– Ed Klodnicki
Durham, North Carolina

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I bought an instructional book and an assortment of blades, and started teaching myself how to cut. As I worked my way through the exercises, I was impressed by the range and beauty of the projects that could be made with this versatile little tool. From that point on, I never looked back.

What Can a Scroll Saw Do?

Smaller than most shop tools and deceptively simple in appearance, the scroll saw is the hands-down winner for “most underestimated and unappreciated tool in the workshop.” Because of its association with simple, pattern-based projects (think sewing machine!), woodworkers often fail to appreciate its capabilities and therefore don’t utilize it fully in their shops.

You may already be familiar with some of the better-known uses of the scroll saw. They include:

– Puzzles of various types

– Fretwork, in which a blade is inserted into the workpiece through small entry holes to permit the removal of pieces of varying sizes and shapes

– Intarsia and segmentation, which use many small pieces of wood glued together to form mosaics

– Wooden toys of all types, from simple pull toys to realistic, detailed models You’re less likely to know that with the scroll saw you can also:

– Make bowls and vases that appear at first glance to be lathe-turned

– Create unique boxes of many kinds, free from the constraints and demands of conventional joinery

– Make projects usually associated with the band saw, such as “band saw boxes” and collapsible baskets

– Use a technique called compound cutting to create three-dimensional objects

– Decorate projects with inlay and marquetry without using a router or chisel

– Cut a variety of materials: softwood, hardwood, particleboard, Corian®, acrylic, melamine, aluminum, copper, silver, brass, gold, horn, antler, bone, glass, ceramic tile and stone

– In conjunction with other tools, cut dovetails and tenons, and make templates to use with bearing-guided router bits

A pretty impressive list for an unassuming little tool!

Choosing a Scroll Saw

To get the most from a scroll saw, you’ll need to find the features that make a particular saw, or model, most appropriate for you. Some things to look for, overall, include: minimal vibration; vertical or near-vertical up and down movement of the blade; conveniently located speed controls and tension adjustments; and easy-to-use blade clamps.

Some scroll saws have matching stands. Some are adjustable; others areavailable in different heights and configurations, including wheelchair accessibility. A foot pedal, which serves as an On/Off switch, may be included. I strongly recommend one, since it frees up your hands to control the workpiece. I’ve found low-profile foot pedals the most comfortable to use.

The throat size of the saw table — the distance between the blade and the rear of the saw table — determines the size of the wood you can cut. It typically ranges from 16″ to 30″. The saw table itself can vary in size, shape and distance from the blade to the front of the table. As with table saws, those with more saw table surface area provide more stability for larger workpieces.

Some saws require a tool to secure the blade into its clamp; others use knobs that are hand tightened. Sometimes several options are offered, or a combination of methods is used. Regardless of specifics, a well-designed system of any type will be easy to use and provide a secure, reliable attachment.

Blade clamps — upper, lower or both — can be either attached to the saw or removable. This feature is relevant for those who do fretwork, which involves feeding the blade through small holes drilled in the workpiece. Those who prefer to insert the blade from the top down, or “top feeders,” need a saw whose lower clamp can remain in place when the bottom of the blade is detached. To “top feed,” the scroller detaches the bottom of the blade from its holder, leaving the top end attached, and feeds the blade through the drilled hole in the workpiece and the opening in the saw table. The blade is then reattached to the bottom holder. “Bottom feeding,” done in the opposite direction, can be done with all saws, since the upper end of the blade is always detachable with its clamp in place.

All scroll saws can make beveled cuts, typically up to 45°. Making cuts of this type usually requires tilting the saw table. However, some saws are designed so that the arm tilts and the table remains level. While this might seem a major advantage, even the steepest cuts can, with practice, be cut successfully with the table tilted. Some tables tilt fully in only one direction. This poses no problem, since cutting clockwise with the saw table tilted one way gives the same results as cutting counterclockwise with the table tilted the other way.

Ease of maintenance: although all scroll saws are easily maintained, some may have fuses and brushes that need periodic replacement, while others require only the oiling of a few moving parts after a specified number of hours of use.

