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- Aug 2, 2014
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I think we've had short discussions on this before, but I found some useful information on the different grind angles for various trees. Keep in mind these are racing grinds. However, there are interesting thoughts on when a filed bevel is superior, axe width, what wood to avoid, etc. And this may help some people figure out what angles to use in that 1" to 1-1/2" cutting area for different woods.
To clarify the difference in a working axe, Dudley Cook recommends these angles for a general purpose felling axe: 10-13* at maximum bulge of eye, 5-8* at mid-blade hollow, 15* at cheek 1/2" from cutting edge, 30* at 1/16" from cutting edge.
The basics (at 3:04) and the article below:
https://www.youtube.com/watch?v=WWo0OapEy4w
How to learn more about chopping
a compilation by Arden Cogar Jr.
Woodchopping is a science. Sure it may look like a combination of brute strength and sheer ferocity, but it takes more than the ability to move heavy things. First, you have to know what you are doing. . .i.e., Circular hit scheme, controlling the axe (controlled, loose, relaxed grip), proper swing, proper foot spacing and movement (or lack there of depending on your personal preference), learning to use your axe (by either splitting, or working with an axe regularly), etc. Then, once you learn what youre doing, you will need to learn how to read wood and be alert. Arden Cogar Sr. was, and still is, considered the master at reading wood; and it wasnt until the past year or so that Arden Jr. actually began to listen to him and applying his theories on setting up logs. Arden Sr. felt it was time to share some information, so he and I sat down and talked about setting up blocks. I hope that these theories will help competitors in the future. Note that these theories are a combination of Arden Cogar Sr., Melvin Lentz, Jim Alexander, Jim Colbert, Mike Sullivan, Carson Bosworth, and everyone else Ive observed setting up logs.
White Pine. A soft timber which a thin edged 14 to 15°, 7.5" plus width axe, with virtually any type of grind, will cut. Larger growth rings (¼"+) usually means a soft block in plantation pine; small growth rings (¼") normally means a firmer log in plantation pine. Big growth rings in native white pine present the equivalent of the anti-Christ (i.e., hard as hell but note that native white pine is very rare and will likely not be used for competition purposes); small growth rings in native white pine are normally good as long as the chainsaw does not leave a glassy appearance on the end of the log. If the end is fuzzed up, its a signal of good, soft wood (note that the fuzzed up appearance is the normal signal of good wood in all types of timber). Normally, its nearly impossible to get a block w/concentric growth rings, as the tree may have grown faster on one side than the other; in white pine its better to put the larger growth rings to the top of the log and the smaller growth rings to the bottom of the log because most axemen have the propensity to hit the bottom of their logs harder. Continuing with circular logic, the larger growth rings would normally be softer than the smaller growth rings, thus leading an axeman to put the harder timber in the bottom where he/she will hit the block harder. Normally, white appearing white pine is relatively soft. A light white pine block symbolizes two things: its dry and its up the tree. A dry white pine is harder to cut than a wet fresh block or a block that is up the tree. A block that is up the tree is normally softer than a block that is closer to the butt of the tree. Continuing with the previous point, a block that is closer to the butt of the tree has larger growth rings than the blocks that are further up the tree. If theres a crack in this log youve had it, because that normally signifies an extremely dry piece of timber. Hardness will vary from butt to head of tree, with the head of the tree being softer than the butt; however, in white pine its all dependant upon moisture. Normally, red appearing white pine is harder than a bulls forehead. A red seam or a place in the block that looks red contains pitch pockets or brittle crispy red appearing growth rings on one side of the block; these red seams should be placed on the bottom of the log where an axeman can strike this mother a heck of a lot harder. When chopping the dryer white pine, it is best to use an axe that has a filed edge, as the file marks appear to suck the axe into the dryer wood. An analogy that would explain this marvel would be diving - a round edge in dry white pine is like doing a belly flop, whereas a filed edge in white pine is like doing a beautiful splashless dive. Simply put, a filed edge sucks the axe into the wood better than a chiseled or rolled edge.
Red or White Alder. A moderately soft timber which a rolled edged, 14 to 16°, 7"+ width axe, with flat or short banana grinds which are well polished, will cut. First, Vancouver Island Alder is a hell of a lot different than mainland and U.S. Alder. Vancouver Island Alder is soft as mud, and everything that applies to U.S. and mainland alder is the exact opposite of Vancouver Island Alder. Bigger growth rings mean harder timber; smaller growth rings means softer timber. But be careful of knots and note that these knots are easily noticed if your block is properly inspected; there will be swirls or bumps on the log. The fuzzed up end principal applies to this timber. If there are tiny little reddish-white spots on the timber, it normally signifies a soft log. A red appearing Alder is harder. A white appearing Alder is normally soft, but if it doesnt have the tiny little reddish-white spots on the timber, it might not be that great. The butt of the tree is normally harder than the head of the tree. Cut away from the crack of the log; i.e., the crack in the log should be perpendicular to the ground. Put bigger growth rings at the bottom of the log and the smaller growth rings in top of the log.
