[Pat] OK, Matthias and I are going
to be doing some experiments
with his Pantograph and seeing how we can use it to do
some inlays for a guitar. So...
Normally when I do an inlay I start
off, in this case, a letter P,
in mother of pearl. And I would trace it on
to the fret board, or whatever it is I'd be inlaying it to.
So I'd start off and do the really sharp pencil,
and I just trace the outline of the inlay,
very carefully with a sharp pencil.
And the trick to this is to not
let it move while you're doing it.
Keep it all in place.
It's held pretty strong though.
It's harder on the foam than on the wood.
Holding the shell in place than anything else.
So yeah, I could really see an advantage of that already.
The way the oak there was grabbing at the drill bit,
or the router bit. It would have been
much tougher to hold steady doing it freehand
like I normally do. The grouting of the wood, really would have
pulled me off course, but with this 3 to 1 advantage,
it really made a big difference in being able to hold it steady.
But otherwise, it looks like it's almost ready to drop in.
I still didn't get far enough into that point.
The bottom of the P.
It's this point, right here.
Yeah, just looking at this here. Like looking at the
middle part of the P.
I have a feeling the gaps here are because of the fact that
the pencil used to do the outline, had an angle to it.
Just at the point of the lead there.
And I think that pushed the lead out a little bit
so I couldn't get right against the shell,
when I was doing the outline for the center of the P.
Here I think it might have been a piece of wood...
Piece of the oak just chipped off.
I just might have to refine the way that I do the
outline of the letter, or the inlay. Try and find a better
method for getting nice, crisp outline that's
really close to the shell.
But I think this definitely has some potential.
I tried another one in mahogany, just to see the difference
between it and oak. So, I've cut another pocket
for the letter P, and we'll see how it goes in there.
And...
It's quite snugly. It's pretty good.
There we go. Not bad.
[Matthias] So far, next experiment I've taken the P
and I've blown that up 3 times in size,
So that's like 3 on top of each other here.
I made that 3 times print-out
by photographing the letter P along with
a ruler. And now on my BigPrint program,
in order to get the scale right, I'm gonna mark
a distance that is 5 centimeters on that ruler.
And I'm gonna tell BigPrint that, that distance is actually
15 centimeters, which means it will make it 3 times
bigger. And now, let's select the area around the P.
And crop that.
And now I'm ready to print.
So, with a 3 to 1 reduction, if we trace around that
just by eye, we should be able to get a cavity that's
very accurate to go in here.
So, I'm gonna try cutting this one.
And, once again, I have to set the depth
for where I've mounted this.
And this piece of wood is 3 times as thick as the shell.
So I just make sure that when the follower
is on top of this, that the bit touches the wood
and then when I drop it onto the paper,
I'll be at exactly the right depth for that piece of shell.
I'm just very carefully following the edge
on the print-out.
A little bit of blind faith that this will actually work.
And that I haven't broken the bit yet.
So, let's see how that goes in.
There we go.
So, I went a little bit outside here
and here because the bit's not fine enough.
And I guess I had some chip-out here
and maybe missed here.
But...satisfactory.
[Pat] I have to say I like this method a lot.
Working with this image of the letter that's blown up
3 times size. It gives you the feeling that it's a lot
of room and that you can move around a lot,
not always poised to go outside the line at
any given moment. So, yeah this is very comfortable.
I like this a lot.
[Matthias] So this one that Pat has done is
the closest one yet.
We have a little bit of chip-out right here
and I think you went outside there but...
Super precise and there's no filler in here at all.