Facing Titanium Plates

piece of titanium plate and it's 800 000 thick and this was the material the customer supplied so there was really not too much choice and and uh well there wasn't any choice in what it was you have to work with this but the actual uh part is 3 8 of an inch thick and we have to face this down initially just to get a flat slab of material 3 8 of an inch thick like this over here i've already faced all but three of them and i'm going to go through the procedure what i ended up having to do what i tried and what worked and what didn't work and and my theories on why that's so in this video on the surface this would seem like a fairly easy thing to do but in reality it's not as easy as you might think to keep this thing flat or as flat as possible and still uh and get it within the three-eighths of an inch is the dimension is plus and minus five so that's not that close but i'm trying to hold it on point 375 to 0.380 on the thicker side of that tolerance in case i have to just skim a little bit when i make the actual part off of there but this is one that i've already faced down of course i've got to go from here to there i want to make a video of machining this titanium plate down to thickness and my previous two videos i'm making these toe clamps were partially before machining is played i also wanted them because i do stuff like this all the time are similar things and so i'm not happy with the i think the brand of clamp i showed in the previous videos that i didn't like was this tico brand which is i think what everybody kind of sells that you can buy commercially aside from maybe mighty bite type stuff and uh and i i went through why i think those things are not acceptable to me and why i designed and made this other clamp and we might go into a little discussion on how that clamp works because in the previous videos there was quite a few questions i think people might not totally you know i think most of you probably do but some don't totally understand how that clamp functions and and what i call the compound screw clamp screw or or i think there's other names for it but works and and how the jaw moves and why i picked the particular geometry of the of the design of it so i might go a little bit into that too as well in this video but i wanna i i kind of hesitated to make this video on facing this because the machine work itself isn't that interesting and and it's just kind of a boring face cuts that go zigzag across this piece but the um the reasoning behind the machine work is um maybe more of why i want to make this video and show how this is done because you run into this quite a bit machining parts at least i do the style of machine work i do and how do you keep something flat when you're facing it like this because it is a little bit tricky when you're dealing with these exotic materials like this or stainless steel or ink canal or something like that on on aluminum you know you can pretty much just face it down and it doesn't work too much but these materials because of the way the the cutting tool actually cuts them tend to work because the tool is actually not cutting perfectly if you will it's actually pushing some metal ahead of it you know in an ideal world that when that insert goes through the stock it would cut it cleanly but it doesn't actually do that it actually is deforming metal into the surface and into the cut as it cuts and this expands the surface of the material and it causes it causes it to bow into the cutter if you will and so you got to take steps to to reduce this you can't really eliminate it but you can reduce it if you do things a certain way and we're going to talk about that a little bit more in this video i know this video isn't going to be like the video for everybody that gets a million views or anything like that but my channel is not really totally about getting views on videos i want to show things that might help people out and my reasoning behind the way i do them because some of these videos i've had in the past like the video i made on machining a two thousand pound piece of stock into a 250 pound part i think it was um everybody talks about that being such a waste of material but the general nature of doing machine work is removing material off a piece of stock so this is the way you're going to do it you're going to waste material no way around it it's not like 3d printing or additive machining where you're adding material you're taking it away and it's going to be wasteful all machining operations waste material and and there was numerous numerous comments on that video about how you you know why'd you go with such a big piece of stock and everything and the fact is that you had to do that because the end of the part was that big in diameter so there's no way around it if the customer wants it out of one piece of stock you got to use that you got to waste the material to get it down to there but i know most of you guys that understand machining which is mostly who watch my videos normally unless i get a video that gets a million or more views and then there's the general public and they don't understand and uh it does get a little bit tiresome to write the same comment over and over and over again if people would just kind of read the comments they would find out my responses and they and they wouldn't even ask the questions maybe but i don't mind i i do that i like to interact with people in the comments so let's um going to show you probably the first pass across this material i'm not going to show you every single pass because it's the same it's basically the same thing almost the same i might override the feed rate or something