Yellow Poplar. A moderately soft timber which a rolled or chiseled edged, 15 to 16°, 7"+ width axe, with banana or short chisel, freshly ground, will cut. Dave Jewett once said, This wood is like a box of chocolates you never know what your going to get. This timber is patchy, and knots pop up anywhere, so be careful because these knots can ruin an axe. The fuzzed up end principal applies to this timber. Heart wood is softer than sapwood, so put the heart wood on the top of the block. If the end is glassy, be prepared to test yourself in futility; the only chance you have is if the other competitors have knot laden blocks that are virtually un-cuttable or everything has been dry kilned. If its dry kilned yellow poplar, be prepared to hit and rake as the chips will not move. However, the good thing about dry kilned yellow poplar is that its pretty even although only a few crazys are capable of cutting it. Glassy ended timber is free of knots, but its also hard as hell. A light block signifies something really bad. A heavy block is normally great, except when it has large growth rings. A light green heart is normally good, but the dark green heart is definitely good. Cut into the crack of the log; i.e., the crack of the log should be parallel to the ground. The butt of the tree could cut better than the head of the tree because of the amount of water in the log. The heavier the log, the better chance you have of having a pumpkin. Put the heart up, and if the heart is off center, put the heart toward the front of the block, while maintaining the heart toward the top of the log.
Aspen. A soft timber which a thin edged, 14 to 16°, 7.25"+ width axe, with nearly any type of grind, will cut. The fuzzed up end principal applies to this timber. White wood is normally hard. Dark colored wood is softer, especially if the heart wood is dark or tan colored. Glassy end is bad. If the block is heavy, its a godsend. If the block is light, consider it a good training log. Put the heart wood toward the top of the log.
Red Pine. A hard timber with hidden knots which a rolled edged, 15+°, 7"width axe, with a short chiseled grind, will cut. I, as well as many others, consider this timber to be total ????. I have broken many axes on this garbage. Big growth rings normally mean softer wood. Large growth rings are really bad. The bigger the growth rings, the heavier the pitch; the heavier the pitch, the harder the log. Weight is virtually irrelevant in these blocks. Normally, a heavy log cuts slower than the lighter logs. Put the heart toward the bottom of the log. Your best bet is to stay away from this timber completely, and encourage shows to avoid using it at all costs.
Ponderosa Pine. A moderately soft timber with no knots which a thin edged, 14 to15°, 7+" width axe, with a flat or chiseled grind, will cut. Awesome timber, this is possibly the best to cut on in North America because of the consistency of the timber. In Ponderosa Pine there is very little variability in hardness from the butt of the tree to the top of the tree. Normally, the only difference will be the amount of cork or dead heart; in the event you have the misfortune to draw a log with a substantial amount of cork (you can tell as the sap wood is redish, while the cork is almost white), put as much cork as you can to the bottom of the log. There is absolutely no worry of knots in this timber (particularly if Rolin Eslinger procures it!). You may need to experiment with the edges of your axes to see what works best. A rolled edge will not do much, but a filed or chisel edge normally works well. If the timber is harder, use a short chisel as the bananas and flats will have difficulty breaking the chip away.
Sweet Gum. A very hard timber which a rolled edged, 16+°, 7" width axe, with a short chiseled grind, will cut. Sweet gum can be good, and sweet gum can be very bad. I have seen many axemen use thinner axes in this timber and get away with it. Ive also seen many axemen use thinner axes and pull back serrated stubs. Simply put, sweet gum can be brutal. Accordingly, you will need to be careful. Normally the fuzzed up principle applies, as does the heart toward the top of the log principle. Larger growth rings signify a good log as long as the block is heavy. Sweet Gum grows in a swamp, and the more water it has the better. Lighter sweet gum logs are the equivalent of cutting dry kiln timber; you aint gonna, and if you do, youll remember it.
