too long (my timer thought it was a suggestion), and the surfaces still didn’t chalk up as badly as they do with rougher printers; once I dried and cured them, they looked confident again. Good light uniformity and Z stability combine to make supports less vindictive during removal.

Speed: not a race, but pleasantly brisk

Monochrome screens cure layers faster than RGB ones. My average layer times on open grey resin hovered around 2.0 to 2.3 seconds at 0.05 mm, with bottom exposure at 35 seconds. That put a plate of eight small minis at just under three hours, including lifts. A more detailed figure at 0.03 mm needed about five hours, which is exactly the kind of nine-to-five window I like: start a print at breakfast, admire it during lunch, and pretend I don’t see the supports until later.

If you’re printing something chunky or using a more stubborn resin, bumping exposure to 2.5 seconds kept adhesion reliable without sacrificing much time. The machine never felt like it was the bottleneck. My indecision about how to pose the model was the bottleneck.

Software: Chitu vs Lychee and where I landed

Both slicers are supported. LycheeSlicer made quick work of support painting and got me reliable results with its presets. Chitu gave me the granular control I wanted for trickier parts—thin spikes and curved flourishes that love to betray you during peel. I alternated between them based on project type.

A few notes I wrote to my forgetful self:

• Anti-aliasing strength interacts with your resin’s behavior. Too much on tiny text can blur edges; dial back to 2–4x for embossed lettering.
• The “mirror” LCD setting is important. If your prints come out mirrored in real life, you probably picked the wrong panel orientation.
• Light-off delay matters more than you think. Thicker resin benefits from a brief pause between layers to settle; 0.5–0.8 seconds reduced micro-ridges for me.

Pros and cons without the sales pitch

Here’s where I landed after a few weeks. I tried to be honest, the way a friend would be if you catch them before their second coffee.

What made me nod enthusiastically	What made me sigh
Excellent 4K+ detail; crisp edges and textures	Build volume is mid-sized; if you want helmets, look elsewhere
Uniform light engine; consistent edge-to-edge results	A touch of elephant foot if bottom exposure is too high (curable with tweaks)
Stable Z-axis on ball linear slide rails; smooth walls	Firmware labeling for LCD “Mirro” might confuse first-time users
Monochrome LCD means faster cures and longer screen life	Dual numbers for build volume (150 vs 160 mm Z) require a cautious approach
Quiet operation; the “silent drive” is truly polite	Replacement parts availability varies by region
Slicer compatibility with Lychee and Chitu; 8x anti-aliasing	The vat film still needs respect—ignore it and it will make you pay
Self-cleaning vat and protective screen film	No native air filtration; plan ventilation

Comparing it to the usual suspects in my shop

I put this printer next to two familiar types: a cheaper 2K resin printer with an RGB screen, and a larger 8K machine I borrow when I want to print something substantial enough to use as a doorstop.

• Versus a 2K RGB machine: The jump in detail here is real. Edges that went soft on my 2K stayed crisp, and the monochrome panel simply prints faster. The lifespan advantage means fewer anxious glances at the screen’s clock.
• Versus a larger 8K printer: The 8K obviously wins on resolution and build area, but it’s louder, larger, and exponentially messier. If you don’t need the extra space, this 4K+ model hits a sweet spot for small, precise work without turning your living room into a resin annex.

If you’re upgrading from a 2K, this feels like switching from squinting to wearing prescription glasses. If you’re considering a giant 8K, ask yourself how often you actually print at that size. I found myself using this one more frequently because it was quick to set, quiet to run, and accurate enough for the kinds of objects that live in my world: tiny, fussy, and proud.

What I printed that made me smile inappropriately

• Tabletop armies where the buckles on belts had actual holes, not just suggestions of holes
• A small architectural facade with window mullions so thin I got nervous and then relieved
• Replacement knobs for a vintage radio that looked better than the originals, which is a sentence I regret but stand by
• A ring master with a tasseled jacket where the tassels remained tassels, not spaghetti
• Smooth dental casts I could set flat without post-print warping

This is the printer I reached for when I cared about the face on a tiny character, the bevel on a 3 mm coin, or the embossed emblem on a curved surface I’d usually sand into oblivion.