Selecting Blades

Choosing scroll saw blades can be confusing, even for experienced scrollers, since several companies manufacture quality blades that vary in type, tooth configuration, teeth per inch (tpi) and other characteristics.

The most commonly used blade is the skip tooth, a blade with widely spaced teeth that cut on the down stroke. Reverse tooth blades are skip tooth blades that have a small number of teeth, usually at the bottom of the blade, which cut on the upstroke. This gives a smoother cut on the underside of the wood. However, this type doesn’t clear away sawdust as effectively as the skip tooth and may cause the wood to bounce slightly. Spiral blades have teeth that spiral all around the blade so you can cut in any direction. Controlling this type of blade takes practice, but the ability to cut in any direction without moving the workpiece is especially important for those doing large, intricate fretwork projects, involving many tiny cutout areas.

Even blades of similar types differ in how aggressively or smoothly they cut. As you gain experience, you’ll be able to select the blades that work best for your cutting and project preferences. For starters, however, make your best guess and buy a few dozen blades of types and sizes that seem appropriate. As you try them out, keep notes on their performance, and before long you’ll know just which blades are best for you.

Beyond the Basics: Cutting at an Angle

Once you’re comfortable making beveled cuts, new types of scroll saw projects become possible.

You can easily and economically make bowls and vases of different shapes and sizes from angled concentric rings that are glued together, then sanded. Online design tools such as PolyDraw offer myriad shapes and profiles.

Double-bevel inlay refers to a scroll saw technique in which two equally thick (usually between 1/4″ and 3/8″) pieces of wood are attached temporarily. When the piece to be inlaid, with pattern attached, is placed on top, you drill a blade entry hole on the pattern line and cut out the pattern in a clockwise direction. Downward pressure on the upper piece forces the matching lower piece to drop out. The upper piece takes its place, creating the inlay. Multiple pieces can be inlaid sequentially, enabling the scroll saw user to create attractive designs with relative ease.

Scroll Saw Safety

The scroll saw, with its tiny blades, is a relatively safe power-cutting tool. To prevent cutting yourself, keep your fingers to the side or back of the blade, especially when working with small pieces of wood. Eye protection is a must, since small fragments of wood can occasionally go flying. Sawdust is produced both above and below the table, which means a dust mask or respirator is essential, even if you’re using a vacuum or dust extraction system. Hearing protection is always recommended.

Prepare a Successful Cut

For accurate cutting, the blade must be properly tensioned. Too much tension and the blade will snap; too little and it will wander. I tension mine so that there is a slight deflection, no more than 1/8″, when the blade is pushed sideways, being especially careful not to over-tighten fragile, wire-thin blades. Blades are routinely de-tensioned when not in use, and the better saws have a quick-release mechanism at the front of the saw that lets you de-tension the blade without losing the setting.

Vertical cuts require that the saw blade and table be perpendicular to each other. I check this by tensioning the blade and placing a small square next to it to see if the blade and the vertical edge of the square are parallel. If not, depending on the type of saw I am using, I adjust either the arm or table until the blade and vertical edge of the square are aligned, then tighten the knob fully to keep the adjustment.

It’s a good idea to check your saw’s angle gauge at this time, to be sure that it reads zero, and to adjust it if it doesn’t. This lets you use the gauge when adjusting the table or arm for angled cutting.

However, when precision is critical, a small digital readout with magnetic base may be preferable. It can be used with either a tilting arm or table; it’s easy to read; and it avoids the problem of parallax when viewing the scale.

Making the Cut

There is no “shortcut” to learning how to cut: you learn by cutting until you get the feel of guiding the wood smoothly into the blade. Practice the major types of cuts: straight, curved and pivots, which are used to make sharp corners or to reverse direction. Although your first tries may look ragged, you’ll soon find it easy to follow a line accurately. Use a soft wood like pine or poplar, 3/4″ thick, and a #5 skip tooth blade, which is wide enough for stability but narrow enough to make most types of cuts.