Cotton Wood. A confusing timber which thin but slightly rolled edged, 14+°, 7" width axe, with a grind that I have no clue about other than flats and bananas, will cut. Cottonwood is as funny as the day is long. Some say it is spongy; others say its junk. Probably, as long as you use a relatively thin axe thats free in the wood, youre okay. Make sure not to use an axe that does not have too much wood polish as a rolled edge could make the axe stick. Since the heart of Cottonwood block is amorphous, its best to try to set the log up according to the amount of white wood you have. Cottonwood that is normally brown in color can cut extremely well as long as its wet. Cottonwood that is white and light can also cut extremely well if it is not sun cracked. If a cottonwood log is sun-cracked, mark the event up to a training experience. The same principles apply in regard to fuzzed up ends.
To sum up the basic principles of reading wood: A fuzzed up appearance is the normal sign of good wood in all types of timber; normally, put your heart wood on the top of the block; big growth rings normally signify that the block is from the butt of the tree; and experiment, and try what works best for you.
Beyond setting up logs and reading wood, you must pay attention to the other axemen. You must be observant of your surroundings. Many of us find this difficult; think about it, if you heed my advice, you will not only pay attention to how you set up your own log, you will be observing how everyone else has set up their logs.
Beyond the observation of peoples logs and set up, you need to pay attention to how all axemen cut their respective logs. If someone cuts well, go and look at his log; look at the angles of the hits; look at the placement of the hits. If you can try to get a look at the axe the person used, pay particular attention to the edge. If you have a similar axe in your box, you should use it; if not, use what youre accustomed to.
Further, keep your axes out of the sun. You do this for two reasons. First, if your handle gets hot you are more prone to jerk blisters. Simply put, handles get hot and hot wood plus friction will cause problems. Second, although totally theoretical, it is believed that heat affects the way an axe cuts. Normally, after heat treatment, it takes a lot to alter the temper of an axe; however, there are a few out there who believe that excessive heat can alter the temper and the metallurgical composition of the axe; thus, this may be more fiction than fact, but keep your axes out of the hot sun. Older axemen believe in this old wives tale.
Beyond these matters, study peoples swing; his or her presentation of the axe to the wood (heel versus toe), and his or her foot position and spacing. Simply put, you have to study the environment within which you have chosen to make a sport. David Bolstad is possibly the best Ive ever seen at studying his environment. To be honest, David Bolstads knowledge of the sport is amazing, and I admire his intelligence and study of the sport.
Back to the point at hand, if things arent going well, look at whats working for someone else; find merit in another persons technique, choice of axe and demeanor in the arena. Basically, you have to pay attention to your surroundings. Its not easy; its monotonous. Given that most of us use Lumberjack Sports as an outlet to our busy lives, this advice may meet deaf ears- but, simply put, pay attention.
To clarify the difference in a working axe, Dudley Cook recommends these angles for a general purpose felling axe: 10-13* at maximum bulge of eye, 5-8* at mid-blade hollow, 15* at cheek 1/2" from cutting edge, 30* at 1/16" from cutting edge.
The basics (at 3:04) and the article below:
https://www.youtube.com/watch?v=WWo0OapEy4w
How to learn more about chopping
a compilation by Arden Cogar Jr.
Woodchopping is a science. Sure it may look like a combination of brute strength and sheer ferocity, but it takes more than the ability to move heavy things. First, you have to know what you are doing. . .i.e., Circular hit scheme, controlling the axe (controlled, loose, relaxed grip), proper swing, proper foot spacing and movement (or lack there of depending on your personal preference), learning to use your axe (by either splitting, or working with an axe regularly), etc. Then, once you learn what youre doing, you will need to learn how to read wood and be alert. Arden Cogar Sr. was, and still is, considered the master at reading wood; and it wasnt until the past year or so that Arden Jr. actually began to listen to him and applying his theories on setting up logs. Arden Sr. felt it was time to share some information, so he and I sat down and talked about setting up blocks. I hope that these theories will help competitors in the future. Note that these theories are a combination of Arden Cogar Sr., Melvin Lentz, Jim Alexander, Jim Colbert, Mike Sullivan, Carson Bosworth, and everyone else Ive observed setting up logs.
