Posted by Jerry on January 1st, 2007 — Posted in DIY, Journal, Woodwork
One Christmas gift was a book on making whirligigs and kintic toys – now this looked like great fun! So, armed with some scraps of wood and the book, I headed out to the shed to see how difficult it would be to come up with something…
One of the pieces in the book was a crank-driven piano player. And there is a reason I chose this one.
You see, my grandfather used to play piano. He played entirely by ear – he could go to the movies once and come home and play all the main theme tunes. And he used to play down at the local pub as something companionable and fun to do. Interestingly he was a teatotaller, and the top of the piano would fill up with pints of beer that people bought him – and they would remain there all night as he played all the old favourite sing-along songs of the day. I guess that’s where I inherited my music ability from. So with that in mind, I thought I’d have a go at a piano player.
By the end of the evening – about four hours, I had a ‘proof-of-concept’ version that looked like this:
Using a hole saw I cut out four 4cm (1 1/2″) discs from some scrap pine. I then drilled them to accept thin dowel in an offset from the centre hole, and used three of these discs to form the crank. I also cut two small discs of 1cm (1/2″) to act as spacers to stop too much lateral movement of the crankshaft.
I then made up a simple ‘stage’ from three pieces of white melamine chipboard and another piece for the piano upright.
I cut out and roughly shaped the head and torso of the pianist from some scrap pine and then cut out the arms and legs with a scrollsaw. It was important to put an angle on each thigh as the legs need to splay outward to enable the control wires to pass between the legs and attach to the wrists to provide the movement.
The wrists were drilled and the arms and legs attached to the torso. The nail holes in the arms and legs were drilled larger than the nail so they would move freely when attached – the nails are only holding into the torso.
The seat is just a small block dowelled into the stage, as is the piano. Once in place, positioned either side of the line of the crank I drilled two holes inboard of the arms into the stage to allow the control wires to pass through the stage to the cranks.
I then drilled (slowly) an oversize dowel hole in each end of a large popsicle-stick and cut it in half. Then I drilled a small hole at the other end of thepop stick to accept the wire. Then I fitted them to the dowels as I assembled the crank.
The fourth disc I used as a spacer for the handle. I then cut a larger disc of 6cm for the handle. I then drilled near one ege to accept a small brass cupboard handle.
After doweling the pianist loosely to the stool I took a couple of pieces of fine piano wire and attached it to the pop-sticks on the crank and fed them up through the holes and finally bent them through the wrist holes.
Once I had established that the hands would move up and down I then clad the piano in some thin pine offcuts, provided another block for the keyboard, attached a couple of ends and printed out some keyboard line-art and glued it onto the keyboard block.
Then with a nod to my late Grandfather I made a beer mug from some dowel with a pop-stick handle.
And here is the result
Click here to see it in action – complete with the crank mechanism!
You can get more information on automata like these at Automata.co.uk This one has good information on how automata work – their mechanisms and how to design your own.
And there are some great online displays of kinetic toys, such as these:
Cheers
Jerry
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Posted by Jerry on January 1st, 2007 — Posted in Journal
Between thunderstorms, hail and rain, we celebrated news years eve in Canberra with our neighbours – nothing quite like a barbeque under the covered deck with good friends. We watched the Sydney fireworks on TV, had a few quiet ales and some good conversation.
Happy new Year to everyone 🙂
Cheers
Jerry
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Posted by Jerry on December 23rd, 2006 — Posted in DIY, Journal, Music, Woodwork
Many years ago one of my fellow Mucky Duck Bush Band members – the late Barry Halpin – made a flute for me from PVC pipe. It was a transverse Irish Simple System flute (6 – holes) that worked on the same fingering as a tin whistle.
Several house moves later and that flute is long gone. But recently I came across Doug Tipple’s instructions on how to make one of these flutes and decided to make a couple.
The internal diameter of Australian PVC piping is a little different from the measurements that Doug gives, but using a tuner I found that Doug’s measurements give a good approximation. Using his metric sizes on some 20mm pvc tubing I made a couple of quite passable and playable flutes. Here’s how I did it. I made mine in the key of D – if you want to make one of a different key, try using Pete Kosel’s ‘Flutomat’ – just follow the link and set the desired key in the key selector at the bottom of his chart and you will have the necessary measurements
Pete Kosel’s Flutomat
First, I bought two one-metre lengths of 20mm white pvc tubing. I cut it to the overall length of 570mm
Then I attached a length of masking tape along the length to prevent tearout when drilling the holes.
I measured 525mm from one end and drilled a 9.5mm hole for the embouchure (for blowing). I stopped one end with a cork and blew across the embouchure to find I could make a fairly decent C# – The taking the flute back to the mitre saw I took a couple of salami slices off the end away from the embouchure until I could get a consistent D – the total length was now 563mm.
Then I laid out the holes with the following measurements as measured from the bottom of the flute:
hole one = 98mm (8.0mm drill)
hole two = 137mm (11.0mm drill)
hole three = 166mm (9.5mm drill)
hole four = 223mm (8.0mm drill)
hole five = 260mm (9.5mm drill)
hole six = 297mm(9.5mm drill)
Before drilling, don’t forget to centre-punch the marks so the drill doesn’t wander on the curved surface. And the drill needs to run slowly to avoid tearout and chipping the pvc. As you drill each hole, you need to test the flute against a tuner and make adjustments to the hole to bring it into tune by slightly extending the hole into an oval to make it sharper.