Noise, smell, and the commitment to being a decent roommate

Resin printing will never smell like a bakery. The printer’s silent drive meant I wasn’t bugging anyone with mechanical noise, but I still ran it near a window with a small fan pointing out. There isn’t a built-in air filter, so if you share space with other humans or ambitious cats, plan your ventilation. Post-processing still needs the usual suspects: nitrile gloves, isopropyl alcohol or an approved cleaner, paper towels, UV post-curing. If you’re new to resin, commit to safety as if someone will quiz you about it later.

Maintenance that’s manageable

• Keep the vat film clean and happy. If you hear a suction “pop” like a yogurt lid on every lift, tilt your prints and reduce your lift distance/speed.
• Replace the protective screen film if it gets scratched or cloudy. It’s cheaper and faster than replacing the LCD, and mine still looked fine after a dozen prints.
• Level thoughtfully. The plate holds its position well, but the usual gentle pressure during leveling helps even more.
• Don’t overfill the vat. It’s easier to add resin than to shop for a new carpet.
• Filter resin after any questionable print. The self-cleaning function helps, but a quick filter prevents mystery floaters from causing mischief later.

Troubleshooting I actually used

• Elephant foot at the base: I reduced bottom exposure from 40 s to 32–35 s and added a 0.2 mm bevel on the model’s base. Cleaned it right up.
• Layer lines on tall columns: I slowed lift speed a touch and added a 0.5 s light-off delay. Also switched to 0.03 mm layers for that particular print.
• Support nubs scarring delicate surfaces: I used smaller contact points (0.25–0.3 mm) and increased density slightly to distribute force. I also pre-cured parts for a minute before major support removal.
• Edge detail blur: I dropped anti-aliasing strength from 8x to 4x. Better on engraved text and micro-geometry.
• Dim corner paranoia: I placed a test tile in each corner—results looked uniform. If you do detect a variation, micro-adjust exposure or avoid extreme placement for the fussiest details.

Cost of ownership and the things I end up replacing

LCD life is a serious consideration with resin printers. The monochrome panel’s longer lifespan means I don’t mentally amortize every print against a looming screen replacement. The anti-scratch film reduces risk further. Vat films are consumable, but treating them kindly—no scraping with sharp tools, steady temperatures, no kamikaze dry prints—stretches their lifespan.

I also budget for:

• Nitrile gloves (large boxes, because I pretend I don’t use that many)
• Isopropyl alcohol or resin cleaner
• Paper towels and silicone squeegees
• Spare vat film and protective screen film
• A small UV cure station or a sunny window with patience

The printer’s low noise and steady performance reduce the incidental costs of reprints and frustration, which I measure in both resin and mood.

Who I think this printer is for

• Hobbyists who live for detail: minis, jewelry masters, small props, dental models
• Anyone upgrading from 2K or an older RGB-screen machine
• Makers who don’t have a dedicated garage but still want to print quietly and often
• People who value uniformity across the build plate and fewer “edge of plate” failures

It’s less ideal if you mostly print large armor plates, tall vases, or items that stretch past 150 mm in Z on a regular basis. It’s also not a substitute for industrial-grade machinery, and anyone claiming otherwise likely wants something from you.

A quick guide to resin types I tried

• Standard grey: Fast, forgiving, and the best for assessing detail. This is my default.
• Tough resin: Needed about 15–20% more exposure; preferred longer light-off delay; great for functional clips and snap fits within reason.
• ABS-like: Slightly brittle, but remarkably crisp. I angled supports more aggressively to counter peel forces.
• Transparent resin: Dialed exposure down a notch to keep clarity; post-cure slowly to avoid micro-cracking. Edges stayed cleaner with 4x anti-aliasing.

Whatever you use, temperature matters. If your resin is cold, it behaves like maple syrup that resents you. Keeping it around 22–25°C helps cure parts evenly and stick to the plate without overexposure.

My real-world workflow with this machine

• Slice with supports tuned to the model’s fragility. For ornate parts, I start with more, smaller supports.
• Check plate adhesion by placing a thin raft that bevels at the edge. Less warping, cleaner removal.
• Start conservative on exposure, then adjust using a standardized test print so I don’t blame the wrong thing.
• Wash in two baths: first dirty, then clean. Let the part dry fully before curing.
• Cure in short bursts to avoid brittleness. I prefer cumulative 2–3 minutes, flipping sides, rather than a one-shot blast.

