DUPLI-CARVER® OWNER'S MANUAL AND OPERATOR'S INSTRUCTIONS A GUIDE TO PROPER SETUP AND OPERATION OF ANY MODEL DUPLI-CARVER® CARVING MACHINE MARCH 2003 Patent No. 4078474 wooD CARVING terrco S| 222 First Avenue N.W. « Watertown, SD 57201 terrco, inc. Phone: 605/882-3888 * Fax: 605/882-0778 E-mail: info@terrco.com + Website: www.terrco.comINDEX Section 1: INTRODUCTION A- General B - Part Names and Identification Section 2: EVERYTHING YOU SHOULD KNOW ABOUT YOUR DUPLI-CARVER® A - How the Dupli-Carver® Works B- The Various Carving Actions C- Alignment Concepts D- Daily Checks Section 3: SETUP AND CARVING A-- Selection of Your Original B - Selecting Wood Type and Cutting Your Block CC - Mounting the Original and Wood Block D- Roughing the Block to Shape E - Adding Detail F - Removing Original and Carving from Tumtable Section 4: FINISHING PROCEDURES AND TECHNIQUES Section 5: DECOY CARVING Section 6: RELIEF CARVING A- Capacities B - Mounting and Indexing Techniques Section 7: CARE AND MAINTENANCE A- Machine 8 - Router C - Cutting Tools Section 8: TROUBLESHOOTING Dupli-Carver* Owner's Manual and Operator's Instructions. Page 7SECTION 1: INTRODUCTION A..GENERAL The art of wood carving is one of the oldest known to man. Until now, it has been shared only by few who have leamed through years of practice and experience. ‘The Dupli-Carver® has been designed to bridge the gap so the novice as well as the professional can enjoy the tremendously satisfying art of wood car Working with the Dupli-Carver® is a rewarding and relatively simple task once the machine's abilties and limitations are understood. This manual will take you from a basic understanding of the machine to detailed carving procedures from start to finish. Many of the machine parts and their names are referred to throughout this manual and a basic understanding of these is essential. Please spend a few minutes studying the drawing of the machine and the accompanying identii- cation of those parts. B. DUPLI-CARVER® PARTS IDENTIFICATION TURNTABLES: The platforms to which the original and duplicates are mounted. TURNTABLE BOLT AND WING NUT: Used to secure the tumtables to the tabletop. POSITION ARM HOLES: Four equally spaced holes at the perimeter of each tumtable that allow the position arm to locate the tumtables in respect to each other. POSITION ARM: An arm that connects the turntables and keeps them rotating together. This arm should be kept in place during the entire time you are carving. STYLUS HOLDER: Bracket which holds the stylus. STYLUS: The tracing point used to follow the contours of the original objects. ROUTER: The motor which spins the router bit to carve the wood, It runs at a very high speed (usually 20,000 to 30,000 rpm). ROUTER BIT: The cutting bit used to carve the wood block. They are available in many sizes and shapes. The one you select depends on the amount of wood you want to remove, the shape or contour you want to leave, and the fineness of detail desired. TURNTABLE CENTER HOLES: The two bushed holes in the tabletop which the turntable bolts or pins drop through. UPPER ARM ASSEMBLY: The arm assembly to which the router and stylus are mounted. LOWER ARM ASSEMBLY: The arm assembly attached to the tabletop and to which the upper arm is attached. GUIDE SHAFT LOCK ASSEMBLY: Lock which allows you to keep the router and stylus from rotating, BIT GUARD: Guard over the router bit which can be retracted by the left hand during carving. Page 2 Dupli-Carver® Owner's Manual and Operator's InstructionsCOUNTERBALANCE SPRINGS: Springs used to balance the upper arm assembly and create easy forward and back motion (T4110 only). ‘SPEED CONTROL: Control to vary the speed of the router motor. Reduced speed keeps the router bit from over- heating and burning out. Router Guide Shatt Lock Stylus Holder Stylus ‘Tumtable Bott Counterbalance Spring Position Arm Hole Lower Arm ‘Speed Control Tumtable Center Hole ‘Turntable Wing Nut FIGURE 1-1 (T110 SHOWN - TERMINOLOGY IS THE SAME FOR F200) SECTION 2: EVERYTHING YOU SHOULD KNOW ABOUT YOUR DUPLI-CARVER® A. HOW THE DUPLI-CARVER® WORKS If you have ever seen a duplicate set of house or car keys made, you have seen the basic principle in action. As a stylus traces the various “notches” on the original key, these same notches are duplicated on a blank key automati- cally. The operator does nothing to the “new” key but polish it, In essence, the Dupli-Carver® works much the same way but carving woods, and other materials in three dimensions. using a router as the cutter. It is the FIRST low cost machine designed to operate simply and to reproduce true three dimensional carvings with