Preparing V-grooves and inlay pockets before gluing?

Tommy-D

Tommy-D

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> From what I've seen in the various videos that cover point construction and inlay work,maple tends to have a shredded look to it after being machined,such as inlay pockets and v-grooves. It seems to me that things like this might cause fuzzy lines around veneers and such. Is there a sanding/scraping technique that smoothes the wood before gluing,or is that not an issue because several cuts are taken before the finish is applied,thus cutting the fuzziness out? Tommy D.
 
Tommy-D said:
> From what I've seen in the various videos that cover point construction and inlay work,maple tends to have a shredded look to it after being machined,such as inlay pockets and v-grooves. It seems to me that things like this might cause fuzzy lines around veneers and such. Is there a sanding/scraping technique that smoothes the wood before gluing,or is that not an issue because several cuts are taken before the finish is applied,thus cutting the fuzziness out? Tommy D.
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I have never found it to be a problem. I cut the points with a 90% router bit and they come out clean and smooth. I agree that after the points are in you will still need a cut or two to get to finish size. Same with the inlays. I have a small CNC mill and the pockets and inserts come out clean.
 
Sounds like dull bits to me....I've never had a shredded wood problem myself either....
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Some maple is "stringier" than other maple. Just lightly sand the pocket with 400 grit sandpaper to deburr it (remove the fuziness), blow it out with your air hose and your point stock should fit ok.
 
Sometimes maple strings up on the outside edge of the v-groove. Just knock that off with a piece of sandpaper. You do need to have the forearm wood oversized when gluing in points. Then any slightly rounded edge from sanding will cut out when turning it on down.
Chris
www.cuesmith.com
www.internationalcuemakers.com
 
Tommy-D said:
> From what I've seen in the various videos that cover point construction and inlay work,maple tends to have a shredded look to it after being machined,such as inlay pockets and v-grooves. It seems to me that things like this might cause fuzzy lines around veneers and such. Is there a sanding/scraping technique that smoothes the wood before gluing,or is that not an issue because several cuts are taken before the finish is applied,thus cutting the fuzziness out? Tommy D.
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When this happens, I take one of my points & fold a piece of 600 sandpaper over 2 sides & slide it in & out of the groove. That usually cleans up the edges without sanding too much off of the sides...JER
 
Tommy-D said:
> From what I've seen in the various videos that cover point construction and inlay work,maple tends to have a shredded look to it after being machined,such as inlay pockets and v-grooves. It seems to me that things like this might cause fuzzy lines around veneers and such. Is there a sanding/scraping technique that smoothes the wood before gluing,or is that not an issue because several cuts are taken before the finish is applied,thus cutting the fuzziness out? Tommy D.
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Might be your cutter is dull... are you taking off a chunk in one pass?
Another thing that would prolly cause those fuzzy lines is vibration in the work piece. Make sure you got it pretty tight.

hadj
 
Maple can be stringy as mentioned, and With standard pocket inlays It can also be caused by dull bit, or too deep of a cut, especially on the first passes. I usually try to take those alittle slower to minimize It. The male pieces- It's usually the bottom the needs cleaned up, and on the female- It's the top edge/corner as already mentioned. In my case they usually peel right off the female pocket clean, If any turns up at all, and if not, they are easy to debure with sandpaper or a razor. As mentioned that part is usually cut out anyway, and usually only the very top edge is effected, so there's no real damage to the pocket It'self. The biggest damage I can see done would be if Your machine was'nt ridgid enough, as that can cause damage to the inlays that will show up in the final product. A quick inspection of the inlays and pockets can tell alot about what's going on.

Greg C
 
> In my case,I just wanted to get a better idea of what was involved before I even try and take a cut,and ruining what might be a once in a lifetime piece of wood. I couldn't even begin with as little equipment as I have now. Another thing I'm doing by asking questions about specific processes like this is theoretically eliminating some of the variables that might cause a ruined piece of material,an idea I already detest and I haven't even cut a shaft yet. It bothers me the same way when I screw up a project at school too. I can see scrapping shaft wood because it warped,and accept this as an occupational hazard. I'd be pulling my hair out of I had to scrap one because of something I did incorrectly out of inexperience or carelessness. Is this wrong? How often do the real cuemakers here have to scrap something because they made an error? Tommy D.
 