like that um at times when i do the final cuts i overwrite the feed rate slower but other than that the tool path is identical for all of the passes across this piece of material so there's really no point in showing you every single pass because there's going to be quite a few of them because i'm going to in essence only take about 30 thousands per pass and and i've determined that based on i've already machined almost all of these parts there's only like three of them left machined as far as this material goes and uh and i've tried various different depths of cuts and feed rates and everything enough and the wear on the inserts and everything like that and i've determined this is the best way to go even though it takes quite a bit of time to do this it probably takes like five hours to machine each one of these plates down to that thickness being this titanium and everything and you can only run about 200 surface footage on the on the tool but it just takes that amount of time you can do it i can do it faster take deeper depths of cut but it warps the plate excessively and and i don't want to get into that situation where you're getting down in to the close to the thickness with the plates it's not flat and you're fighting that i did that on a few of them experimenting with depths of cut and believe me um i don't want to screw up one of these pieces of material because it's not my material and i imagine it's kind of expensive material being the titanium that it is so let's let me show you the the first pass across this well first i'll show you how i set the offsets on the machine and i clamp the part and you'll kind of begin to understand why i made these special clamps these ones here in the previous videos because i have to have this clamp i have to know how much pressure i'm putting down on the edge of that piece of material that not so much when it's thick like this but as it gets thinner it's going to start if i put too much force or not enough force or whatever i don't want it of course to slide off of there when the face mill is going across it and i don't want to put too much where it tends to bow it out in the middle like that so um that's part of the reason i made those and also i i wanted to have a good set of those clamps anyway so let's get to the first cut across this and see what that looks like and then we'll i'll take the subsequent passes and i won't show you those necessarily unless i have a reason to but i'll show you what happens when i release the plate from those clamps or you know clamp down and what and how it moves this is the important thing and what i do with the the inserts on that cutter and how many passes i've determined i can take before those inserts get too dull because if the inserts get too dull they tend to push more material into the base of the material and expand the face and it causes the part the bow so you can't let the inserts also get too dull and this all comes down to the proper feed rate and all you know speed of the cutter feed rate and how dull the inserts get how far you can go and how many passes you can take with one point of inserts here we are in the machine and here's the setup which is just the tombstone pallet base piece mounted on the tombstone so i can use the t-slots with these clamps i made in a previous video and you'll see why this is absolutely necessary i have a clamp that functions in the proper way now put gloves on because i'm not really going to deeper these as i go i've machined the clearance on this bar behind here so that the burr can go back and behind there and the clamps are up off the table so the burr won't bother them now this piece of stock happens to have one good milled edge on it which i'm going to always keep down against the the bar here because the clamps could handle this any variation in this i don't know if you can see that it's a saw cut edge on that edge and this has been milled so we're going to start i've been starting them with this labeling out on outside i don't know if that makes any difference but that's the way i've been starting set it on the bar and i've made a little scratch let's see you might not be able to see that oh let me get it over here i made a little scratch over here on the pellet base so i can line up the edge that's a that's good enough for the face milling operation here and now place not too bad out of flatness but it's not perfect but i'm not worrying about that at this point in fact i'm not even going to worry about super flatness until i get closer to the dimension i've got um almost 500 thousands to take well about 425 000 to take off of this piece of material to get down to the 3 8 of an inch so what it does in the beginning is not too critical but it kind of is a little bit critical [Music] okay this is a little bit hard to get good video of i'm going to loosen this clamp back off so you can kind of see what i'm dealing with here so here's the piece of plate i'm pushing it up against the pallet base at the bottom and i guessed it here but you can kind of i don't know if you can see that gap i can shove it in so i can actually flex this thing a little bit [Music] and the clamps will actually pull this side up against there pretty good so i tighten these up and they don't have to be excessively tight there's not a whole lot of force being put on this the way i'm machining it i'm going to talk about that a little bit too because that's that's turned out to be fairly critical on the way that happens now over here like i said i've lined up my uh scratch mark on the corner of the part and that's good enough because there's a little bit of clearance on the face mill coming in here and then it