accuracy. Dupli-Carver* Owner's Manual and Operator's Instructions Page 3The Dupli-Carver® is a three dimensional extension of the bandsaw. It will extend the capabilities of the average ‘carver to practically unlimited horizons. It is great for roughing out your carvings from a clay pattern that you create and for keeping exact perspective and proportion on “sets” of carvings and making copies of your original carved works, For the experienced carver, instead of cutting out blocks that are close to desired shapes, you can actually cut out accurate blanks. This allows more time to finish carving of the details rather than having to waste time on the rough- ing out. Of course, if you lived back in the days of Riemenschneider, Stoss and other great masters, you could delegate the rough carving to apprentices. B. THE VARIOUS CARVING ACTIONS All Dupli-Carvers® have a five axes carving action-the same five independent motions that have made our industrial models superior to the competition. Simply stated, they give you the ability to duplicate ALL of the ss “original” contours quickly and easily. FORWARD & BACK is achieved by the pivoting of the lower arm. LEFT & RIGHT is achieved by sliding UP & DOWN is achieved by of the router and stylus guide shatt. the pivoting of the upper arm ROTATION OF ROUTER AND STYLUSis achieved © ROTATION OF TURNTABLES IN UNISON is achieved by by rotating the guide shaft. rotating the turntables connected with a position arm. Page 4 Dupli-Carver° Owner's Manual and Operator's InstructionsC. ALIGNMENT CONCEPTS of the basic alignment concepts is essential to trouble-free duplicating. There are six areas which must be maintained in alignment. These are: MAINTAIN THE GUIDE SHAFT PARALLEL TO THE TABLETOP: RIGHT WRONG WRONG =e MAINTAIN THE GUIDE SHAFT PARALLEL TO A LINE BETWEEN TABLETOP CENTER HOLES: = RIGHT WRONG WRONG MAINTAIN POSITION ARM ADJUSTMENT TO DISTANCE BETWEEN TABLETOP CENTER HOLES: RIGHT WRONG WRONG Dupli-Carver® Owner's Manual and Operator's Instructions. Page 5MAINTAIN ROUTER AND STYLUS TIPS ON SAME PLANE: RIGHT WRONG WRONG MAINTAIN SAME DEPTH OF ROUTER BIT AND STYLUS: RIGHT WRONG WRONG MAINTAIN CORRECT DISTANCE BETWEEN ROUTER AND STYLUS TIP: 44 RIGHT WRONG WRONG Under most circumstances, these areas will stay in perfect alignment once you have completed the alignment prodedures as described in the assembly manual. However, rugged carving and continued vibration could allow some of these areas to slip. Remember, your carving is only'as accurate as your alignment allows. The following is a list of DAILY checks. Page 6 Dupii-Carver® Owner's Manual and Operator's InstructionsD. DAILY CHECKS (Things you should do EVERTIME you sit to carve) Duplicarving is a relatively simple and rewarding task -- if the machine is properly setup and aligned. To avoid a mishap which could ruin hours of work already put into a carving, follow these simple instructions. These two or three minutes are the best invested time put into any project. Insert and tighten a 1/4" round bit and stylus into the router and stylus holder. Stylus and Bit Should Contact The Tabletop Throughout the Front to Back Roll ‘Adjust the stylus so that both the router bit and stylus touch the tabletop. With the router bit and stylus tip touching the tabletop, rock the router forward and back, watching to see that the bit and stylus both touch the tabletop throughout the entire rocking motion (See Figure 2-1). Place the position arm in a set of index holes at the rear of the turntables. The router bit and stylus should align with and easily slide into a set of index holes at the front of the tum- tables. FIGURE 2-1 I these alignments are correct, follow the carving instructions in the next section. If NOT, refer back to the alignment procedures in your assembly manual. SECTION 3: SETUP AND CARVING This section will give you a step-by-step outline which covers the selection of your original to the final detail carving. A. SELECTION OF YOUR ORIGINAL Selecting or making your original is obviously the first step to starting a project. In making this selection, there are several things you should keep in mind, The first is to start on a simple project (le., flat work, plaques, picture frames, small carvings) and progress to more difficult projects later. The longer you work with the Dupli-Carver, the more comfortable you will feel with the machine. Here are some other general pointers to remember in selecting ‘your projects; Avoid very tall objects with small bases. They are easier to break off the turntables while carving. Patterns with bold detail are the most impressive carvings. Patterns must be hard enough so that