… it’s a bush in the headstock of a guitar. …
That’s good because hidden knurls need not be beautiful. Knurls often have a major aesthetic role, and it’s important these be clean.
My thoughts on a practice piece was to set up the diameter and “depth of form” on a material which won’t work-harden to the same extent as stainless.
Always good to practice, but don’t be surprised if the material used changes the result!
One way of visualising how a knurl works is that the ridges on the knurl first dent the work, and then, on the next rotation, the ridges engage with the dents. In this view, a regular pattern emerges because the ridges engage with the work like teeth on a gear.
I’m not convinced the ‘like teeth on a gear’ model is true, or maybe it’s only part of the story. One problem is that the ridges on a knurl are on a fixed diameter. Gear cutting requires an integer relationship between the diameter of the gear and the cutter, whilst knurls work well enough across a much wider range of job diameters, even if the integer relationship isn’t met.
I suspect knurls work by squeezing the material, not by cutting. If knurls are squeezed rather than cut, the mechanism is more like a tyre leaving a plastic impression of its tread in mud.
As Aluminium, Brass, Mild-steel and Stainless all have different plastic properties – how soft and springy they are – don’t be surprised if practice knurls are not the same as real ones. I think the movement allowed by plastic squeezing also explains why knurling is a bit hit and miss.
If plastic squeezing is how knurling works, then work-hardening stainless is much more likely to cause trouble than other metals.
Manufacturers make consistently gorgeous knurls by cutting them with a special tool, not by rolling. Unfortunately knowing that precision knurling is available doesn’t help the small workshop much because knurl cutters are off the scale expensive!
Mike
Dave