does a zigzag path across here now let me just make sure these are all snug and to begin with this isn't really that critical because the plate's going to warp as we machine it and i'll explain in fact i'm not even going to tap it down or do anything right at the moment the first time i put it on and maybe i don't know the first few times i flip it over because i'm going to flip it over every pass every pass i make on this face i'm going to flip the plate and clamp it back down and it's going to work and you'll see what i mean i'll show you i'll try to show you as its machine i'm not going to show you all these passes are machining it because it's all the same thing it's exactly the same tool path [Music] the tool path is going to start over here and it's just going to zigzag back and forth across here now [Music] i deliberately chose then the face mill i had you have here for a reason i'm going to show you that in a second but i wanted to make four passes only across this so i want to go over here come back and go back over here and come back this way i want to finish with the tool cutting into the edge on both long sides so that it doesn't throw up any more burr than it has to throw up a face mill if you're just cutting straight across like say you're cutting right across here and it's going this way it's going to throw up a pretty good burr out on the edge of the material and i want to kind of minimize that as much as possible so that's the reason i'm doing it and i'm not even worried about climb milling or conventional milling because it's taking almost the full diameter of the tool each pass the only tool i had that was really good for this job was this tool and actually it turns out it's kind of most ideal because of a couple of things first of all it takes these inserts let me get one of the inserts and show you all right this is one of the worn inserts but these inserts have five cutting tips on this side and five on the other so you can flip them over and this uh this gives me 10 cutting tips on each insert because with this procedure like you're going to see here you kind of go through a lot of inserts because of the way you have to do it and i've tried a couple different ways which i'll explain as we go through it but one thing that was important that i wanted in this tool is i wanted a lead angle on the tool i didn't want a square cutting edge type tool like the one i normally use the iscar heli quad this is a tungaloy i don't know if you can read that name there on the shank of the tool it's a tunnel eye tool and this insert grade turns out to be pretty good for machining titanium but what isn't very important here is that you can't let these inserts get too dull heading across this this material because it's gonna warp the plate it's what happens when you cut across well i'll explain this a little more detail uh maybe draw a few sketches so we can understand this at least these are my theory and i think it's pretty good because of what i've seen happening with the machine with a piece of material but the main thing is i wanted this lead angle on the tool because this tends to press the part into the fixture as it's cutting down the part uh possibly a round insert would even work better but i i didn't have a a tool this diameter that holds a round insert or i may have tried that but you could end up with um some chattering problems with a round insert because of the really excessive lead angle around insert would have a very steep lead angle if you will and that causes more pressure downward which could cause vibration because sometimes this plate isn't going to be sitting flat against this um the the tombstone fixture thing here at times and you'll see what i mean about that and this tool here this insert has a 30 000 radius on it with a this is a um [Music] you know five-sided insert so i don't know what the angle is something around 15 degree lead angle or whatever i don't know how what angle they have the insert sitting at in the folder but let's just say it's got about a 15 degree lead angle there about something like that and this seems to be working pretty good i'm not having any trouble with chatter or anything like that so let's take a cut across the face and then i'll i'll unclamp the part and i'll show you what's going on here because um and what i've determined the depth of cut i can take and the feed rate to um accomplish this task now i've written this down i got it stuck with a magnet up here and i've determined that this is my starting point i don't know if you can read that minus 29.5 34 and this is my target point where i know the plate's the right thickness when i do that my last facing cuts at that point so i've got to enter this number in to start with on each piece and then i'm going to incrementally add a minus whatever amount to eventually reach at this finish point when i make the last facing cuts on the piece of material let's uh enter in that number right here we're using g54 here's our fixture offset we're gonna down here on the on the screen we're gonna this is number 43. you can read that i put it in the absolute entry mode so 43 and i'm going to enter in minus 29 point what did i say 5 534 up here this is where i want to start my first pass at [Music] [Music] so [Music] [Music] so all right i put my gloves on because i don't want to cut myself on the burrs of this part because like i said i'm not going to debur anything but first i'm going to start over here i'm just going to start loosening this one back it off all the way this one the reason i blew these off is if you stick that allen wrench into that set screw with a bunch of cool in there it squirts you back