the stylus tip cannot scratch into it. If plaster objects are to be used as pattems, they should be sprayed or coated with a lacquer type finish to harden them so they will not be scratched (Deft brand vamish spray works well). Ceramics should be glazed and fired. Always consider the overall shape of the wood blank when selecting your original. A very intricate object with unusu- al and curving shapes will involve much more time to “rough” to shape from a squared block, whereas an original with a generally square, rectangular or easily cut shape can be carved much quicker. Be sure to take a ruler with you when you select your original to be sure it falls into your machine's carving capabilities. Polyurethane the table and tumtables to keep the moisture out (thus warping) as well as making it easier to remove the hot glued finished carvings. Dupli-Carver® Owner's Manual and Operator's Instructions Page 7B, SELECTING WOOD TYPE AND CUTTING YOUR BLOCK ‘The selection of your wood type is very important and can be a major factor in the carving’s value when completed. We: have found that hardwoods give you the most crisp cuts and detail and are the most valuable when complete. We have found cherry, walnut, oak, mahogany, hickory, sasafrass, maple and poplar are hardwoods that are good for carving. The sasafrass, cherry and walnut are the easiest of these to carve. ‘Once you pick your wood type, you need to make a block by using a log section, large solid wood block, or by laminating sev- eral smaller pieces together. Laminating is an important enough procedure to look at in depth. The first step is to be certain that the boards are smooth and not warped. You should be able to hold them together and not see any light between them. Once all surfaces mate this way, spread a thin coat of wood glue on both surfaces. Whenever you clamp your boards, you should see beads of glue forced out of each joint. If you don't, you probably don't have a tight seal or enough glue in the joint. When you glue the boards vertically, be sure that the bottom is flat. The two methods of laminating are vertically and horizontally and are more closely examined below. Cutting From a Large Block or Log: Take the maximum width, depth, and height measurements and cut a block out leaving a minimum of 1/4" on all sides so that the inal could fit inside the wood block (See Figure 3-1). If your inal has an unusual shape and you have a bandsaw, you can cut the profile out. To do this, stand your original next to the wood block and trace its profile onto the block leaving approximately 1/4" all around to assure that you leave enough wood for carving. Then cutout the profile you drewwith a bandsaw (See Figure 3-2). This is optional but will save much time by getting rid of excess wood that you would have had to rough away. Laminating Horizontally: Woodblocks can also be made by stacking your boards and gluing them. First, cut the board to the proper width (same as width of original with approximately 1/2" extra) and then cut and stack the boards behind the original leaving approximately 1/4" to 1/2" extra, (See Figure 3-3). FIGURE 3-2 FIGURE 3-3 Page 8 Dupli-Carver Owner's Manual and Operator's InstructionsLaminating Vertically: ‘An alternate method of building and gluing your block is by standing the boards vertically. You first cut the board to the proper width (same as width of original plus 1/2” extra) and then stand the boards side-by-side behind the original to cut to the proper height (See Figure 3-4). FIGURE 3-4 C. MOUNTING YOUR ORIGINAL & WOOD BLOCK ‘Once you have cut or laminated your wood block, the next step is to mount it and the original on the turntables. The steps are as follows: The fastest and easiest method of securing the objects to the turntables is by using a hot melt glue gun. Apply the hot glue around the outside edge of the original and place it in the approximate center of the right turntable located under the sty- lus. Press the original down firmly for 20-30 seconds while the glue sets. Draw a line around the base of the original so that if it breaks loose while carving, you can replace it in its proper location. If the base is round, match mark its location as well. Place a 1/4" round bottom bit and stylus into the machine and set FIGURE 3-5 equal depth using the tabletop as a gauge. Install the second turntable and place position arm into the index holes of the turntable. Set the wood block in approximately the same position as the originalon the second tumtable (no glue yet). Using the Dupli-Carver® bit and stylus, shift the wood block so that when the bit touches the wood block, the stylus is stil 