Cutting Rosewood

[David Rust]

Hi All,

I am making some game pieces from 1/4" Rosewood stock, it engraves very nice however I am having troubles cutting it. I have to make 4 passes to get through it and the cut edges are very burnt. What setting are you guys using? I am using 10/100/1000 on an Epilog Helix 60Watt.

Thanks!

[Chuck Stone]

Are you raising the table after each pass? As you etch into it, the beam gets
wider, dispersing the power across a larger area.
I would take a piece of scrap and make a nice wide etch. (say, a block 1" x 2")
Then cut that in half so you can measure the depth you're getting in one pass.
then move the table up that much for the next pass.

I love rosewoods, but I can't work with them anymore

[David Somers]

David,

I can't speak as a laser guy on that stuff. But I can tell that you as a wood turner it can vary greatly in density based on the variety and locale it grew up in. A wonderful wood, but it is quite variable in density and texture and tightness of the grain. You may need to experiment with different suppliers, find a variety and locale that works for you, then try to stick with that.

Dave

[Mike Null]

I think Dave is on to it. Rosewood is a highly dense and oily wood. I do not think you'll be able to cut 1/4" stock without charring it. If you want to continue then I'd reduce the power and speed and expect to make many passes to get through it.

[John Pletcher]

I ran into the same issue with mahogany. Even though central American mahogany has a density less than hard maple I was having trouble cutting through 3/8" thick mahogany in a single pass. Hard maple no problem, mahogany not so much. Rosewood is quite dense, but I think some of the problem may also be related to the unique extractives in the tropical woods that may inhibit the lasers energy being absorbed to facilitate cutting.

[David Somers]

Aside from oils in the woods, a lot of tropicals also have silicates in them that I suspect may be causing you problems aside from their generally dense nature. I work Koa a lot and it is terrible about dulling tools quickly because of the silica content.

Something else to consider as you work with tropicals. Some folks can develop an allergic sensitivity to individual species. So please be sure you are venting your laser outside or filtering the heck out of it if you are using an internal air filter. Any tropical can cause this either from inhalation or skin contact. A lot of wood turners in the islands have learned this the hard way after years of working with those woods. A major bummer if you have built up a good business based on a wood that you are now sensitive too. Just FYI.

[Mike Null]

It doesn't have to be exotics. I have to wear a mask when cutting walnut.

[David Rust]

Thanks guys! I'll experiment some more. I was planning on using Maple and Rosewood for a nice color difference for each player, I also picked up a piece of Padauk, very rich in color, etches and cuts very nice. I might go with that, Maple and Padauk if I can't get the Rosewood to cut well.

[David Somers]

If you can get it I am also rather fond of Redwood/bloodwood. Brosimum rubescens. Beautiful color. Might be dense enough to cause issues on the laser, and like Koa I believe it has a high silica content. I turn it alot though on the lathe for small things like finials and ornament globes. Very nice color. Not sure if you can get it in a veneer for doing laser inlay, but it would sure be pretty for that.

Let us know how the padauk works for you!!

Good luck!!

Dave

[Kev Williams]

As for raising the table to go deeper- I've found that raising the table just makes cutting deeper even harder to do. I've always had the best luck focusing right on the surface, no matter how deep the cut.

[Chuck Stone]

As for raising the table to go deeper- I've found that raising the table just makes cutting deeper even harder to do. I've always had the best luck focusing right on the surface, no matter how deep the cut.

interesting.. I've found the opposite. I wonder if it has to do with what we're
cutting or what equipment we have? ie does air assist blowing into or across
the cut make a difference? Would one material cut better than another when
cutting deeper?

I know that once I've made a cut into a piece, the surface is no longer the focal
plane. So it makes sense in my head that I'd need to raise the table so that the
beam would be in focus at the surface of the wood that I'm cutting (which is now
below the surface of the sheet and down "x" distance into the cut)
That's how it fixed in my mind.. might not be what was really going on..

I do know that for a while I had to use another airbrush compressor and had the
hose taped to the back of the carriage (kept coming off, though) and that's about
the time I was trying to get through thicker pieces..