into place with coolant so just easier to now you might see the plate move a little bit particularly when i loosen this last one off [Music] well you see i don't know well i kind of pulled it away but you see how there's see how it's bowing away from the fixture here that was just with one cut across the face there now oddly enough when i cut the other side it'll kind of tend to bow it back and it'll be flatter after this cut on the second side so i'm not at this point i'm not worried too much about how much bow is in the plate because i got quite a ways to go and it's gonna it's gonna do this back and forth so what i'm gonna do is take this off here and i'm gonna push it i'm gonna flip it around i don't normally do it this way for me but i'm doing it for the camera so kind of awkward and sit back on here and then i'm going to line up my little uh scribe line over here like i said before on this end and i'm gonna clamp it down but now see it's it's kind of wobbling on the i don't know if you can see that in the video if it's clear that clear but there's i don't know probably about 20 or 30 000 gaps on the ends here so what i'm going to do i'm not going to at this point i'm not going to be hammering things down because i want to let it relieve the stress so i'm going to kind of press it in the middle here down against there i'm just going to let the ends do whatever they want but these clamps will tend to pull it up against there a little bit but at this point it's not really critical to worry too much about that when you get closer to the end and you gotta take steps to minimize that by the way you're actually running the program the feed rate and such okay i'm tightening these up not like super tight but early time so that's the first pass on on the one side and then we'll take the pass on the other side and then we'll see what happens we're looking at the control here and as far as the control goes i'm going to go over to uh the tool setup i'm going to go down to 43 the offset 43 or the z on g54 if you will down here at the bottom of the screen i'm going to enter i have it in the increment no i don't first i got to put in incremental mode enter an eye and this shifts over to incremental up here you can see that on the top right here and then i'm gonna then again enter 43 down here and we're going to go minus 0.030 i'm going to take 30 000 more that should go to 564.564 on that number there i'm going to run that and here we are after the second pass remember i flip the plate over i'm going to loosen the clamps we're going to see what happens and i would suspect that this is not going to ball back as much as it did the first pass because what we actually did was balance the stress we put in the material so here's the last clamp see now i got the clamps totally loose and see the parts now reasonably flat again see this is what happens see you put stress in one side and then you cut the other side it kind of balances it back and you got to continually go back and forth and back and forth so i'm going to flip the part over again let's say that this at this point i'm not worrying too much about being ultra careful with cleanliness and everything i'm not even wiping the coolant off or anything like that because it's not critical like that so far to go there's really no point it just takes a lot more time so i only worry about that on the last you know three or four passes or so [Music] you notice i'm not hammering on the part or anything at all i don't want to add additional stress into the part by hammering it down or anything like that i kind of want to let it lay where it wants to and i just take these passes a little at a time so it might i might go ahead and machine it down to where i get close maybe the last the last two roughing passes and the two finish passes and come back and show you at them because this is pretty much all the same just going back and forth back and forth with the part over and over again it takes time but i've found that if i try to rush this whole deal i just run into trouble and i'm having to catch back up to the flatness if i try to take big heavy cuts across here it's going to bolt apart a lot and then if if it blows it out away from the fixture it tends to vibrate here and chatter and give you problems so um it's just as easy just and then you got to slow things down even more so you end up wasting all the time you save trying to take the heavy cuts trying to get the part flat again so you just gotta resign yourself to taking as long as this takes to do it to the point where i have to index the inserts on this cutter what i've started to do is put this piece of plywood over that drum because if i drop a screw i'm never going to find it in those shavings [Music] now pays when you index inserts to always do it the same every time so you don't get confused like which cutting edge is still good and which one isn't i think actually now that i'm looking at these inserts i think i've used all the points on them i gotta use new inserts let me uh [Music] let me start over here a little bit here we need uh seven of them [Music] wasn't paying attention because of the video and everything but even still you may notice i'm not really blowing these pockets off or anything because i found that that's not really necessary this material fortunately doesn't leave a lot of crud in the pockets and i can usually feel if the insert isn't sitting in there correctly when i stick it in the pocket then i can uh blow it off if necessary so to speak [Music] i built this thing down here while you can't really see this um [Music] this thing down here a long time ago to to put tools in it's just a it's kind