1/4” from the original (See Figure 3-5). Mark a line at the base of the wood block in front. Remove the position arm, rotate both tumta- bles 90 degrees, and replace the position arm. Again, use the bit and stylus to position the wood block as before. Draw a second line at the front of the base of the block (See Figure 3-6). Check the third and fourth sides to validate that the wood block is in the best position, marking as you go. Be sure to keep the position arm in the index holes of the turntables. With the location of the wood block marked, apply the hot glue FIGURE 3-6 generously to the bottom of the wood block. Place the block in the position outlined by the drawn lines and press down firmly for 20-30 seconds while the glue sets. Dupli-Carver® Owner's Manual and Operators Instructions Page 9Alternate methods of fixing carvings to turntables: Carpenter's or white glue works well. A sheet of newspaper MUST be glued to the bottom of the original and the ‘wood block to facilitate removal. Also a longer “cure” time is required for the glue to set. ‘Wood screws up through the turntable into the wood block and in some instances the original also works well. Be sure the heads of the screws do not interfere with the tumtable rotation. Also, be sure that the router bit will not hit the screw body hidden in the block of wood. ‘Some workpieces lend themselves to "toe-clamping’ or even to nailing down to a turntable. Very thin work such as necklace pendants, belt buckles, etc. are best carved into a thicker block and then the ex- 98s material band-sawed from the back of the finished piece. This prevents breakage of the piece during removal from the turntable. D, ROUGHING YOUR BLOCK INTO SHAPE Before you actually start to carve, be sure you have gone through your daily check in Section 2D. When you are “roughing” away excess wood, ALWAYS use a stylus that is 1/4" largerin diameter than the cutting bit and align your stylus so that when it touches the tabletop, the bit is 1/8" above the tabletop. The router wrench is about 1/8" thick and provides a convenient gauge between the cutter bit and the tabletop. This will leave approximately 1/8" of extra wood all the way around the carving just in case you chip or splinter the wood while roughing. This assures you enough wood left to carve the fine detail. AWways be sure the bit and stylus are firmly tightened, Here are some tips for trouble-free carving: ‘Set the speed control at full speed (100%) and grasp the stylus near the tip between your thumb and forefinger. Pull the bit quard handle back with your left hand and hold securely. ALWAYS watch your wood block, NOT the original. Watch the router bit and how itis cutting. The stylus will stop you from carving too deeply because it will run into the original. You will feel the original with the fingers of your right hand. Take short, easy strokes and cut the wood as if planing, 1/8" depth of cut at a time, Do not rush or try to take too much wood at one time or the bit will jump or kick. Do not carve deep recesses in small areas and then move to the next. Start with one side and gradually carve back large flat surfaces until you reach the original. Once a side has been completed, rotate the turntables 90 degrees and replace the Position arm. Repeat on the next side, Carve the section of wood facing you and then rotate the tum- tables bringing the sides of the object to the carving area. Best results are obtained by using the end of the cutter bit only. Deep recesses, however, will necessitate using the side of the bit. When using the side’‘of the bit, always move the bitin the same direction the router is rotating to avoid router kick (See Figure 3-7). ‘The best hint for carving is TAKE YOUR TIME! Every hour you spend working with the machine will teach you easier and more efficient ways of carving. FIGURE 3-7 Page 10 Dupi-Carver® Owner's Manual and Operator's InstructionsE. ADDING DETAIL ‘Once you have finished roughing your carving, your block should have the shape of your original with approximate- ly 1/8" extra wood everywhere. You are now ready to carve the final detail. Follow these simple steps and the results will be a beautiful reproduction: Replace your large bit and stylus with a smaller detail bit and matching stylus (1/4", 1/8" or 1/82"). The smaller the bit, the finer the detail. Adjust the stylus depth so that when the stylus is touching the table, the router bit is slightly above the table. You choose the distance by how much you wish to hand finish. If you have a relatively smooth carv- ing, you would use a 1/4" finishing bit and matching stylus and leave .016" for final sanding. If