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What's On Your Workbench?
- Thread starter HaMMerHeD
- Start date
Today I got the blade guard/arbor trunnion/motor mount assembly back together on my 70-year-old table saw.
It’s a little, 8” Shopmaster saw which I probably wouldn’t have bothered restoring were it not for the fact that I’m the third generation owner of it.
My grandfather bought it new in the early 50s for use at his printing company in lower Manhattan. Twenty years later my father made some cool furniture with it during the 70s. By the time my father gave it to me there was a lot of wear and slop in the parts and a lot of chatter when cutting.
Most of the problem was from the pivot shaft in this assembly. The aluminum castings had worn and there was a lot of wiggle. I bored the castings out for a larger pivot shaft, made a new shaft and fitted a brass shim to the arbor trunnion guide. There is now no slop at all in the assembly.
I was waiting to see the outcome of the surgery before I ordered replacement bearings, which are now ordered. I’ve also ordered new belt pulleys and I rebuilt a 3/4HP motor to replace the old, underpowered one. By the time I’m done, this might actually turn out to be a useful saw.
Still much work to do…
It’s a little, 8” Shopmaster saw which I probably wouldn’t have bothered restoring were it not for the fact that I’m the third generation owner of it.
My grandfather bought it new in the early 50s for use at his printing company in lower Manhattan. Twenty years later my father made some cool furniture with it during the 70s. By the time my father gave it to me there was a lot of wear and slop in the parts and a lot of chatter when cutting.
Most of the problem was from the pivot shaft in this assembly. The aluminum castings had worn and there was a lot of wiggle. I bored the castings out for a larger pivot shaft, made a new shaft and fitted a brass shim to the arbor trunnion guide. There is now no slop at all in the assembly.
I was waiting to see the outcome of the surgery before I ordered replacement bearings, which are now ordered. I’ve also ordered new belt pulleys and I rebuilt a 3/4HP motor to replace the old, underpowered one. By the time I’m done, this might actually turn out to be a useful saw.
Still much work to do…
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While I was making the new shaft I also took the time to face the arbor and arbor washer as they were pretty dinged up.
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
Not quite on my workbench yet, but soon.
I'm making a little shelf thing for my son, for his sports figure collection. Similar to this one I built last winter:
I'm making a little shelf thing for my son, for his sports figure collection. Similar to this one I built last winter:
Who did Obama and John Ritter play for?
I still think Payton should be shorter. Anyone around this area will tell you that dude wasn't nowhere near that tall. That figure may actually be actual size. 
I really don't know anything about sports. You'll have to ask my son, or someone else that follows sports ball.
LOL! Mugsy Bogues, at 5' 3", was the shortest person to ever play in the NBA. He played 14 seasons, mostly with the Charlotte Hornets. Tony Kukoc is best know for playing with Michael Jordan for the Bulls.
Okay, so I got a question for those of you who do many-laminate neck blanks. In woodturning, we sometimes use a piece of paper between two pieces of wood to hold it temporarily so we can break it apart on that piece of paper later. Wouldn't super thin lams act the same way? What keeps them from breaking apart the same way? How thin is too thin?
paging @Rôckhewer
paging @Rôckhewer
I don't know for sure, but I wanna take a guess to see if I get it right, or close.
I'd say that once the glue soaks in from either side and bonds it to the adjoining wood, it returns to being as strong as when it was part of a larger piece. If it's super thin, perhaps the glue soaks all the way through and essentially just glues the adjoining pieces directly to each other.
When I cut the wings off the Laguna, I realized there was a paper thin lam of Wenge between the wings and neck. It was so thin, I assumed it was a glue line before I made the cut. I really didn't understand the purpose of it, but I'd say it was about as thin as you could go with a lam.
I'd say that once the glue soaks in from either side and bonds it to the adjoining wood, it returns to being as strong as when it was part of a larger piece. If it's super thin, perhaps the glue soaks all the way through and essentially just glues the adjoining pieces directly to each other.
When I cut the wings off the Laguna, I realized there was a paper thin lam of Wenge between the wings and neck. It was so thin, I assumed it was a glue line before I made the cut. I really didn't understand the purpose of it, but I'd say it was about as thin as you could go with a lam.