of just a very simple uh piece of aluminum i bolted to the bench machine this the top part of this cap 50 taper into it which right here and it so it holds the tool nice and secure it's very it fits nice and snug in there and it doesn't wobble around on you and it's this has been a very useful thing for indexing inserts on cutters like this because the cutter is held good you know i can push on it pretty hard here and it doesn't see how it doesn't well you probably can't see how hard i'm pushing but i'm pushing really hard on here and it doesn't rotate or move this has been a handy little thing just uh i had this aluminum disc and i machined this uh i just milled it in there with a you know a surfacing type millions cycle and i cut a notch in it so that it it lines up on the edge of the bench and then i put two screws to bolt it on there and this has been like one of the most handiest things i've ever done as far as this so that goes back in and then we set the offset down another 30 and we run another pass the third the third pass this is the third pass on a set of inserts on this part i want to see what happens when when i loosen the clamps here i fully expect this to bow out towards toward me after i loosen these let's see what happens [Music] it's not going to move till i take the last or release the last clamp [Music] and this is this is kind of what what goes on and you see how much that move i don't know if you can see that see there's a gap there now that's because the third pass of the inserts the inserts are dull or duller i should say they're not totally dull but they're dull enough to expand that metal and and when you expand this side of the part it blows it out this direction first let's clean out a little bit of shavings here i pretty much do this on every um pass because these kind of shadings clog up those chip augers and it'll probably pull it through but then i might have trouble and i don't want to mess with that so i've just been taking them out throwing them in the drum as you saw earlier in the video the sideburn was indexing inserts is around a hundred thousandths before it's finished to thickness a little bit less than that it's around 470 thousands thick right at the moment so i'm going to take two more roughing passes on these on this face well the actually the other face after we flip the part in this face and then we're going to take two finish cuts to bring us down to hopefully somewhere around in there around somewhere between 375 and 380 on the park so this might still bow a little bit here when i loosen it because i took three passes and at three passes the insert the third pass the insert is kind of dull and it um it tends to bolt apart a little bit but now what we're going to do is take we're going to take a pass on this side and a pass on the other side well i'll pass on the other side first when i flip it in a pass on this side and we're going to uh do it at a slower feed rate on these two passes these two roughing passes so let me and that should have less effect on the on the um boeing of the park and then we're gonna take two finish passes as well on each face and we're gonna even slow the feed rate down even more for the finish passes and see it see it sprung away from the fixture you could probably see that but i'm not overly worried about that even still now what we're going to do is we're going to oh by the way this is the next day i am [Music] i started this business towards the end of the day and i didn't quite finish i couldn't quite finish this part so i left at least a couple of roughing passes for the next day i didn't want to get down too close to the finish passes you know after the machine set overnight and everything so now i'm going to be a little bit more careful about being clean and i'm gonna wipe off the [Music] anything i'm even gonna sort of lightly run this stone across here make sure sometimes shavings get in between the part and get kind of embedded into this aluminum finish that first roughing pass across there now i'm gonna i'm going to be a little bit more careful here i'm gonna make sure none of these uh shavings or anything is sticking out above the part i don't stone this off this way on the last finish cut because i don't want the scratches from the stone on there let's loosen the clamps now i suspect or i hope that the part won't go away from the fixture as much as it did on the last time i changed these when i flipped the part over okay see it didn't didn't really spring out hardly at all so i flip this over this time it's actually bowing out in the middle which is good because now the clamps will hold it down and the ends will be tied up against the the um the fixture plate when i tap it downwards because i'm going to tap it down with the hammer again on this side i'm not tightening these clamps all too tight either just tight enough to hold the part [Music] now we'll tap it out let's see how i don't know if you can hear that on the video but you see how much so more solid the party is up against the fixture this is important there's no there's no gaps final roughing pass if you will oh i didn't mention this before but before i started these two final roughing passes i index the inserts on the cutter that was important and i'm only taking two passes now with the points those new points of the inserts and then i'm going to flip this part over again and then i'm going to index the inserts the final time and i'm going to take the two finish passes with the new points on the insert that's important because uh um if i attempt to do the finish cuts with those same inserts it'll warp the part again because the inserts have been dulled by the