Just don’t make the common mistake of continuing to use a dull blade for “those last few inches.” You’ll recognize dulling most easily by the need to increase pressure on the wood as you cut. If you continue to use the blade, burning may occur and the blade may deflect sideways. Eventually, the blade will break. Change the blade as soon as you notice a change in your cutting.

Look online for more of my troubleshooting tips for situations you might encounter during cutting as you move through the variety of projects you can make with a scroll saw.

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Center the hole on the leather. Now slip the fastener through the hole and fold the leather over the screw or bolt head to form an easy-to-grip finger protector. This “handle” will keep your fingers cool and a safer distance from the grinding wheel, while also ensuring that the fastener remains securely held while you steady it on the tool-rest.

– Oneil Long
Mound City, Missouri

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As the author of several books on woodturning, the designer of a lathe (the Conover Lathe, no longer in production) and a founding board member of the American Association of Woodturners (I’m member #004), it might be an understatement to say that people frequently ask my advice about which lathe to buy or which lathe is the best. They always want a simple answer, like “Buy an Acme Model XJ4, as purchased by Wile E. Coyote in the Warner Brothers ‘Road Runner’ cartoons.”

It’s not that simple. What you need depends on your budget, space and turning goals. Do you want to do mostly spindle turning (creating a cylindrical object)? Or faceplate turning (using a metal disc, the faceplate, to attach wood to your lathe so you can turn an item that can’t be secured simultaneously on the headstock and tailstock)? Will turning be your principal woodworking pastime, or are you buying a lathe to augment your general woodworking?

Types of Lathes

Today, lathes come in three flavors: mini, midi and fullsize, each with strengths and weaknesses that make them more or less appropriate for certain kinds of turning tasks.

For example, mini lathes are great for turning pens, small items and miniatures. Midi lathes are more appropriate for creating furniture spindles and medium bowls. And full-size lathes can tackle any turning task.

Modern lathes have a bed made from cast-iron or welded steel, the top of which sports a set of ways: two parallel strips of constant width and spacing on which the headstock, tailstock and banjo (tool base) are mounted. While the headstock is fixed at one end of the bed, the tailstock and banjo are free to slide on the ways to suit the turner’s application. Lathes come with at least one tool-rest, a drive center, a live center and a faceplate.

It is fair to note that increases in price usually mean improvements in usability. As you pay more, the machine gets heavier, with friendlier controls. For example, very low-cost lathes tend to have levers on the banjo that collide with each other, making adjustment difficult. Paying more gets you a tailstock, banjo and tool-rest that lock without undue force being necessary.

If you’re in the market for a lathe, let’s look at what else you should be looking for.

Choosing a Lathe: Capacities That Matter

Spindle Diameter: All mini and midi lathes have a 1″ spindle with eight threads per inch. While this is more than adequate for turning furniture spindles and bowls up to about 12″ in diameter, it is not adequate for heavy faceplate work. That is because a 1″ spindle can flex between the headstock bearings with the high forces exerted during heavily laden faceplate work.

Therefore, most large lathes use either a 1-1/4″ or a 33 mm spindle (still with eight threads per inch). Converted to decimals, these spindle sizes are 1.250″ and 1.299″ — very close. What the .049″ difference does is to increase the rigidity over 1″ from 2.44 times to 2.85 times, because the stiffness of a round bar increases by a power of four as diameter increases. Small increases in diameter noticeably increase strength. Still, this is not enough difference to choose one spindle over the other.

Swing: Manufacturers list the “swing” measurement as twice the center height — what the machine will swing over the bed. The true swing of a lathe, however, is center height over the banjo, because this base for the tool-rest has to be under all spindles and most faceplate work. Two lathes with the same swing could have different banjo heights. Many manufacturers do now list swing over banjo as well as over the bed, but it pays to check.

If your primary goal is to spindle turn furniture parts, you are unlikely to need to turn bigger than a 4″ diameter, so a 6″ swing over the banjo is more than adequate.

