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  1. #16
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    Thanks DZL ... I had meant I liked the use of the handsaw where you might otherwise use a backsaw ... (across and down the grain too)

    I'm not into the V-cut, 'tho. Even if you started with it my guess is that you would drop it down the track with more experience.

    In my opinion you can make the limiting dado/trench/housing/guide fine with the saw in your hand ... but I haven't had to cut something that had to be especially presentable.

    The weird/struggle for me was the act of cutting *beside* a line. My brain wanted to tilt over a little and hide at the idea the the line wasn't the centre of the cut but the edge of it. It comes fairly automatically to me now, but it still seems pretty unnatural if I stop and think about it.
    *Logical* - but not *natural*

    Cheers,
    Paul

  2. #17
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    Looking once again at the Woodwright's Shop episode that Pacman pointed to ...

    if you look at the Chris sawing out the tenon cheek (6:50) ... you can see significantly more set in his saw than in Rob Cosman's video. The saw is much looser in the kerf and sorta wobbles about quite a bit rather than being snugly guided by the kerf.
    The carcase saw he uses seems tighter in the kerf.

    Also ... 6 months or whatever ago I knew nothing ... now, the pullback start makes my toes curl up and my face tighten.

    Now I've got some idea how Chippy was feeling.

    Paul

  3. #18
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    Bob Rozaieski ... Logan Cabinet Shoppe ... it's a bit talky but he makes some very good points.

    Firstly about being able to minimise end-grain planing/shooting by making an accurate - and potentially presentable - saw cut to a line.

    Similarly for tenons and dovetails if you can
    a) mark out accurately, and then
    b) saw accurately to those markings.

    Episode #40: Sawing to a Line | Logan Cabinet Shoppe

    Cheers,
    Paul

  4. #19
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    First re Chris Schwarz's DVD Sawing Fundamentals that I have not seen yet.

    Schwarz Sawing DVD Review




    You can see in BobR's video and in CS's video several times where the work is moving as it is being sawn.
    Saw-horse, saw-bench, bench-hook ... one of those pieces was even moving in a vice.
    I suspect we don't do too much planing just holding a piece down with our other hand.
    So I'm starting to think really good sawing might start with good work-holding.

    I had put this in IanW's home-made vices thread: (https://www.woodworkforums.com/f213/h...9/#post1634765)
    "Part of good sawing is in having the work held very well, it seems to me.
    I've been considering how to do that best - and if it can be done on the edge of a bench ... or using a split top.
    There is the saw-bench idea, but that's pretty light weight compared to a workbench and I don't mind climbing up or standing on something. I might want to saw the edge of a door ... or a big tabletop ... as well as smaller stuff.
    No conclusions so far ... but I saw groggy had posted this ... ( Question for Jameel - Moxon Vise adaptability - talkFestool )"

    I like the vertical-leg sawbench idea. I like it more with a gap down the middle of the top to saw in.
    I've been trying to think how you could have it so that there is *no* (or minimal) interruption to the sawing space down the middle ... by 'X'-ing the legs ... or having two strong unconnected sides.
    I've also thought about how I might make them (or a traditional sawhorse) so that two (four?) could lock together ... but having free flight down the middle might make that redundant.

    Matt Cianci produced the 'Super Sawbench' ... going longer/stronger might solve some of my issues ...
    Building the Super Sawbench, p. I - The Big Rip by Matthew Cianci
    Building the Super Sawbench, p. I - The Big Rip by Matthew Cianci (cached copy)
    The Super Saw Bench finale…. – The Saw Blog
    Ripping on the super saw bench… – The Saw Blog

    Paul

  5. #20
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    Using a bench instead ... (Lost Art Press blog) (Lost Art Press | Page 2)












    Otherwise ... "It takes two, baby ..."


  6. #21
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