Archive for the 'Bows' Category

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Published by archerchick on 17 Feb 2011

Let’s Make The American Flat Bow~ By Pierre St. Arnaud


Bow And Arrow
June 1972

Let’s Make The American Flat Bow~ By Pierre St. Arnaud

THE FLAT BOW began to appear on American
tournament lines about 1932. Prior to this, the English
longbow for centuries had been virtually the only type in
general use.

The transition from longbow to flat bow was due, in the
main, to efforts to improve bow designs by such archer-
scientists as Dr. Paul E. Klopsteg, Dr. Clarence N. Hickman,
and Forest Nagler. These men, physicists and engineers,
circumvented tradition and applied engineering principles
to the designing of bows. The application of these principles
resulted in a bow of rectangular cross section.
To understand why the longbow with stacked cross
section is functionally inferior to the bow of rectangular
cross section, refer to plate 1, types of cross sections. Let’s
consider a longbow being bent. The cross-sectional shape of
the longbow limb is narrow, thick and rounded on the belly
side. The belly C is the compression side and the back T is
the tension side.

The neutral or shearing axis N bisects the mass of the
section. In the longbow, the shearing plane is farther from
the belly than from the back. This condition imposes excessive
stress at the belly. The farther the fibers are from
the shearing plane, the greater are the compressive stresses
at the belly, and the belly overworks, and the back underworks.
To circumvent this design, and to prevent breakage
due to compression failure, the bow must be made long to
give a large radius of bend.

Refer to the sections for the semi-flat bow and the flat
bow. The neutral or shearing plane runs equidistant
from the back and the belly in these designs. All parts work
equally, and these bows are more efficient. They can be
made shorter than the longbow for the same arrow draw.
Now, let’s get on to the designing and constructing of
the flat bow. This bow is made more easily than the long-
bow. Those of you who have made the longbow will find
the same methods applicable to making the flat bow.

First, let’s consider the woods which can be used.
Lemonwood or dagame, a semi-tropical wood, is a good
choice. It is a good compression wood and can be used with
no regard to grain. Yew and Osage orange make excellent
bows, but let’s save these woods for a future article. They
require special treatment. Pignut hickory is high in tensile
strength and makes a tough, serviceable bow. It is good for
backing other bow woods, and it takes to hot bending
admirably.

White ash is another tough, elastic wood that takes
readily to hot bending. Black walnut makes a bow of quick
cast but must be backed with hickory. Greenheart, another
tropical wood, is high in compression strength. It varies in
color from light green to nearly black. Purpleheart
(amaranth) is a deep purple color and is also a tropical
wood.

There are many other woods with which bows can be
made, but the above mentioned offer a good selection. All
of the above woods should be air seasoned for use in
bowyery. Kiln-dried wood is brash and does not yield well.
Some of these woods can be bought to your dimensional
specifications from the following dealers: Craftsman Wood
Service Company, Department BA, 2729 South Mary,
Chicago, Illinois 60608; Constantine, Dept. BA, 2051-C
Eastchester Road, Bronx, New York 10461.

You will need the following tools and materials: a low
anglerblock plane, a ten or twelve-inch half-round cabinet
file; a three by_five-inch square cabinet scraper; a six-inch
rat tail file; garnet paper, medium and fine; and a
fifty-pound spring scale.
Lemonwood is so dense and close-grained you need not
concern yourself with flat or edge grain. If you use the
other woods, order your staves flat grained. The cross
section S shown in plate 1 shows how grain should run in
your stave and B denotes the side which is to be the back of
the bow.

The stave dimensions are 65 x 1% x 5/8. Smooth the
back of the stave with a plane and medium garnet paper.
Measure your stave from end to end and mark the exact
middle. Scribe lines completely around all four sides at this
point

The ten-inch handle riser will bisect this line on the
belly. The riser must be flat-grained hardwood, walnut,
maple or oak and will be ten inches long by 1% inches (the
width of the stave) by one-inch.

The riser is glued directly over the middle of the stave
with equal lengths of riser to each side of the middle mark
on the stave. Be certain the riser is glued to belly side of the
stave.

Both surfaces of the glue joint must be planed square
and flat, or a poor joint will result, and the riser will pop
off. When gluing risers, use any of the following types of
glue: urea resin, resorcinol or casein. The white polyvinyl
glue creeps under stress. Be certain to read the directions on
the container for the glue used.

Apply the glue to both surfaces and center the riser on
the stave. Three three-inch C-clamps are used — one at the
middle of the riser and one about one-inch from each end.
Use small pads of wood under the clamps to prevent
marring the bow. Be careful to keep the riser from shifting;
snug up the middle clamp, then snug up the other clamps.
Proceed to tighten until you get squeeze-out glue along the
edges of the joint. Allow this assemblage to dry for a least
twenty-four hours before further progression.