Center to Center Distance: Between center distance is often listed as the measurement that results when calculating the distance from the lathe’s spindle nose to its tailstock nose, with the tailstock flush with the end of the bed. You need to realize though, that the drive and live centers needed to hold a spindle while you’re turning lessen this distance considerably. Many manufacturers are now listing the true between-center distance with the lathe’s supplied centers.

That being said, most supplied centers on mini and midi lathes are inferior. This is especially true of the live center; upgrading to a better one will lessen the center to center distance by as much as 3″. In most cases, you can also gain back an inch or two of space by hanging the tailstock off the bed by this amount.

If your goal is to use your lathe in a home workshop to spindle turn furniture parts, you’ll need a lathe that has 29″ to 36″ between centers.

Power and Speed Controller: Electric motor power ratings are often overstated. Generally, multiplying most mini and midi lathes’ stated power by about .75 will get you a lot closer to the actual power. The reason for this is that the maximum horsepower rating can only be maintained for a few seconds before the motor burns up. What really counts is the continuous rating.

The Europeans list motor power in kilowatts, a much fairer value of the continuous, or true, power. Since there are 745.7 watts in a horsepower, it is easy to figure out the horsepower from a kilowatt rating.

Mini lathes come with a 1/2hp motor, which is probably closer to 1/3hp but is more than adequate for this size lathe. Midi lathes typically are outfitted with a 1hp motor, but this delivers closer to 3/4hp at the spindle. The fact that almost all variable-speed mini and midi lathes have a DC (direct current) motor and controller contributes to this. Again, this is generally sufficient for home workshop and small furniture shop needs.

Modern full-size lathes have a minimum of a 1-1/2hp three-phase induction motor linked with a variable frequency drive (VFD). A VFD takes your single phase 60 hertz house current and converts it to three-phase current at any cycle rate between 2 and 60 hertz. Since the speed of an induction motor is controlled by the phase rate of the current, this allows accurate speed control with negligible loss in power at low speeds. DC motors and controllers, in contrast, have a more pronounced power drop-off at low speeds.

VFDs also allow a remote switch to be attached to the controller. This allows a second set of stop and start switches to be magnetically attached anywhere the turner deems convenient. This is both a nice convenience and a safety factor.

All 2hp and larger motors will require a 220-volt outlet. All mini and midi lathes will run on 120 volts.

Weight: When it comes to lathes, weight is considered advantageous. Vibration is inversely proportional to weight, so heavy cast-iron machines tend to soak up vibration. In the last 20 years, however, machines made from welded steel — especially the bed — have come to the forefront. If designed properly, the welds act like a crack in a wine glass and stop vibration.

Three Lathe Classes

As I mentioned earlier, today there is a broad offering of mini, midi and full-size lathes. Let us take a look at each of the categories in turn.

Mini Lathes: During the last decade of the 20th century, a number of manufacturers brought out small bench lathes with a short bed. Aimed at the rising tide of pen turners (the first pen kits came out in 1987), they were dubbed “mini lathes.” These small lathes found great popularity with model makers, teenagers and those just wanting to try turning without spending a fortune. Mini lathes typically have a 1″ – 8 spindle, 8″ to 10″ swings and 12″ to 15″ between centers.

The cheapest mini lathes only have four or five pulley steps for speed control; better ones have a DC motor and controller. While the only furniture part you can turn on the average mini is a knob, bed extensions are available for many of them. With a bed extension, a mini can be morphed into a bench lathe usable for most furniture work. If you just want to try turning, a mini can be a great first stepping stone to a great hobby. Likewise, it is a sensible choice if you have a child that wants to turn or if your ambitions are strictly pens and miniatures.

Midi Lathes: During the first 10 years of this century, many manufacturers beefed up the bed of their mini lathes and raised the 1″ – 8 spindle height to yield a 12″ or better swing. The delineation of mini being 10″ or smaller and midi being 12″ and bigger is now part of the popular lexicon. A midi lathe would be Goldilocks’ pick: not too big, not too small, enough center to center distance with a bed extension, adequate variable speed power and a reasonable cost. A recent trend is to also step the banjo and tool-rests up to 1″, which adds rigidity and allows swapping of tool-rests with bigger machines.