White Pine. A soft timber which a thin edged 14 to 15°, 7.5" plus width axe, with virtually any type of grind, will cut. Larger growth rings (¼"+) usually means a soft block in plantation pine; small growth rings (¼") normally means a firmer log in plantation pine. Big growth rings in native white pine present the equivalent of the anti-Christ (i.e., hard as hell but note that native white pine is very rare and will likely not be used for competition purposes); small growth rings in native white pine are normally good as long as the chainsaw does not leave a glassy appearance on the end of the log. If the end is fuzzed up, its a signal of good, soft wood (note that the fuzzed up appearance is the normal signal of good wood in all types of timber). Normally, its nearly impossible to get a block w/concentric growth rings, as the tree may have grown faster on one side than the other; in white pine its better to put the larger growth rings to the top of the log and the smaller growth rings to the bottom of the log because most axemen have the propensity to hit the bottom of their logs harder. Continuing with circular logic, the larger growth rings would normally be softer than the smaller growth rings, thus leading an axeman to put the harder timber in the bottom where he/she will hit the block harder. Normally, white appearing white pine is relatively soft. A light white pine block symbolizes two things: its dry and its up the tree. A dry white pine is harder to cut than a wet fresh block or a block that is up the tree. A block that is up the tree is normally softer than a block that is closer to the butt of the tree. Continuing with the previous point, a block that is closer to the butt of the tree has larger growth rings than the blocks that are further up the tree. If theres a crack in this log youve had it, because that normally signifies an extremely dry piece of timber. Hardness will vary from butt to head of tree, with the head of the tree being softer than the butt; however, in white pine its all dependant upon moisture. Normally, red appearing white pine is harder than a bulls forehead. A red seam or a place in the block that looks red contains pitch pockets or brittle crispy red appearing growth rings on one side of the block; these red seams should be placed on the bottom of the log where an axeman can strike this mother a heck of a lot harder. When chopping the dryer white pine, it is best to use an axe that has a filed edge, as the file marks appear to suck the axe into the dryer wood. An analogy that would explain this marvel would be diving - a round edge in dry white pine is like doing a belly flop, whereas a filed edge in white pine is like doing a beautiful splashless dive. Simply put, a filed edge sucks the axe into the wood better than a chiseled or rolled edge.
Red or White Alder. A moderately soft timber which a rolled edged, 14 to 16°, 7"+ width axe, with flat or short banana grinds which are well polished, will cut. First, Vancouver Island Alder is a hell of a lot different than mainland and U.S. Alder. Vancouver Island Alder is soft as mud, and everything that applies to U.S. and mainland alder is the exact opposite of Vancouver Island Alder. Bigger growth rings mean harder timber; smaller growth rings means softer timber. But be careful of knots and note that these knots are easily noticed if your block is properly inspected; there will be swirls or bumps on the log. The fuzzed up end principal applies to this timber. If there are tiny little reddish-white spots on the timber, it normally signifies a soft log. A red appearing Alder is harder. A white appearing Alder is normally soft, but if it doesnt have the tiny little reddish-white spots on the timber, it might not be that great. The butt of the tree is normally harder than the head of the tree. Cut away from the crack of the log; i.e., the crack in the log should be perpendicular to the ground. Put bigger growth rings at the bottom of the log and the smaller growth rings in top of the log.
Yellow Poplar. A moderately soft timber which a rolled or chiseled edged, 15 to 16°, 7"+ width axe, with banana or short chisel, freshly ground, will cut. Dave Jewett once said, This wood is like a box of chocolates you never know what your going to get. This timber is patchy, and knots pop up anywhere, so be careful because these knots can ruin an axe. The fuzzed up end principal applies to this timber. Heart wood is softer than sapwood, so put the heart wood on the top of the block. If the end is glassy, be prepared to test yourself in futility; the only chance you have is if the other competitors have knot laden blocks that are virtually un-cuttable or everything has been dry kilned. If its dry kilned yellow poplar, be prepared to hit and rake as the chips will not move. However, the good thing about dry kilned yellow poplar is that its pretty even although only a few crazys are capable of cutting it. Glassy ended timber is free of knots, but its also hard as hell. A light block signifies something really bad. A heavy block is normally great, except when it has large growth rings. A light green heart is normally good, but the dark green heart is definitely good. Cut into the crack of the log; i.e., the crack of the log should be parallel to the ground. The butt of the tree could cut better than the head of the tree because of the amount of water in the log. The heavier the log, the better chance you have of having a pumpkin. Put the heart up, and if the heart is off center, put the heart toward the front of the block, while maintaining the heart toward the top of the log.
Aspen. A soft timber which a thin edged, 14 to 16°, 7.25"+ width axe, with nearly any type of grind, will cut. The fuzzed up end principal applies to this timber. White wood is normally hard. Dark colored wood is softer, especially if the heart wood is dark or tan colored. Glassy end is bad. If the block is heavy, its a godsend. If the block is light, consider it a good training log. Put the heart wood toward the top of the log.
Red Pine. A hard timber with hidden knots which a rolled edged, 15+°, 7"width axe, with a short chiseled grind, will cut. I, as well as many others, consider this timber to be total ????. I have broken many axes on this garbage. Big growth rings normally mean softer wood. Large growth rings are really bad. The bigger the growth rings, the heavier the pitch; the heavier the pitch, the harder the log. Weight is virtually irrelevant in these blocks. Normally, a heavy log cuts slower than the lighter logs. Put the heart toward the bottom of the log. Your best bet is to stay away from this timber completely, and encourage shows to avoid using it at all costs.