If C-clamps aren’t available, wrap the riser to the stave
with one-inch wide rubber strips cut from an inner tube.
Stretch the rubber tightly to insure sufficient pressure.
After removing the clamps, clean the squeezed-out
hardened glue from the stave with a file. Lay the stave with
the back up on your work bench. Refer to bow dimensions
in plate 1.

At stations A, five inches from the middle of the stave,
scribe marks across the stave. Measuring from the side edges
of the stave, place dots at the middle of lines A. Attach
small weights to the ends of a stout thread about a foot
longer than the stave. Allowing the weights to hang freely,
bisect the dots at points A. Place additional dots a few
inches apart under the thread along the full length of the
the stave. Connect these dots with a straight edge. This line
is your datum line.

Referring to the diagram, lay out the mid-part of the
bow. The arrow rest R can be transferred to the opposite
side of the stave if you are left-handed. At one-half-inch
from the ends of the stave, station E, mark out one-half-
inch for width. From these dots, straight edge lines to the
full width of the stave at station A. Both limbs are of equal
length in this design and differ from the longbow with its
longer upper limb.

The back is now laid out. Bandsaw or hacksaw the stave
to shape. Stay a little bit away from the lines when sawing.
After sawing, work just to the lines with a plane and file,
being sure to keep the sides square, ninety degrees to the
back. This completes the contouring of the back.

Lay the stave with one side up on your bench. Lay out
the grip. If a saddle grip is wanted, lay it out as shown by
the dotted line. Do not make the bottom of the saddle too
deep, or you will weaken the bow at this point. If a deep
saddle or a straight wrist grip is desired, glue a thicker riser
to the stave. The dips are three inches long. Go to station A
on the side of the bow limb. From the back to the belly,
measure one—half-inch for your base limb thickness. From
this dot, scribe the dip to the top of the riser. The bottom
of the dip should curve gradually and become more abrupt
as it approaches the top of the grip.

Beginning from station A, measure 6-% inches to station B
and follow the diagram markings to E. Mark a 15/32-inch
thickness at station B, 7/ l6—inch at C, and again follow the
diagram to station E. Join these dots to establish the
thickness taper. Repeat this procedure on the three remain-
ing sides of the limbs. Plane and file down to the lines, and
leave the rest for tillering. The dips are sawed and filed
carefully, so the bottom of each dip feathers smoothly into
the base limb.

Place a tip of the bow against the floor, belly side to-
ward you, and exert pressure against the grips with the right
hand while holding the uppermost limb with the left. Deflect
the lower limb only a little, while judging the amount
of resistance or stiffness and examine the limb to see if it
bends evenly. Repeat with the other limb.

If both limbs seem to balance with each other, you are
ready to cut your nocks and string the bow. If there is an
imbalance, mark the stiff spots on the belly with a pencil
and scrape these spots down, checking the bend and resistance
frequently until all seems to be in balance.
Refer to nock details in plate 1. Use the six-inch rat tail
and cut into the sides at station E. Go into the wood about
one-eighth of an inch and diminish this cut into the belly as
you slant at the angle shown. If you want to use overlays to
enhance the appearance of your bow, glue hardwood blocks
to the tips as shown in plate 1. The shaded area in the
diagram shows the amount of wood to be cut and tiled
away leaving the tip shaped as shown.

When overlays are used, the nocks are cut into the back
as well as into the sides. Otherwise do not cut into the
back, because doing so will weaken the tip. String the bow
to a seven-inch brace, measuring from the back of the grip
to the string. Use a stout string for tillering.

Examine the strung bow for stiff spots and uneven
bending. Both limbs must bend evenly. Mark and scrape all
stiff spots. If one limb is too stiff, scrape it down to match
the other in curvature. When the bow balances at this stage,
you are ready to use the tiller. Use 36 x 2 x 1%-inch stock.
Cut a notch at one end to accept the bow grip. Along one
edge, measuring twelve inches from the grip notch, cut a
series of string grooves two inches apart to a location
twenty-eight inches from the grip notch. Refer to plate 1.
Fit the center of the grip into the notch of the tiller, and
slip the string into the twelve-inch groove. Place the bow on
your bench with the tiller uppermost, and step back to
examine the bend.

Mark any stiff spots, and remove the string and scrape
down. Put the bow back in the tiller at the twelve-inch
groove and re-examine. The bend of each limb should start
at the bottom of the dip and curve in a gradual, graceful
curve to the tip with no stiff areas. Both limbs should bend
equally.

Work your way up to the twenty-eight-inch groove in
this manner. Be cautious when you get to the twenty-four-
inch groove. From this draw to full draw, do not leave the
bow on the tiller for more than a few seconds. Any imbalance
can cause the bow to break while under great stress.
Shape the grip as shown in plate 1, Gc. Round off all the
edges of the bow slightly as shown in the flat bow cross-
section.