two final roughing cuts so let's see what happens here now i'm hoping that this is going to stay pretty flat might not be perfect [Music] actually that bowed quite a bit usually i'm not having that problem with these parts um now i've got to the point where i really have to just uh go for it and hope things flatten out because the um i hope the final finish cuts flatten the part out because there's no choice now see this is this is where you can end up if you try to take too much stock and i've almost ended up there now but not quite as bad as it would have been i guess but it can be much worse than that and if you if you try to rough it off too fast and the ends of that part at the ends of the stock get too thin then you end up like this now i'm going to be taking 15 thousandths per finish cut so hopefully i can suck this part down to the [Music] to the fixture good enough [Music] where that's not going to be a problem for the final finish cut and um i see the part might still flatten out it's kind of weird this stuff the way it's been working i'm going to tap it down it's not totally up against the fixture right up out of these ends but it's not it's not staying up too much to clean up if that makes any sense maybe about five thousands or so that you might say well just why not just take it down and not worry but what happens is if you get the if you get the plate to bowed and it's and on one of these facing cuts it's setting out a long ways away from the fixture here and you start cutting it off and the ends of the part get too thin and then when you flip it back and forth you can't clean it up and one of the parts that came up came close to that happening because i was experimenting taking like eight eighth of an inch depth of cuts across the part and uh you just can't really do that and maintain any kind of flatness uh the part after it's finished machine won't be perfectly straight probably i'm trying to get it as parallel as possible in a thickness but as it sets relaxed it might not be like straight within five thousandths of an inch or something but the tolerance on the drawing is 20 000 flatness if you will or both and um also there's more material coming off of these spaces for the final finished part in certain areas so my main drive here was to get the part out of the middle of the stock to where there's the minimum amount of stress in the material from the manufacturing point and that way hopefully when i take the part down to its final thickness in the middle areas some of these areas it gets cut down to a quarter inch thick that um it won't bow as much when i do that now i'm not really i'm almost expecting to have to straighten these parts a little bit after machine work because this is just the way this goes sometimes you get it you try to hold it as flat as possible and then straighten it a little bit after machining it and i may end up having to do that with these the titanium in particular and parts like this out of titanium that happens [Music] so what i'm going to do is tap this down make sure it's up against the fixture i don't know if you can hear that it's not really 100 up against the fixture out here you can hear the difference so there's a little bit of a gap and this you know if that got excessive of course it could cause chatter problems but i'm not having that problem fortunately with this cutter now we've taken that first finish cut on that face and you if you remember the part wasn't setting perfectly down flat like i would like it sometimes these parts vary i've been doing this on all the other ones and i hadn't really had this issue at the very end but it won't totally mess apart up if it's not perfectly flat really at this point it um just so long as i can keep it parallel i can see this thing already blowing out on the ends when i release the outside clamps and at this point if if that's the way it's gonna go that's better because when i flip this over on the um fixture i'm gonna i'm gonna take the stone on this a little bit here just to make sure there's nothing on here just to be careful and wipe it off coolant [Music] a little bit awkward i don't normally do it like this because the camera's here i'm kind of uh this now i'm even going to make sure i don't have anything on this face little shavings or anything because this is the last finish cut now see it's still kind of bold this particular part this could still flatten out some after the last finish cut we'll see but if i was going to have any bow at all i would prefer that it did it like this part did it because now when i take my finish cut out of here at the ends it will be up against the fixture and i am going to tap this down with the hammer i'm going to snug these clamps up not very tight just to tighten up to hold the part only feeding across here at five inches per minute and get the hammer make sure everything is up against the plate and hear how solid that is not the end compared to the way it sounded before and snug the clamps just a little bit more this is doing that to get the part down pieces up against the plate type remember how it sounded out here now here how it's up there this is often the way you can tell if something's not down against the picture the way it sounds so let's see what happens when this final finish cut happens it might straighten it out even yet because we're going to take a little bit more stock up here um we'll see we lucked out and this thing came out reasonably flat of course the the one part i would choose to film the youtube video on would act up on me this way all the rest of them by this point were pretty darn flat let's see maybe get lucky here it could stay flat it didn't