Shop Temp control

Here is a great lil article. It has some great info.
Thanx










Air-dried vs. Kiln-dried Wood


On September 10-11, 1997 a discussion on the merits of air-dried and kiln-dried wood was started when someone posted the following question on the forum.

Are there significant useability differences between air-dried and kiln-dried woods?

What follows are three of the posted answers.

from Wayne Miller:


The term air-dried can often be misleading. People use it to mean many different things. It should mean that the wood was allowed to dry outdoors and reach an equilibrium moisture content with its outdoor environment, wherever that may be. This might be in the range of from 10% to 15% moisture content.

That range isn't suitable to work with, at least in cabinetmaking. The wood must be brought indoors to finally establish equilibrium with the environment indoors. Depending upon the time of year and where you live, this can take from one to two weeks or longer.

There are dangers in air-drying wood as well. If allowed to dry out too quickly, case-hardening, honeycombing, etc., will ruin the wood. Properly done, air-drying yields perfectly acceptable lumber; in fact, I prefer the look of air-dried walnut over its kiln-dried version.

Kiln drying can be thought of as controlled air drying. Temperature and humidity can be carefully controlled to avoid the problems often associated with poorly done air-dried stock. Kiln drying often means a more uniform product, but there are plenty of mills which know how to properly air dry stock and if you find one, you will be saving some money in the bargain.

Just remember that the air-dried stock must be brought into the working environment for a couple of weeks before use. If you run into oak that twists into all sorts of distorted shapes after being cut or that is riddled with splits along the grain line, then you know what the dangers of air-drying are. Find another supplier and try again. Oak is the worst culprit I've run into, but all wood can be case-hardened by improper drying.



from Dave Warren:


There have been lots of discussions about this issue. It's been my experience that dry is dry, it doesn't matter how it got that way. If the wood is truely dry and you let it acclimate to your shop environment for a while properly stacked and stickered you won't be able to tell the difference. A relatively inexpensive moisture meter will tell you if it's dry. 8-10% is usually where my wood is when I'm working it. Kiln dried stuff sometimes "gains" moisture while it's acclimating.



and from Bob Sabourin:


I live in eastern Ontario in Canada, about 50 miles from New York state. I generally buy kiln dried lumber but if I find a good deal, I'll also buy air dried.

For example, last week I bought some air dried oak for 75 cents a board foot. It's got a few knots but certainly usable. This wood has been air drying for 6 years at a very small local saw mill. When I got it home, I measured the moisture content at 15%. I moved it inside, stacked and stickered it and when the heating season starts, it should get below 10% fairly quickly.

Three years ago, I bought a couple hundred board feet of butternut air dried for two years at 50 cents a board foot. Again, a few knots but plenty of good sections. The moisture content of that was again around 15%. Once stored in the workshop, it reached 8% within two months.

My point is that it doesn't seem to matter how long it's left outside to dry beyond a couple of years, in this area, it never gets better than 15% MC but will then quickly become usable when brought into the workshop for a coule of months.

I've never had problems with anything I've built with air dried lumber. It is important however to monitor its moisture content. Some professional woodworkers never use anythimg else but air dried.
 
Nice article. Thanks for posting. I understand what you are saying. But you seem to be missing what i'm saying. It's cabinet makers, not cuemakers. It vaguely touches on seasoning & not at all on aging & stress relief. It only speaks about moisture content & at which content these guys prefer to use for cabinets. I think any cuemaker agrees with 6-10% moisture content as optimum. But my point is that moisture equalibrium has nothing to do with the internal stress of the wood. I'm merely pointing out that time to sit will greatly reduce the stress of wood by letting it slowly warp & twist BEFORE you ever begin to work with it. Subjecting it to seasonal changes in temperature, humidity & barometric pressure can aid in the aging, and is considered, "seasoning". It's all a technique to stabilize the wood's internal stresses & tension to avoid warpage once work begins. It's not a means of controlling moisture content, nothing of the sort. It's a way to increase yeild so less money is wasted on wood that gets thrown away.
 
qbilder said:
"...time to sit will greatly reduce the stress of wood by letting it slowly warp & twist BEFORE you ever begin to work with it. Subjecting it to seasonal changes in temperature, humidity & barometric pressure can aid in the aging, and is considered, "seasoning". It's all a technique to stabilize the wood's internal stresses & tension to avoid warpage once work begins..." QUOTE]

In your opinion, do you think wood stored in a controlled environment, turned, and left to sit and distress in that same controlled environment, is considered properly seasoning the wood?