Tommy-D said:
> In my case,I just wanted to get a better idea of what was involved before I even try and take a cut,and ruining what might be a once in a lifetime piece of wood. I couldn't even begin with as little equipment as I have now. Another thing I'm doing by asking questions about specific processes like this is theoretically eliminating some of the variables that might cause a ruined piece of material,an idea I already detest and I haven't even cut a shaft yet. It bothers me the same way when I screw up a project at school too. I can see scrapping shaft wood because it warped,and accept this as an occupational hazard. I'd be pulling my hair out of I had to scrap one because of something I did incorrectly out of inexperience or carelessness. Is this wrong? How often do the real cuemakers here have to scrap something because they made an error? Tommy D.
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Sorry - you will - if you are striving for perfection. It doesn't go out of my shop if I am not happy with it --- and the first years of learning scrapping wood and materials will happen more than you want. You need to learn how your machines cut (when are those cutters getting dull??), how the different woods and materials react and cut, how much glue, how much finish, etc. You can know how to wrap a cue - but you need to practice to get it tight and smooth. You will loose some wood and materials until you learn.
Jack
www.johnmaddencues.com
 
Tommy-D said:
How often do the real cuemakers here have to scrap something because they made an error? Tommy D.
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More often than you would believe. It might be a error or it might be some defect in the wood that doesn't show up until you are on your last cut or the cue could just end up playing like shit because of wood choices or construction methods. Bottom line: If you aren't 100% proud to sign your name on the cue then run it through the band saw and start over again. Never knowingly let a substandard cue out of your shop or it will come back and bite you on the ass later.
 
Murray hit the nail on the head! It only takes 1 bad cue to ruin your reputation. I hold on to my reject butt's for testing and spacing inlay designs so I can see what they will look like on the cue. Nearly every time someone "discovers" the box they are in they try to talk me into selling them one. I have heard I don't mind that little whatever, or I don't care about looks just how it plays so many times it is oldmost commical when I see them peeking in the box. The problem is there are ALOT of people who like to find any kind of flaw so they can tear you down. Nearly every reject cue I have is playable but there is just some minor cosmetic defect. Visible glue line, minor wood tearout on a machined edge ect... I even find most people cannot spot what I consider to be the defect when I hand them a cue and tell them to find what is wrong.
If you never let anything less than your best work leave the shop you will know every cue you have out there is as perfect as you are capable of making. Yes you will waste hundreds/ thousands of dollars but it is worth it. It really hurts to scrap a cue loaded with ivory and other exotic materials because of some small thing but look at it from the customer standpoint. If you spend $2000+++++ on a cue and later find a defect, even if it plays great it will always annoy you. Chris
Ps if there are little kids around you should have them wear earmuffs, When you do make a mistake on a cue you have spent ton's of time on a few choice words may slip out.
 
When those problems happen, can't you just sign it Meucci and sell it? :rolleyes: :D :rolleyes:

Just a joke! :)
 
That would be nice huh:p


I aggree with the majority here, Your going to have waste, just not many ways around It, and part of the learning proccess. I still have waste just from test cuts before going into a cue, so I don't ruin the whole thing. It seems that different woods cut away at different rates, so I like to use the same wood in the cue for test cuts.

Funny It should be mentioned, but I understand the box of cues also, and people do seem to love those mishap cues. I have some hanging that I never finished due to imperfections, and the same happens to me. Rarely does anyone even see My small shop, but when someone does, they are always drawn in by those cues, and say almost the same things when you point out the imperfections. Some people just see something that catches their eye, and they could care less about your reasoning for not selling. Even that or they figure they can get deal, I'm not always sure which, but I can be talking to them about a custom they want, then they see one of those, and want It instead, or both. It's hard not to sell when You know the cue is sound, and It's just cosmetic, because as mentioned, usually they don't even notice until you point them out, but You know that cue will be out there, and regardless of the fact that You priced It accordinally, You won't be able to get It off Your mind. Greg C
 
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