Midi lathes are, in fact, pretty much the standard workshop bench lathes of my youth with variable speed in almost all cases. Happily, almost all companies offer stands as well.

Typically, adding one extension increases the nose-to-nose distance between the spindles to between 36″ and 45″. A midi lathe is a great choice for furniture builders but is still great for pens and miniatures. You can turn tiny things on a big lathe, but not vice versa. Midis are also very adequate for bowl turning (if this is your goal, forget the bed extension). The 1″ – 8 spindle and power does limit the midi to light faceplate work: you can only turn bowls up to about 12″ in diameter.

Full-Size Lathes: The really big lathes in this category once catered to millwork shops and pattern makers, but today they are the choice of serious hobby turners, especially bowl turners. Most full-size lathes now sport modular beds that can be extended for very long work with swings over the bed as large as 24″.

This means they can turn anything from porch posts to huge bowls. All have a minimum of 1.5hp motors, but most sport 2hp, with 3hp being an optional upgrade. Industry standard is now VFD speed control. Full-size lathes can do it all.

Most of the full-size lathes now have the ability to slide the headstock close to the end of the bed, turning them into “bowl lathes.” The idea is to make the bed shorter, allowing the woodturner to stand where the headstock would normally be, giving them great access and leverage during turning. If you turn a lot of bowls, especially big ones, the advantage of this setup cannot be overstated. (Another solution is the ability to turn the headstock nose about 45˚. This allows slightly more faceplate swing and much better access during faceplate work, but it is not as good as a true bowl lathe.)

Setting Up Your Lathe

Once you’ve brought your new lathe home, it’s time to set it up. If it’s a mini lathe, one of the attractions for the small shop owner is that you can store it under a bench when not in use. When it comes to use, however, you will find the lathe works better if you affix it to the bench in some way. C-clamping each end or grabbing each end in the dogs of a workbench are great options. If you cannot clamp directly to the lathe, bolting the lathe to a 3/4″ piece of plywood that can then be clamped to the bench is a workaround.

When it comes to larger lathes, most shop owners place them against the wall. This may be all right for spindle work, but it limits faceplate work. I think it’s better to place a lathe away from, or at least at right angles to, a wall. You will need about 24″ of clearance between the headstock and the wall to accommodate the knockout bar.

Leveling Your Lathe

Proper leveling is probably one of the most overlooked factors in setting up a lathe. It should be level along the length of the ways and across the ways at each end. Across at each end is most important, because different states of level at each end of the lathe may introduce a twist into the bed (often the reason centers don’t align properly). A good builder’s level is a sufficient tool for this task. Simply adjust the leveling screws in the lathe’s stand or legs so that the ways are level end to end. Now, alternately place the level across the ways just in front of the headstock and at the opposite end, and adjust the screws until each end is dead level. It is best if you do not have to move the lathe after leveling.

Budgeting for Tools

When buying a lathe, you also need to budget for tool sharpening systems and tools — which tools depends on your woodturning goals. (Mini lathe users can get by with cheaper miniature tools.) I’ve compiled my recommendations for tools for both spindle and faceplate turning into a spreadsheet, available online.

I prefer to buy turning tools ad hoc, rather than in sets, which can include tools you will never use or workhorse tools in the wrong size. Avoid bargain basement carbon steel sets and, unless your turning ambitions are very modest, avoid carbide tools. Here’s why: If you just want to turn a few projects, they’re an economical choice because you will not have to buy a grinder and the jigs necessary to sharpen conventional tools. On the other hand, they’ll never leave the crisp edges, glassy surfaces or refined beads in spindle work that properly sharpened conventional tools will.

I suggest buying tools made from high-speed steel, or from powdered metal, which offers even more edge holding time between sharpening.

Yes, you will have to sharpen your tools, using a bench grinder to grind them to the proper shape. (They seldom come that way.) Buy as good a grinder as you can afford, such as a slow-speed grinder that comes with aluminum oxide wheels. A buffer is great for honing spindle tools after grinding.