Do you think it won't move because you have not exposed it further to changing elements?

Curious is all. I would think at minimum, the wood should be in a controlled environment for some time, to acclimate, before sealing and finishing.

Hmmm......intersesting reading:)
 
I have tried several methods, in varying climates. What I have learned is nothing negates time, nothing. Air dry vs. kiln dry, seasoning & aging, thin cuts vs. thick cuts, stabilizing chems, etc. Nothing substitutes time.
 
Eric is right. Time conquers all.

What I usually see is people trying to find a substitute for time. Why?
 
Poulos Cues said:
qbilder said:
"...time to sit will greatly reduce the stress of wood by letting it slowly warp & twist BEFORE you ever begin to work with it. Subjecting it to seasonal changes in temperature, humidity & barometric pressure can aid in the aging, and is considered, "seasoning". It's all a technique to stabilize the wood's internal stresses & tension to avoid warpage once work begins..." QUOTE]

In your opinion, do you think wood stored in a controlled environment, turned, and left to sit and distress in that same controlled environment, is considered properly seasoning the wood?

Do you think it won't move because you have not exposed it further to changing elements?

Curious is all. I would think at minimum, the wood should be in a controlled environment for some time, to acclimate, before sealing and finishing.

Hmmm......intersesting reading:)
I believe shaftwoods should be "tortured" till ( at the most ) they are 5 passes away from final size.
 
Me, too, Joey.

There are aspects of wood that go far beyond just being straight or warped. There are things to consider such as memory & spine, that determine playability & are directly affected by how the wood is processed. But i'll go coo-coo for coco-puffs before getting into that on a public forum. It's time to stop kicking this dead horse.
 
Paul Dayton said:
Eric is right. Time conquers all.

What I usually see is people trying to find a substitute for time. Why?


WHY, that's an easy one.

True story:

Sitting around talking with a few other cuemakers, yes some post here often, mostly newbies, 4 year or less, and they all talked about Money, money, money, talking about the toys they were going to buy (non cuemaking related) now don't get me wrong, I have fun away from pool too, I enjoy concerts and sports, and I use to collect records. but never did anyone talk about using that money to buy new equipment, more wood, ect......my brother and I felt realy out of place. NO THEY DIDN"T HAVE ALL THE EQUIPMENT THEY NEEDED, 1 small lathe, and 20 shafts doesn't cut it really. I'm not talking about guys who admit being hobbiests, I'm talking about guys who make it sound like they are making a living doing this.

Another true story, guy who lives very near me was spouting off on here about how no shaft leaves his shop until 2-3 years worth of turning and he had 500 shafts, well 1 week later he calls me asking if he could borrow 5-600 shafts for a week because he had some guys coming in to town to check out his cue's/operation. And no, I didn't loan/sell him any, I know he got caught in that lie, and I get blamed for costing him 3-4 orders, WOW.

So Paul, now a days most don't want to make the financial comittment to making cues. $5000 is a good enough commitment, and down the road they can spend another $2000 and put inlays in there cues. Wood can be bought and turned quick, shafts the same, who's going to know that they didn't have the wood for years.
 
Maybe this will help. This is a very good article I had saved and really tells the tails of both what Eric is saying , and I was saying earlier. The technics used seems to be the key, not just the way you do it. So done correctly , both ways are great and perfect for cues.IMO and from what this article says.
You can have the best woods to start, but if dried incorrectly by air or by kiln, you are at risk. Take a look as I feel this will help with the original posters need to know about how to keep woods,climate,and so on.
Hope this helps guys, we all like a bada$$ piece of wood in all of our cues!
[edit] Classification of timbers for drying
The timbers are classified as follows according to their ease of drying and their proneness to drying degrade:

A. Highly refractory woods: These woods are slow and difficult to dry if the final product is to be free from defects, particularly cracks and splits. Examples are heavy structural timbers with high density such as ironbark (Eucalyptus paniculata), blackbutt (E. pilularis), southern blue gum (E. globulus) and brush box (Lophostemon cofertus). They require considerable protection and care against rapid drying conditions for the best results (Bootle, 1994).