Once you have the holes drilled and in tune you will need to clean up the edges with a half round needle file
You may want to file the embouchure hole into a slight D shape to make it easier to make the notes. But that’s all there is to it. With a bit of patience and careful measurement you can build one in about an hour – this flute cost me a total of AUS$3.70!
Click here to hear a scale played on this instrument – please note that I am not a flute player!
Enjoy!
Cheers
Jerry
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Posted by Jerry on December 19th, 2006 — Posted in DIY, Journal, Woodwork
This post gives detailed instructions and photos on how to make a fire sword. But first the disclaimer: Fire twirling is dangerous, and fire swords especially so, due to the large amount of flame attached to this equipment. I have no control over your construction skills or techniques, so I take no responsibility or liability – actual or implied – for any damage or injury incurred from anyone using these instructions.
And so to the instructions…
Materials (makes two fire swords)
- 2 x surplus ski stocks (poles)
- 4 x computer hard drive plattens
- 2 x pine wood pieces approx 7 x 10cm (3″ x 4″)
- 3 metres kevlar wick 5 cm (2″) wide
- Kevlar thread
- 12 x wood screws
- 6 x lengths of wire
Tools
- hacksaw
- electric drill
- 18mm spade bit
- 8mm high speed bit
- scissors or stanley trimmer
- canvas needle
- pliers
- screwdriver
Method
You will need two old/unserviceable ski stocks (ski poles). The first thing is to cut them to length – about a centimetre up from the plastic ring that holds the flat snow disk. The actual measurement is irrelevant – the important thing is to ensure that both swords are made the same length.
But keep the handles intact – they will provide a good grip and the safety straps add an element of safety.
Next take a couple of computer hard disk plattens – these are metal and highly reflective – excellent for keeping heat away from your hands. I used two on each as the smaller disks had a smaller central hole to help keep everything aligned nicely on the pole.
Mark and punch four points and drill holes around the centre hole of the disk. This will provide a means to anchor the disks so they can be used as heat shields near the handles.
The disks themselves can get hot in use, so we want to insulate them from the rubber handles. Wood has excellent thermal insulation properties, so we will make wooden washers to use as spacers from the rubber grips, but also to provide a means of attaching the platens securely to the stock and to the handle.
You will need one for each fire sword – cut two pieces of pine about four inches square and drill an 18mm hole in the centre. I then rounded the corners using a large washer to mark the guidelines and then rounded the corners on a bandsaw – like this:
Now line up the metal disks centred over the 18mm hole in the wooden washer, and drill 8mm holes into the wood using the pre-drilled holes as a template.
Then attach the metal disk to the wooden spacer with wood screws, and slide the whole assembly onto the pole hard up against the handle – note: ensure the metal side is facing the point and that the wood is next to the rubber handle grip!
Now drill two holes through the base of the rubber handle into the wood from the other side and fix the wooden spacer to the rubber handle grip – this will stop the heat shield from sliding down onto the wick when in action.
So now you have something sword-like – but it won’t light until you have a wick.
Divide your kevlar wick into two equal lengths of about 1.5m (about 5 feet) using a decent pair of scissors or dressmaking scissors. Attach one end to the pointy end using masking tape and carefully wrap the kevlar with a slight overlap in a spiral up the length of the sword.
It won’t stay there without assistance, so the next task is to thread your canvas needle with kevlar thread (so the thread won’t burn!) and sew along the overlap up the spiral until you get to the top. This may seem a tedious step, but it is important if you want the wick to stay on the sword. Take care to do this step properly.
Once this step is completed you effectively have a kevlar sheath – which can still slide off the end, so to secure it you will need the next step.
Bind masking tape tightly round three or more parts of the sword. This will stop the kevlar from twisting when you drill holes for the wire.
Mount the sword in a vice and use a centre punch to mark the drill point in the centre of the masking tape. Tap the centre punch hard nough to dent the metal tube beneath. Now drill an 8mm hole through each of the taped bits.
Once both swords are drilled through the wicks and the centre tube, cut a short length of wire for each of the holes and wire the wick securely to the tube, like this:
When this is completed your fire sword is complete and ready to be fueled and used in a fire performance. The wick should hold enough fuel for a good five minute burn. Enjoy your pair of fire swords – safely. Do not use during a fire ban or in areas where there may be a risk of other material catching fire.
Cheers
Jerry
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Posted by Jerry on December 9th, 2006 — Posted in Journal, Music
The Mothers of Intention came to Canberra last night along with wonderful Blue Mountains singer/songwriter Anne Ridgeway, to sing at the Merry Muse Folk Club. It was a great night and the harmonies were amazing!
Anne Ridgway has a rich mellifluous voice that complements her 12-string guitar, and the harmonies added by Rosie McDonald and Penny Rankin-Smith from Mothers of Intention contributed further depth and range. And Tony Pyrzakowski’s deft fiddle playing gave another dimension to the music. The crowd may not have been large, but it was very appreciative – calling the Mothers back for more at the end of the night. If you missed it then you missed one of the folk music highlights for this year.
The Mothers of Intention gave richly of their talents, and Lainey Balsdon’s recorder blends well with Tony’s fiddle and and the power of Rosie’s guitar.
And with energy to spare, they all went down to the Gorman House Markets to once again give freely of their music, and I was privileged to be asked to step in with Tony on the fiddle for our own dueling fiddles moment, as well as a lyrical Ashokan Farewell with the whole band. Anne Ridgeway was there also, so the market goers were given a real treat with some wonderful folk talent 🙂
Cheers
Jerry
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