Ponderosa Pine. A moderately soft timber with no knots which a thin edged, 14 to15°, 7+" width axe, with a flat or chiseled grind, will cut. Awesome timber, this is possibly the best to cut on in North America because of the consistency of the timber. In Ponderosa Pine there is very little variability in hardness from the butt of the tree to the top of the tree. Normally, the only difference will be the amount of cork or dead heart; in the event you have the misfortune to draw a log with a substantial amount of cork (you can tell as the sap wood is redish, while the cork is almost white), put as much cork as you can to the bottom of the log. There is absolutely no worry of knots in this timber (particularly if Rolin Eslinger procures it!). You may need to experiment with the edges of your axes to see what works best. A rolled edge will not do much, but a filed or chisel edge normally works well. If the timber is harder, use a short chisel as the bananas and flats will have difficulty breaking the chip away.
Sweet Gum. A very hard timber which a rolled edged, 16+°, 7" width axe, with a short chiseled grind, will cut. Sweet gum can be good, and sweet gum can be very bad. I have seen many axemen use thinner axes in this timber and get away with it. Ive also seen many axemen use thinner axes and pull back serrated stubs. Simply put, sweet gum can be brutal. Accordingly, you will need to be careful. Normally the fuzzed up principle applies, as does the heart toward the top of the log principle. Larger growth rings signify a good log as long as the block is heavy. Sweet Gum grows in a swamp, and the more water it has the better. Lighter sweet gum logs are the equivalent of cutting dry kiln timber; you aint gonna, and if you do, youll remember it.
Cotton Wood. A confusing timber which thin but slightly rolled edged, 14+°, 7" width axe, with a grind that I have no clue about other than flats and bananas, will cut. Cottonwood is as funny as the day is long. Some say it is spongy; others say its junk. Probably, as long as you use a relatively thin axe thats free in the wood, youre okay. Make sure not to use an axe that does not have too much wood polish as a rolled edge could make the axe stick. Since the heart of Cottonwood block is amorphous, its best to try to set the log up according to the amount of white wood you have. Cottonwood that is normally brown in color can cut extremely well as long as its wet. Cottonwood that is white and light can also cut extremely well if it is not sun cracked. If a cottonwood log is sun-cracked, mark the event up to a training experience. The same principles apply in regard to fuzzed up ends.
To sum up the basic principles of reading wood: A fuzzed up appearance is the normal sign of good wood in all types of timber; normally, put your heart wood on the top of the block; big growth rings normally signify that the block is from the butt of the tree; and experiment, and try what works best for you.
Beyond setting up logs and reading wood, you must pay attention to the other axemen. You must be observant of your surroundings. Many of us find this difficult; think about it, if you heed my advice, you will not only pay attention to how you set up your own log, you will be observing how everyone else has set up their logs.
Beyond the observation of peoples logs and set up, you need to pay attention to how all axemen cut their respective logs. If someone cuts well, go and look at his log; look at the angles of the hits; look at the placement of the hits. If you can try to get a look at the axe the person used, pay particular attention to the edge. If you have a similar axe in your box, you should use it; if not, use what youre accustomed to.
Further, keep your axes out of the sun. You do this for two reasons. First, if your handle gets hot you are more prone to jerk blisters. Simply put, handles get hot and hot wood plus friction will cause problems. Second, although totally theoretical, it is believed that heat affects the way an axe cuts. Normally, after heat treatment, it takes a lot to alter the temper of an axe; however, there are a few out there who believe that excessive heat can alter the temper and the metallurgical composition of the axe; thus, this may be more fiction than fact, but keep your axes out of the hot sun. Older axemen believe in this old wives tale.
Beyond these matters, study peoples swing; his or her presentation of the axe to the wood (heel versus toe), and his or her foot position and spacing. Simply put, you have to study the environment within which you have chosen to make a sport. David Bolstad is possibly the best Ive ever seen at studying his environment. To be honest, David Bolstads knowledge of the sport is amazing, and I admire his intelligence and study of the sport.
Back to the point at hand, if things arent going well, look at whats working for someone else; find merit in another persons technique, choice of axe and demeanor in the arena. Basically, you have to pay attention to your surroundings. Its not easy; its monotonous. Given that most of us use Lumberjack Sports as an outlet to our busy lives, this advice may meet deaf ears- but, simply put, pay attention.
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