Re: [Harp-L] Re: Embossing v Burnishing

[Joe and Cass Leone <leone@xxxxxxxx>]

On Jan 2, 2009, at 3:21 PM, Vern Smith wrote:

> ----- Original Message ----- From: "Joe and Cass Leone"  
> <leone@xxxxxxxx>
> To: "Aongus MacCana" <amaccana@xxxxxxxxxx>
> Cc: <harp-l@xxxxxxxxxx>
> Sent: Friday, January 02, 2009 11:24 AM
> Subject: [Harp-L] Re: Embossing v Burnishing
>
>
> > On Jan 2, 2009, at 1:08 PM, Aongus MacCana wrote:
> >
> > > Hey I see from Stephen Schneider's mail that there is more to  
> > > this  embossing
> > > lark than I thought.
> >
> > In the act of embossing, you are forcing material UP by putting   
> > pressure on the surrounding material. This causes a, for lack of  
> > a  better phrase than I can come up with, a 'volcano' or a 'rift'  
> > effect  whereas the material is forced up at the expense of the  
> > surrounding  material. If one were embossing a reed plate, they  
> > would be making  the reed plate thinner while at the same time  
> > making a thicker area/ portion/structure/design, (add your own  
> > semantics).
> >
> > Two tectonic plates working against each other are an example of   
> > embossing. Mountains are an example of embossing.
>
> I disagree.

Apparently you didn't understand my post? :( That makes me sad. :(  I  
am agreeing with Aongus that swaging is correct.
> I agree with Aongus that "swaging" is a better and more descriptive  
> term than "embossing".
>
> Tectonic plates are brittle.  They fracture, buckle, and overlap  
> when forced together. Mountains are the buckled or overlapping  
> fragments.

Like most engineers, you're getting too technical. I was giving a '  
simplistic overview'
> The brass reedplate is ductile, not brittle.  In embossing /  
> swaging, after you exceed the strength in compression of the brass,  
> it flows as a plastic to the sides and away from the tool.  In our  
> case, it flows into the reed slot.

That's what I'm saying.
> Vern