I did not find myself compensating for hardware quirks. When something went sideways, it was usually my impatience.

Printing multiple parts: same quality across the field

A uniform light source matters most when you fill the plate. I printed a batch of eight identical clasps arrayed across the platform. Measured with calipers, they were consistent within a tenth of a millimeter, which, translated into my experience, means they all squeezed into the same slot with the same mild protest. That’s good enough for me—and probably for you, unless your day job involves jet engines.

The little quality-of-life touches that snuck up on me

• The machine’s look makes it less intimidating sitting in a shared space. This matters if your partner hates the lab aesthetic.
• Quiet operation means I ran late-night prints without announcing it to the building.
• The vat’s self-cleaning routine prevented the dreaded “Is that a speck?” guessing game after long jobs.

Potential quirks I learned to avoid

• The “LCD-Mirro” label in slicer setup is easy to skim past when you’re in a rush. If you mirror your print, congratulations, you learned something.
• That 150 mm vs 160 mm Z discrepancy: I kept within 150 mm for tall prints and never had an issue. Until I see a definitive statement in the firmware and hardware, I treat 150 mm as the practical limit.
• Bottom layer exposure creep: I love strong adhesion as much as the next person, but too much squashes details at the base. 32–35 seconds with 5 bottom layers kept things honest.

If I had to teach a friend to use it in 10 minutes

• Level carefully. Don’t over-tighten while pressing; let the paper give you a gentle drag.
• Run a standard exposure test for your resin. Note it somewhere you won’t lose.
• Support smart: thin contact points for delicate faces; heavier ones for long, lonely spikes.
• Tilt your models. Vertical walls are great until suction makes them regret their life choices.
• Wash twice, cure gently, and don’t rush support removal. A minute of patience saves an hour of sanding.

Where the 4K+ screen really earns its keep

Tiny architecture. Jewelry masters. Mini faces. Engraved text around 1–2 mm high. Anywhere detail stacks up, this screen keeps you in the game. I used it to prototype a micro-embossed emblem with slopes that would usually stair-step like a ziggurat; with 8x anti-aliasing and 0.03 mm layers, I got a smooth transition that made me kinder to myself than I’m used to.

Safety notes I write to myself in Sharpie

• Ventilation is not optional. A cracked window and a small fan are bare minimum. A carbon filter box helps.
• Gloves always. Eye protection when pouring. Don’t tempt fate.
• Keep resin off the screen film. If a leak happens, clean it immediately, like someone just texted you your screen’s medical bill.
• Label your resin bottles with exposure notes. Future you will send you a thank-you card.

The bottom line I arrived at, after the prints and the cleanup

I wanted a compact resin printer that put detail first, stayed quiet, and didn’t demand weird rituals to keep it happy. The KG406 Pro Max, sold as the “Resin 3D Printer, 4K Resolution, Equipped with 6.6 Inch Monochrome Screen, 145x90x150mm Build Volume Printing Size, Higher Resolution Resin Printer,” hit all the marks I care about: a sharp 4K+ monochrome panel, a uniform COB + Fresnel light engine, smooth Z travel on ball linear slide rails, and practical add-ons like a self-cleaning vat and screen protection. It’s genuinely compatible with Chitu and LycheeSlicer, and with a few reasonable tweaks—exposure calibration, modest anti-aliasing choices, sensible supports—I got consistent results that outclassed my older machines.

I’m not going to pretend it’s for everything. If you need massive build volume, you’ll want something larger. If you demand industrial enclosures and filtration in-box, you’ll still be doing a little DIY. But if you live in the realm of small, precise, and aesthetically fussy objects, and you want to print them without turning your home into a noisy, smelly contraption, this printer is the kind of reliable, quiet companion that makes you forget what struggling felt like.

And on the mornings when I pour a small amount of resin and hear nothing but the soft whisper of the Z-axis doing what it was born to do, I realize the bar for happiness can be set as low as a well-cured eyebrow. If that sounds like your kind of victory, you’ll probably be just as pleased as I am.

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