B. Moderately refractory woods: These timbers show a moderate tendency to crack and split during seasoning. They can be seasoned free from defects with moderately rapid drying conditions (i.e. a maximum dry-bulb temperature of 85 ?C can be used). Examples are Sydney blue gum (E. saligna) and other timbers of medium density (Bootle, 1994), which are potentially suitable for furniture.

C. Non-refractory woods: These woods can be rapidly seasoned to be free from defects even by applying high temperatures (dry-bulb temperatures of more than 100 ?C) in industrial kilns. If not dried rapidly, they may develop discolouration (blue stain) and mould on the surface. Examples are softwoods and low density timbers such as Pinus radiata.


[edit] Methods of drying timber
Broadly, there are two methods by which timber can be dried: (i) natural drying or air drying, and (ii) artificial drying.


[edit] Air drying
Air drying is the drying of timber by exposing it to the air. The technique of air drying consists mainly of making a stack of sawn timber (with the layers of boards separated by stickers) on raised foundations, in a clean, cool, dry and shady place. Rate of drying largely depends on climatic conditions, and on the air movement (exposure to the wind). For successful air drying, a continuous and uniform flow of air throughout the pile of the timber needs to be arranged (Desch and Dinwoodie, 1996). The rate of loss of moisture can be controlled by coating the planks with any substance that is relatively impermeable to moisture; ordinary mineral oil is usually quite effective. Coating the ends of logs with oil or thick paint, improves their quality upon drying. Wrapping planks or logs in materials which will allow some movement of moisture, generally works very well provided the wood is first treated against fungal infection by coating in petrol/gasoline or oil. Mineral oil will generally not soak in more than 1-2 mm below the surface and is easily removed by planing when the timber is suitably dry.


[edit] Kiln drying
The process of kiln drying consists basically of introducing heat. This may be directly, using natural gas and/or electricity or indirectly, through steam-heated heat exchangers, although solar energy is also possible. In the process, deliberate control of temperature, relative humidity and air circulation is provided to give conditions at various stages (moisture contents or times) of drying the timber to achieve effective drying. For this purpose, the timber is stacked in chambers, called wood drying kilns, which are fitted with equipment for manipulation and control of the temperature and the relative humidity of the drying air and its circulation rate through the timber stack (Walker et al., 1993; Desch and Dinwoodie, 1996).

Kiln drying provides a means of overcoming the limitations imposed by erratic weather conditions. In kiln drying as in air drying, unsaturated air is used as the drying medium. Almost all commercial timbers of the world are dried in industrial kilns. A comparison of air drying, conventional kiln and solar drying is given below:

Timber can be dried to any desired low moisture content by conventional or solar kiln drying, but in air drying, moisture contents of less than 18% are difficult to attain for most locations.
The drying times are considerably less in conventional kiln drying than in solar kiln drying, followed by air drying.
This means that if capital outlay is involved, this capital is just sitting there for a longer time when air drying is used. On the other hand, installing an industrial kiln, to say nothing of maintenance and operation, is expensive.
In addition, wood that is being air dried takes up space, which could also cost money.
In air drying, there is little control over the drying elements, so drying degrade cannot be controlled.
The temperatures employed in kiln drying typically kill all the fungi and insects in the wood if a maximum dry-bulb temperature of above 60 ?C is used for the drying schedule. This is not guaranteed in air drying.
If air drying is done improperly (exposed to the sun), the rate of drying may be overly rapid in the dry summer months, causing cracking and splitting, and too slow during the cold winter months.
The significant advantages of conventional kiln drying include higher throughput and better control of the final moisture content. Conventional kiln and solar drying both enable wood to be dried to any moisture content regardless of weather conditions. For most large-scale drying operations solar and conventional kiln drying are more efficient than air drying.