do too bad still a little bit bowed but like i say what's important here is the thickness to be uniform more than the absolute flatness because it won't uh it won't stay flat probably when i do the final machine work you could say the one part that i filmed for the youtube video the rest of them were flat and better than this by this point every piece of stock is different you got to remember that when you're doing machine one let's uh let me get this on the bench over here and let's see what the thickness did that's really the most important part of it position this so i can actually measure this and you might be able to see it okay that's um 379. it's right at 380 there that's good i'd i'd prefer it to be there than to be too thin 380 over here let's see what the other side this this was the part that was facing up towards the clamps see what this looks like on this this this was down on the bar down here 380 right in the middle 379 and this is right at 380 over here so the part is parallel pretty good 380 on the end there see if i can do this with 380 right on the end there so that's actually perfect on the thickness that's exactly where i wanted it to be and it's actually parallel within a thousandth of an inch as far as thickness goes it just bowed a little bit but when i'm doing the machine work on these i'm clamping it down pretty good so i don't think the bow in itself gonna cause me too much of a problem the main thing here that i really wanted is to get this thickness uniform overall and it seems to be pretty good at least it's not perfectly flat like you saw when i took it off the fixture but and this is the only part that's actually bowed that much so far still got two more pieces to go but um i'm trying not to cut myself on these burrs so the other ones stayed flatter this one gave me a little bit more trouble on this this flatness if you will of the part but even still it i was able to get the part uniform on thickness that's my main objective here [Music] and here we are at the next part i just want to show this i changed the procedure just a very little bit i didn't take the three passes with each insert tip that i did before so we're up to the point where we're going to start the finish passes we've done all the roughing cuts i'm loosening the clamps off this part let's see how flat this one's going to stay here i backed all the clamps off this is like hardly just a little very little it's hardly bowed at all [Music] so what i'm going to do is um and wipe all this off don't really have to worry about this side of the part it's the other side [Music] and as before i kind of lightly stoned this side of the part i see the part is pretty darn flat now and it's it's looking about the same even though it's on the other side of the fixture [Music] this is the way they've been typically going that last part of course the one i chose to do the youtube video on wants to act up although i did change this a little bit there can be the condition i guess of where you're the same thing works for 90 of the parts but maybe that one 10 of the parts you know it uh it acts up on you so you've gotta change it to make it even more reliable now i'm gonna tap it down [Music] snug the clamps just a hair more i'd tighten them just enough to tap it down and now i'm going to index the inserts for the final time and cut my two finish passes at the slower feed rate oh also on the two last rubbing passes not only did i index the inserts so that i had fresh inserts on them but but i also didn't slow the feed rate down like i did on the on the part in the video i slowed it down to 7 inches per minute i left it running 10 inches per minute with fresh inserts start the end of the next part and just to show that what i'm talking about works the last part i don't know you know there's just something weird happen with it and i did modify my procedure a little bit here and that i didn't take three cuts when i got close to the finished size with a set of inserts i only took two on the last roughing passes with with that set of inserts and now let's loosen all these clamps actually i've got them all loose now you can see the part it didn't even pop away from the fixture at all except for a coolant behind it right now seems to be perfectly uh straight so the procedure does work it's just that i don't know there's there's a maybe there's some kind of statistics that say you know if you're right on the knife edge of something working and and if you have one little issue it doesn't work but i did change this um [Music] strategy or procedure just a little so i didn't take three roughing passes when i got close to the finished size i only took two with those inserts and then i indexed the inserts and took the finish passes and i think that's where i ran into my problem was i took three cuts with the same inserts before the two last roughing cuts if that makes any sense and uh that worked on most of the parts i didn't really have a problem with it but on this last part it didn't work so i refined it just a little bit and i think this will be even more reliable if i continue to well i only have one part left to do now anyway so i just wanted to show that just to show you that what i'm doing is working and then i'm not totally you know crazy about what this is doing and it did work like i said for the first all the parts all the way up to the last the third part from the last [Music] you

Channel: Edge Precision

Views: 38,223

Rating: 4.9503651 out of 5

Keywords: edge, edge precision, facing, flatness, Mitsubishi, horizontal mill, mazak, face mill, tungaloy

Id: SYtJum5k9V8

Length: 57min 50sec (3470 seconds)

Published: Sun Sep 19 2021