Safety Equipment

You’ll also need to consider safety equipment and safe practices. Minimum eye protection for turning is eyeglasses, with side shields, that meet ANSI Z87.1 standards. If you wear prescription glasses, your optometrist can make you a pair that meet the Z87.1 standards, or you can wear clear glasses that meet the standard over your prescription glasses. An even better option is to wear a face shield that meets the Z87.1 standard — most actually exceed it.

Hearing protection during most turning is wise. Roughing out work, as you start your project and quickly remove material from your eventual bowl or a spindle, can emit sound over 80 decibels as the tool is alternately cutting wood and air.

Dust protection is most problematic around lathes, so anything that can be done to suck up dust before it gets into your lungs is good. You can put the hose from a HEPA vacuum near where you’re working to capture a lot of the dust. Back up this dust collection option by wearing an automotive type dust mask or, even better, a respirator.

And, when it comes to turning on your lathe, don’t be a speed demon. Faceplate work never needs to exceed 1,200 rpm, with 150 to 800 rpm for initial roughing.

Spindles up to 2″ need an initial speed between 500 and 1,400 rpm, depending on the skill and experience of the turner.

All this is to say that the lathe is just the tip of the iceberg. The best of lathes is useless without equally good tools. Many give up on turning because they never properly shaped and sharpened the tools, so a proper grinder and jigs are a necessity. I know a few turners who had to quit because they inhaled too much dust. Look at the total package, and not just the lathe.

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– Father Chrysanthos
Etna, California

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A used piece of equipment can be a great value. The price is often very reasonable and the machine will come with many accessories that you must buy à la carte with a new machine. Sometimes heirs just want the machine out of the basement so that they can close a chapter on a loved one. The deal breaker for most people in buying used machinery is moving it.

A couple of weeks ago I got a call from a long time friend and colleague. His shop “had to go” because he was moving into a retirement home. “Was I, or did I know someone, who might be interested in his Oneway 2536 Lathe?” Having always wanted what I refer to as the Marcedes-Benz of lathes I said, “look no further.” We agreed on an extremely fair price based on two additional codicils: That I would remove the Oneway from his basement expeditiously and that he could visit his lathe whenever able. We shook hands on the bargain.

I have moved a lot of heavy stuff in my day. For really big machines you call a rigger, the term for machinery movers. At one of my early jobs I watched riggers move a forty-five ton press brake. When our family was manufacturing lathes I did ten or more trade shows a year. I got so sick of moving seventy-five pound lathe legs that I had three sets cast from aluminum, which reduced the weight to twenty-five pounds. To compensate for the lack of weight I would super glue the feet to the floor. This scheme was busted when a brute of a Texan grabbed the lathe and lifted it with two floor tiles still attached to the lathe.

I have accumulated a kit of essentials for moving heavy objects. With these implements I have moved a lot of heavy stuff the most challenging being a nine hundred pound safe. They include:
• One small hydraulic jack and two automotive floor jacks; the newer one from Harbor Freight is low profile, which is much better for getting under things.
• An assortment of crowbars for lifting machine bases enough to get under them.
• Two hand trucks (dollies).
• Wide canvas straps for lifting from a convent height with your legs and not your back.
• Rounding out this array is a climbing rope, a come along and a half-ton chain hoist.

Stairs are always the biggest challenge and most shops in North Eastern Ohio are in basements. My friend’s basement was a flight of stairs ending on a landing with a door to the right. Complicating matters, there was no place to anchor a rope or hoist from above to secure the load.

Divide and conquer is a good slogan when moving machines. The Oneway was easy unbolted into manageable pieces that I was able to carry up the stairs to my pickup truck in a few hours. The thorn was the bed, which even with the motor removed was three hundred pounds. With no way to secure from above I was uncomfortable with a standard dolly.

After a couple of hours on the Internet I found a rental company with a stair climbing hand truck called a Lectro Truck.  Clicking the link will take you to a training video. This amazing dolly has an electric motor and a battery that allows the operator to raise and lower the wheels and climb stairs. I was able move the Oneway bed out of the basement to my truck with no damage to the house or the lathe. I had the Lectro Truck back to the rental agency inside of four hours for a rental charge of $74.48. What is more I moved the lathe and reassembled it at my shop single handily with no help whatsoever?