Compartment-type kilns are most commonly used in timber companies. A compartment kiln is filled with a static batch of timber through which air is circulated. In these types of kiln, the timber remains stationary. The drying conditions are successively varied from time to time in such a way that the kilns provide control over the entire charge of timber being dried. This drying method is well suited to the needs of timber companies, which have to dry timbers of varied species and thickness, including refractory hardwoods that are more liable than other species to check and split.

The main elements of kiln drying are described below: a) Construction materials: The kiln chambers are generally built of brick masonry, or hollow cement-concrete slabs. Sheet metal or prefabricated aluminium in a double-walled construction with sandwiched thermal insulation, such as glass wool or polyurethane foams, are materials that are also used in some modern kilns. Some of the elements used in kiln construction. However, brick masonry chambers, with lime and (mortar) plaster on the inside and painted with impermeable coatings, are used widely and have been found to be satisfactory for many applications. b) Heating: Heating is usually carried out by steam heat exchangers and pipes of various configurations (e.g. plain, or finned (transverse or longitudinal) tubes) or by large flue pipes through which hot gases from a wood burning furnace are passed. Only occasionally is electricity or gas employed for heating. c) Humidification: Humidification is commonly accomplished by introducing live steam into the kiln through a steam spray pipe. In order to limit and control the humidity of the air when large quantities of moisture are being rapidly evaporated from the timber, there is normally a provision for ventilation of the chamber in all types of kilns. d) Air circulation: Air circulation is the means for carrying the heat to and the moisture away from all parts of a load. Forced circulation kilns are most common, where the air is circulated by means of fans or blowers, which may be installed outside the kiln chamber (external fan kiln) or inside it (internal fan kiln). Throughout the process, it is necessary to keep close control of the moisture content using a moisture meter system in order to reduce over-drying and allow operators to know when to pull the charge.[1] Preferably, this in-kiln moisture meter will have an auto-shutoff feature.
 
Sorry guys for the book , but I felt it was great stuff. Good luck to all of you! Make some great cues either way guys!
Take care...................
 
qbilder said:
Me, too, Joey.

There are aspects of wood that go far beyond just being straight or warped. There are things to consider such as memory & spine, that determine playability & are directly affected by how the wood is processed. But i'll go coo-coo for coco-puffs before getting into that on a public forum. It's time to stop kicking this dead horse.
I think Ernie G. puts it best.
When you cut wood, it's a brand new wood again.
 
J&D CUSTOMS said:
Sorry guys for the book , but I felt it was great stuff. Good luck to all of you! Make some great cues either way guys!
Take care...................
Great read Jim. Thanks.

I believe all antiques are air dried.
IF I had 20 years to air dry wood, I'd do it.
All Brazilian rosewood boards I have are air dried.
Somehow the fudgers are pretty darn stable.
Then again their salvaged from ceiling beams.
 
Another true story, guy who lives very near me was spouting off on here about how no shaft leaves his shop until 2-3 years worth of turning and he had 500 shafts, well 1 week later he calls me asking if he could borrow 5-600 shafts for a week because he had some guys coming in to town to check out his cue's/operation. And no, I didn't loan/sell him any, I know he got caught in that lie, and I get blamed for costing him 3-4 orders, WOW.


classic story.i am dying to know who it is.
 
Air dried, kiln dried, swamp dried, deep fried,what does it matter after 4 or more years in the shop.

A far as the story about the cuemaker exaggerating, I've never heard of such a thing.
 
if i had to wait 5 years for wood to sit in my shop before i made it into a cue,i wouldn't even bother making cues.
 
masonh said:
if i had to wait 5 years for wood to sit in my shop before i made it into a cue,i wouldn't even bother making cues.

Give yourself a few more years & you'll have wood that you have right now. After some time you'll have more wood than time, and using old wood will be your only option. I have shaft dowels that are 2 years old, never touched them because I have no need to. I have a couple hundred BF of maple in my garage that by the time it's turning into shafts it'll be over 5 years. I have several turning squares from 5-8 years ago, and shaft & domestic hardwoods from the time I first began dabbling in the idea of cues. So yeah, you'll begin using old wood soon enough.
 
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