| Some of the techniques when cutting out fret | | | | cut out. This is done with a scalpel or sharp chisel and |
| patterns have always been the same techniques and | | | | make sure the veneer frets fit like you did with the |
| methods used over the years when working with | | | | card cut out, some times a file is needed to make a |
| longcase clocks. I find them easy and most | | | | really good fit. |
| importantly faster when trying to make a living | | | | When this has been done you need to glue the fret |
| repairing or building new longcase clocks. | | | | pattern to one of the card templates, depending on |
| Having cut out hundreds of fret patterns when | | | | what pattern you have chosen, some times you may |
| working on new and antique longcase clocks, I find | | | | have to juggle the pattern around to fit in side the |
| the hardest part of making a fret is getting the | | | | fret shape. |
| perfect fret shape to fit the hood. | | | | Now you can sandwich the veneer you are making |
| 1. USE GREASEPROOF PAPER AND A WAX | | | | the new fret from between the template with the |
| CRAYON FOR MARKING OUT THE OUTER SHAPE. | | | | fret pattern on at the top, and a blank card template |
| If you are working on an antique longcase clock and | | | | at the bottom by taping the edges together with |
| the fret is missing from the hood, the best way is | | | | masking tape. |
| the traditional way by using greaseproof paper and a | | | | ==================........Template with Pattern. |
| wax crayon or soft leaded pencil. You can lay the | | | | = = = = = = = = = = = =..........Three Ply Veneer. |
| greaseproof paper over the area where the old fret | | | | ==================.........Blank Card Template. |
| is missing and you can then rub the wax crayon over | | | | 4. USE A SMALL BLADE AND HAVE THE FRET SAW |
| the fret shape, giving you the outer edge shape of | | | | ON LOW SPEED TO KEEP IN CONTROL. |
| the fret on the paper. | | | | When your fret is taped up and ready for cutting out |
| 2. USE AN OLD CEREAL BOX FOR THE CARD | | | | you need to drill holes in the parts of the fret that |
| TEMPLET. | | | | has to be cut out and removed. |
| This is just a rough pattern at this point. Now | | | | These holes are for the fret saw blade to fit |
| transfer the shape of the fret onto a thin piece of | | | | through, when cutting the fret out use your finest |
| card, you can use an old cereal box or the like, then | | | | blade and have the fret saw on the slowest speed, |
| cut out the shape of the fret. | | | | this will give you more control with the fret saw and |
| Once the card is cut to the correct fret shape it is | | | | the level of work will be much higher. When all the |
| very important to make sure the card cut out fits | | | | fret is cut out remove the card from around the |
| tight in the fret hole or space of the old fret you are | | | | veneered fret, give the fret a touch up with a fine |
| replacing. | | | | needle file and sand to finish. |
| When you have your card template fitting correctly | | | | 5. DON'T TAKE FOR GRANTED BOTH FRET SHAPES |
| you now need to make two more templates exactly | | | | ARE THE SAME. |
| the same shape and size as your original, these are | | | | If you are restoring an antique longcase clock and |
| used to sandwich the veneer you are making the | | | | both sets of frets are missing from the hood, for |
| new fret from, and this will give it strength when | | | | example a swan neck hooded clock, you will probably |
| cutting the fret out and stop any breakout of the | | | | have to make both the fret shapes separately as |
| veneers. | | | | most antique clocks may have already been restored |
| 3 GLUE THREE SHEETS OF VENEER TOGETHER | | | | or altered over the years or with the passage of |
| FOR THE FRET THICKNESS. | | | | time they may suffer from twisting or shrinkage and |
| The actual fret is made from sheets of veneer, | | | | most probably be different, so don't take it for |
| normally you can glue together three sheets of | | | | granted they are both the same. |
| veneer using PVA glue and a small veneer press, or | | | | When building new longcase clocks you know that |
| two boards and a heavy weight on top. | | | | both frets will be mirrored so you can cut both frets |
| When the sheets of veneer are dry transfer the | | | | at the same time. |
| shape of the card template onto the veneer ply and | | | | |