Rôckhewer
Commercial User
- Feb 28, 2015
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- Owner/Builder- RockHewer Custom Guitars LLC
Hi!paging @Rôckhewer
Um...... don't use paper in instrument necks then?
Further define... "paper" for such a task... if you please.
Parchment?... waxed?...construction?... newsprint?... acid free?... crépe?... vellum? .. butchers?... tissue?...kraft?
Raw...real wood fibers vs processed pulp?
When I put thin accent lammos in a neck... they are typically something oily and weird like ebony, purpleheart, cocobolo....etc.
They get washed (scrubbed)...thoroughly with acetone immediately prior to gluing.
Haven't had an issue.
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These used to be two of my dating criteria!
What kind of glue? I use epoxy and used three sheets of black construction paper as a veneer between some cherry and walnut, and good luck breaking that apart. Its solid as a rock.Okay, so I got a question for those of you who do many-laminate neck blanks. In woodturning, we sometimes use a piece of paper between two pieces of wood to hold it temporarily so we can break it apart on that piece of paper later. Wouldn't super thin lams act the same way? What keeps them from breaking apart the same way? How thin is too thin?
paging @Rôckhewer
It also didn't really work as a veneer because the heat from the epoxy reaction changed the colour of the dye in the paper to a reddish brown and it largely disappeared in the glue up. 
finished my first full cnc tele, #8 scratch build so far... so hopefully getting back to a bass build I started earlier here shortly... anywho just wanted to share...
Hi!
Um...... don't use paper in instrument necks then?
Further define... "paper" for such a task... if you please.
Parchment?... waxed?...construction?... newsprint?... acid free?... crépe?... vellum? .. butchers?... tissue?...kraft?
Raw...real wood fibers vs processed pulp?
When I put thin accent lammos in a neck... they are typically something oily and weird like ebony, purpleheart, cocobolo....etc.
They get washed (scrubbed)...thoroughly with acetone immediately prior to gluing.
Haven't had an issue.
What kind of glue? I use epoxy and used three sheets of black construction paper as a veneer between some cherry and walnut, and good luck breaking that apart. Its solid as a rock.
Probably easier to just link this -
So, as you can see, no fancy tricks here. Paper and Titebond, leaves a spot to crack it loose later. So now my brain tells me than thin lams would act the same, no?
Here's why I ask; I'm thinking about doing some very thin veneers between neck lams to give it a really thin stripe. That would also happen on the headstock. So, for those of you who taper your necks all the way through the heastock and then glue ears back on, there would then be thin veneers between the headstock center and the ears. So what keeps the ears from acting like that paper joint in the video above?
I'd say that the difference between a wood lam and a piece of paper is that the glue would soak into the wood lam. It seems the paper is creating a barrier. The wood is sticking to the paper and not to the other piece of wood, so when you separate it with the chisel, it's the paper that fails. If that was a thin veneer of wood instead of paper, the glue would be soaked into all the grain from both sides, interlocking everything.
I imagine that not all paper would work well. It would have to be a tougher paper that doesn't basically turn to pulp from the wet glue and allow the glue to become a solid join between the 2 wood pieces.
I imagine that not all paper would work well. It would have to be a tougher paper that doesn't basically turn to pulp from the wet glue and allow the glue to become a solid join between the 2 wood pieces.
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Huh. I can't quite wrap my head around why the paper allows the parts to separate like that. I've done plenty of glueups with thin wood veneers, glued with PVA wood glues, and I've never had a problem with joints coming apart or any indication that the joint isn't strong. Granted have never tried to smack one with a chisel when it's only a few hours or days old but I guess what I'm saying is that I don't think thin wood laminations would behave the same as the paper lamination does in his video.
Paper would be very weak compared to wood. A wood laminate is much stronger then paper but if the thin wood laminate is weaker then the wood on either side it would fail given enough force due to the glue being stronger then either wood. If the laminate is stronger then the lesser wood would fail. If all are the same strength then it could break anywhere. The force to break a wood laminate would be considerably more then braking a paper laminate. So I wouldn't use any paper in a neck but for large surface body laminations it would work.