you have a detailed carving, you would first use a 1/4” bit and stylus and leave .050”, then use a 1/8” bit and stylus and leave .015" for finishing. Remember to always use the bottom of bit when you use your finishing bits. On tall objects, carve using up and down motion and on flat objects use forward and back motion. Take short (about 1/2") easy strokes and cut the wood as if you are cleaning off or scraping away the excess wood. Keep your strokes very close together (even overlapping) because this will give you the smoothest surface and best detail. When carving the final detail, an important factor in obtaining the best definition is the angle at which the bit cuts the wood. In Figure 3-8 below, the proper bit angle is shown for both upright and relief carvings. This cutting angle allows the stylus to float over the contours of the original without hanging up on the recesses. Some areas of the carving will not allow cutting at this angle. fe PE ee She FIGURE 3-8 Select an area on the carving and completly finish it before going on to the next area. ‘Once an area is finished, DO NOT go back over it. Sawdust under the tumtables is enough to cause a difference in bit settings and could over-carve an area that is otherwise finished. A change of a few thousandths of an inch is usually acceptable from one area to the next and is simple to blend to match. However, it is much more difficult to mask if it occurs in the middle of a section. Continue to carve detail into your block until you have finished a full 360 degrees. ALWAYS keep the position arm in the holes of the turntables while carving and keep the wing nuts tight securing the turntables to the table. F, REMOVING WOOD BLOCK AND ORIGINAL FROM TURNTABLES ‘When the detail carving is completed, the original and carved wood block can be removed from the tumtables. If the original is to be duplicated again, now or in the future, it can be left attached to the turntable and stored. If hot glue or white glue and newspaper was used, a putty knife can be driven in between the piece and the turntable, all around until the piece is pried loose from the turntable, Sanding or putty knife is the easiest way to remove the glue/newspaper residue. DuolcCane* Owners Manual and Operators nsinictions Pace 11In some instances, the piece can be left on the tumtable to provide a convenient base for holding while the hand fin- ishing is done. Then remove the piece from the tumtable. SECTION 4: FINISHING PROCEDURES AND TECHNIQUES Additional finishing and sanding are required unless you prefer the rough carved look. There are several techniques used to obtain smooth surfaces desired on many objects. A fast and practical means to achieve these surfaces is through the use of a hand held speed grinder, such as a Dremel Moto-Tool and its associated cutters, grinding wheels, and sanding discs. These grinders can be plugged into the speed control and used to add or bring out detail that was not in the original. Various cutters can be used to remove excess wood while a conical sandstone running at a speed setting of about 30% is ideal for finishing as it ‘smoothes and polishes without burning the wood or loading the sandstone wheel. The sanding cones offered as an accessory are perfect for smoothing sweeping areas. You can also finish your carvings using sand paper, small files, carving knives and chisels. Some people will enjoy spending as much or more time in finishing as they did with the Dupli-Carver®. There are numerous wood finishing projects on the market and any of your favorites will complete your work of art. SECTION 5: DECOY CARVING This section of the operating manual addresses a specific category of carvings...decoys or ‘waterfowl’. Although specific examples are aimed at this type of carving, many of the same carving techniques and tips apply to other types of carving as well We have found that the easiest and quickest way to carve a decoy is with the head attached when the body is carved, rather than carving the head individually and attaching later. Pieces should generally be set up in the statu- ary mode (attached at their base) rather than the spindle mode (mounted between two centers). This is because most decoys have a flat bottom for easy base mounting. It also keeps you from leaving a "knob" of wood at the breast and tail to later be cut off and hand finished. The only exception to this would be a decoy that didn’t have a flat base in which case there may be less work involved in mounting them between spindle centers. Page 12 Dupli-Carver® Owner's Manual and Operator's InstructionsA special note about machine capacities apply when carving