Have you moved heavy pieces of equipment? Tell us your stories or share your best tips for moving heavy tools and equipment.

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Even a fresh, sharp blade will cause splintering on some woods if you use the standard throatplate that came with your table saw. Truth is, the blade opening is just too wide to provide enough support for the wood. When the teeth exit the cut, they break the weak surface fibers, and you’re left with a splintery edge. That big throatplate gap also allows slivers of offcuts to fall down inside the saw where they can jam against the blade or even fly back out at you. Not good! But, there’s an easy solution to these kinds of problems: make your own “zero-clearance” throatplates. All it takes is a scrap of plywood and a little effort to close that gap.

Step 1: Since you are going to the effort of making one throatplate, do yourself a favor and knock out several at the same time. They work great with dado blades, too. Stash the extras in a drawer so they’re ready when you need them. Start by tracing the outline of your metal throatplate onto a piece of good-quality plywood (see Photo 1). It doesn’t matter if the plywood is thicker than the metal plate – you’ll adjust for that later. Plywood is a better choice for making throatplates than solid wood, which can swell until it doesn’t fit the table opening.

Step 2: Take your plywood blanks to the band saw and cut out the shapes about 1/16 in. larger than the pattern (see Photo 2). No need to be overly fussy about this… you’ll template-rout them to final shape and size.

Step 3: To prepare for routing, mount the metal throatplate upside down to one of your plywood blanks. You can use dabs of hot-melt glue or strips of doubled-sided tape to stick the parts together (see Photo 3).

Step 4: Chuck a piloted flush-trim bit in your router table, and rout off the excess material. Raise the bit until the bearing rides against the metal and the cutters just clear the top of the plywood. Start the cut on one of the long edges of the throatplate, feeding the workpiece from right to left and all the way around the shape. Use a push pad or a push stick to keep your fingers well away from the bit (see Photo 4).

Step 5: When you’re done routing, separate the parts and clean any adhesive residue off the plywood. Test-fit the blank in the saw. You may need to touch up the edges with a little filing or sanding before it drops easily into the opening.

Step 6: Now’s the time to compensate for the difference in thickness between your new plywood throatplate and the metal one. With the blank resting on the throatplate tabs in the saw table, take a chisel or utility knife blade and make a mark on the edge of the plywood where it meets the table (see Photo 5). This establishes how much wood you’ll need to remove to drop the plate down flush with the tabletop.

Step 7: The quickest and easiest way to mill off the waste around the bottom edges of the plywood is with a rabbeting bit. Measure the length of the throatplate tabs inside the opening of your saw table, and install a pilot bearing on the bit that will allow the cutters to remove at least this much material.

Step 8: Adjust the rabbeting bit in your router table until the top edge of the cutters meets the reference mark you made on the throatplate blank in Step 6. Set this depth carefully, and rout away the excess plywood. Feed the throatplate past the bit from right to left (see Photo 6).

Step 9: Install the new throatplate, and use a straightedge to check it for flush with the table surface. If it’s a little high, raise the rabbeting bit slightly and take another pass around the bottom edge. If it’s a tad low, stick a few strips of tape over the tab areas on the plate to raise it up.

Step 10: It’s time to cut the blade kerf opening. Chances are, your standard saw blade will be too large to drop low enough for starting the cut. Here’s an easy solution: use one of the outer blades of your dado set instead – its smaller diameter should be just right for the job. Even if its thickness is slightly greater than your standard blade, the difference won’t matter much. Slide your rip fence partially over the new plate and so it’s clear of the blade path, and lock the fence to clamp the plate down securely. Then, start the saw and slowly raise the blade up through the new throatplate (see Photo 7).

Step 11: Your last tasks are to drill a finger hole through the plate and cut an opening to accommodate your saw’s riving knife or splitter/guard assembly (see Photo 8). Now, you’ve got a throatplate that’s custom fit to your machine. Say goodbye to tearout and hello to safer sawing.

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