decoys (and other carvings as well). Most decoys are much longer from beak to tail than they are wide. typical decoy could be 6" wide and 13” from beak to tail. If you have a T110 model rated at only 10" diameter capacity, this DOES NOT mean that you cannot carve a decoy with beak to tail measurements of even 12-15" in length. You will have more difficulty carving with the smaller machine, but you can carve it none the less. The centers of a T110 are 10” apart which determines the machines diameter capacity. if a narrow portion of a figure extends beyond the 10", you can compensate for this when carving. As the pieces are rotated to carve the various sides, the pieces will hit at one point if a portion extends beyond the machine capacity (See Figure 5-1). On a decoy, this would typically be the tail swinging around to hit the breast. To be able to rotate your objects beyond this point, remove the position arm and lift one turntable off of the tabletop. Rotate the other piece beyond the point where the objects touched, and then set the other turntable at a similar angle. Then simply place the position arm back in the turntables to continue to rotate and carve. The same technique is used with other types of carvings that have portions extending beyond the turntables. For example, we have carved goose decoys with a beak to tail measurement of 19 1/2" on an F200 with 14” diameter capacity. When carving these over- sided pieces, be particularly careful when gluing objects to the tumtables to keep the position arm holes uncovered. FIGURE 5-1 Another tip that applies to most decoys as well as certain other pieces helps in reaching undercut areas of the carv- ing. By mounting a decoy on a block that is the same size or smaller than the base, you can reach deep undercuts found under many tail sections (See Figure 5-2). There is rarely a problem with height capacity on a decoy and the riser block on the carving block and original make carving these areas much easier. [— Workpiece Turntable— Riser Block Tabletop — FIGURE 5-2 ‘As with all carvings, the closer your blank is profiled, the more time you will save in roughing your piece to shape. Bandsaws can remove stock much quicker than a roughing bit. Use the carving instructions in this manual to 90 through all of the carving steps. Dupli-Carver® Owner's Manual and Operator's Instructions Page 13SECTION 6: RELIEF CARVING Relief carving is essentially two dimensional carving and can be done with ease on any model of Dupli-Carver*. Capacity of relief carving is stated in width and length of the work to be done, A. CAPACITIES Width capacity is determined by the left-to-right stroke of the router. The following tabulation shows the width capaci- ty of each standard Dupli-Carver® model: iT Seer 8" side-to-side stroke F200 eee eeee 14” side-to-side stroke Length capacities are nearly unlimited due to the ability to index the work through the machine (front-to-rear) B. MOUNTING AND INDEXING TECHNIQUES Short Work: Mount the pattern ang the workpiece directly to the machine tabletop using nails, screws, ortoe-clamps. These tech- niques are adequate i work length is within the front-to-rear stroke of the particular machine being used. Long Work: Indexing front-to-rear is used to handle long work. Mount the pattern and the work piece on a common sub-table which can be ’C’-clamped to the machine tabletop and released and indexed along a side guide (See Figure 6-1), Accenter guide can also be used with the pattern and work piece being individually indexed along the guide. Again 'C’-clamps or toe-clamps can be used to hold pieces while carving (See Figure 6-2). Edge Guide FIGURE 6-1 FIGURE 6-2 Page 14 Dupli-Carver® Owner's Manual and Operators InstructionsSECTION 7: CARE AND MAINTENANCE A. MACHINE The Dupli-Carver® is designed to require very little maintenance. The bearings in the unit are designed to operate dry. Oiling will attract sawdust which will clog up and defeat the bearing’s purpose. Occasional brushing of dust from the machine is about all of the maintenance that is required. ‘The model T110 Dupli-Carver® upper arm pivot pins should be lightly oiled occasionally. B. ROUTER The router is a maintenance free unit and requires no special attention beyond standard clean-up procedures. C. CUTTING TOOLS High speed steel router bits can provide many hours of use if properly maintained and sharpened. By the same token, they can be ruined within minutes if improperly used. One of the most commonly seen sights in a router kit is a mess of blackened, dull tools. This can be avoided by understanding the following: The black buildup on the bit is primarily bumt vegetable matter. When buildup occurs on the outer surface, it starts to rub against the wood rather than allowing the cutting edge to contact and cut. This causes heat, and additional vegetable matter to build until no cutting takes place and heat has destroyed the temper in the steel. Clean the bits with an oven cleaner such as Easy-Off and keep them clean. The vegetable matter buildup occurs because the bit stays in contact with a given section of wood for too long a Period causing a transfer of bumt wood to the bit. That action can be reduced to a minimum by three basic means: 1. Keep the bit moving along the wood surface at a fairly fast rate when operating at high speeds such as roughing. This keeps the bit contacting new cool surfaces. A slow movement causes buming immediately. 2. Keep the bit rotational speed as slow as possible while still maintaining a crisp cut. 3. Keep bits sharp. See following hints for bit sharpening. The router chuck provides a convenient holder for the bit to sharpened. Using a Dremel or similar hand grinder, in- stall a mounted grinding wheel and shape the wheel with a dressing stone. if sharpening a single flute bit, shape the wheel as shown in Figure 7-1. Shape the wheel as shown in Figure 7-2 if sharpening a double flute bit. FIGURE 7-1 FIGURE 7-2 Dupli-Carver® Owner's Manual and Operator's Instructions Page 15For single flute bits, stroke the wheel along the “scallop” as shown in Figure 7-3. Use caution so that wheel does ot “run” over the leading or cutting edge of the bit. Stroke both flutes of double fluted bits until the cutting edge is refurbished, again being careful not to allow the wheel to run over the cutting edge (See Figure 7-4). Always sharpen router bits from the inside of the cutter, never the outer diameter. FIGURE 7-3 SECTION 8: TROUBLESHOOTING PROBLEM Bit is carving to the right or left of where it was earlier. Bit is cutting too deep. Objects hit each other when you turn them. Bit isn’t cutting deep enough. Speed control won't work. Router won't run. Not enough wood. * Ran into a knot or rotten spot in a critical area. FIGURE 7-4 POSSIBLE SOLUTIONS ‘Check machine alignment in Section 2D. Position arm may not be set correctly. ‘Check machine alignment in Section 2D. Bit could be set too deep. Objects are too large; check machine capacity. Lift one object and turn past where they hit. Stylus is set too deep. Check alignment in Section 2D. Be sure router isn’t plugged directly into wall outlet. Test control with light bulb. Check outlet fuse, speed control, and that router is plugged in. Didn't cut block large enough. You can glue on additional wood. Cut away bad area and fill with paste made from glue and sawdust. Page 16 Dupli-Carver® Owners Manual and Operators InstructionsPROBLEM Have cracks where glue joints are. Carving is very rough. Router bit kicks hard. Block or original move or rock during carving. Wood keeps splintering. Stylus is scratching original. Object covers position arm holes. Router and stylus rotate too easily or too hard. Not enough wood left after roughing the block. Guide shaft lock arm vibrates off. Cannot separate original or duplicate from turntable. Bit will not cut well. Bit burns wood as it cuts. Detail is not well defined. Bit gets stuck in collet. POSSIBLE SOLUTIONS Not enough glue. Boards weren't clamped tight enough. Fill with sawdust paste. Keep bit strokes close together ‘or overlapping. ‘Some woods “grab” more than others. Check Section 3D under roughing. Tighten wing nuts on turntable hold-down brackets. Clean sawdust from under turntables and check glue at base. Take shallow cuts. Always cut into wood, NOT pulling it away or prying it off Check for sharp edges on stylus. Spray plaster with a laquer spray to harden, Some objects may be too soft to carve (ie., some plaster consistencies are Gifferent). Holes can be reached on underside at front of T110. You can also align turntable edges with tabletop or use bit and stylus to locate a common point. Tighten or loosen guide shaft lock arm. Be sure that the stylus is 1/4” larger than the bit and that the stylus is set 1/8" deeper than the bit. See Section 3D. Wrap some tape around the end of the guide shaft. When using wood glue, be sure to glue newspaper between the object and turntable. Pry apart with flat chisel or putty knife. Set at higher speed, or check bit for dullness, Take faster shallow cuts. Keep bit moving quickly. Check bit for sharpness. Reduce router speed. Read Section 3E. Make sure bit and stylus match. Smaller bits give greater detail Tap base of bit when loose. Dupii-Carver* Owner's Manual and Operator's Instructions. Page 17