Attach a large steel screw hook to a stud in the garage
about six inches from the floor. Hang the spring scale from
this hook. Bore a hole in the end of a yardstick, and hang
the stick on the scale hook. With the nocking point of the
string on the scale hook, draw the bow down to twenty-
eight inches and read the scale.

Sand the bow smooth, starting with medium and
finishing with fine garnet. Whisker the bow. Rub it with a
damp cloth. When dry, the whiskery ends of grain will be
left standing. Steel wool the whiskers off with 2/0 wool.
Mix a one-to—one solution of spar varnish and turpentine,
and apply this liberally to the bow. After twenty minutes,
wipe all the mixture from the bow with a clean, dry rag.

Let this dry for twenty-four hours, and apply the finish
coat full strength. The grip can be covered with leather or
heavy colored fish cord.

The flat bow can be recurved. There are two methods of
recurving, laminating and steaming or boiling. I will explain
here the process of boiling or hot bending. Lay out a board
16 x 4 x 1 3/4 inches as shown in A, plate 2. Be certain the
working or top edge is ninety degrees to the sides. Attach a
strap-iron stirrup and stop block as shown.

Leave enough room in the stirrup to accept the bow end,
the support strip, and wooden wedge. A straight—limbed
recurved bow is more highly stressed than a straight bow if
both are the same length. It is advisable to lengthen the
recurved bow. This is done by extending the distances between
stations A, B, C, D and E to 7% inches. This will
result in a sixty-eight-inch bow, measuring between the
nocks.
To prepare the bow for recurving, work it down to
dimensions as you would the straight bow, but do not cut
the nocks. Using stout cord, wrap a twelve-inch strip of
fiber to the belly of the bow on the end to be boiled. Keep
the wraps very close. A length of .02-inch metal strap can
be used in place of the fibre. The strap prevents spills from
raising during bending. Fill a large bucket or can with hot
water, and place the bow end into the water. Bring the
water to a boil and continue to boil. for 1% hours. Replenish
the evaporated water with more boiling water from
another receptacle. If you add cold water, the bow cools,
and the boiling process must be begun all over again.

When the end has boiled sufficiently, remove it quickly
from the bucket, and insert it into the stirrup of the form.
Tap the wedge firmly into place, and bend the limb into
place on the form. Clamp it down with a C-clamp through
the hole in the end of the form. Be sure the tip is centered
in the stirrup to avoid twist. This operation must be done
quickly to prevent the bow’s cooling. Wrap the whole
assembly with one-inch wide rubber strips cut from an
innertube. Stretch the rubber tight as you wrap.

Let the bow end cure in the form for two days before
removing it. Recurve the other end and cure. Refer to re-
curve groove and nock detail in plate 2 The groove along
the top of the recurve retains the string. The grooves and
nocks are cut after the bow has been tested against the
floor for proper bend.

After cutting the nocks, string the bow, and mark out
the grooves along both sides of the string. The end of the
groove should end at the point where the string ceases con-
tact with the recurve. The bow is tillered and finished like a
straight bow.

The English longbow is not adaptable to recurving; the
tip overlay can be used with the recurve; aluminum foil
wrapped around the .02 metal strap before boiling will prevent
rust stains; the string for a recurved bow will be
shorter than one for an equal length straight bow. <——<<

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Published by murphytcb on 13 Feb 2011

How long should my micro adrenaline last

I got a browning micro adrenaline for free, its an 05/06 swill this bow last for a while. I am just getting into bow hunting but want to practice alot before i go into the field and heard good thins about this bow. It is set to 28” draw and 50lbs. it shoots real nice and has a 4 pin tru glo sight . should this last me a while. thanks for the info

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Published by passmaster on 12 Feb 2011

IM READY TO PURCHASE A BOW

I SHOOT WITH FINGERS, IM THINKING OF PURCHASING A HOYT VANTAGE PRO BUT IM NOT SURE WHICH CAM TO USE WITH THIS BOW WHAT DO YOU RECCOMEND

I HAVE A 27IN DRAW

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Published by Mathews_ArchZ7 on 10 Feb 2011

Its about that time again…

What does everyone have for a set up…. Spring Gobbler season is fast approaching us.

Im not even using a shotgun this year, I think im gonna take my Mathews Z7 for a spin and see how it goes.

So let me know what everyone is using for a set up.

– Mathews Z7 with Easton FMJ 400 and the American Broadhead Company Turkey Tearror

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Published by archerchick on 10 Jan 2011

Howard Hill Big Five Longbow~Bow Test ~Sam Fadala


BOW & ARROW
August 1980

Howard Hill Big Five Longbow – Bow Test

HOWARD HILL was a legend long before his passing in
February of l975. He was the man who started my
generation shooting the bow and arrow. And we all began
with some form of the longbow, however humble the particular model happened to be.

We young enthusiasts sometimes had the great good luck
of catching Mr. Hill in one of his short films. For a quarter,
our parents could get rid of us for about a half-day at the
movies, with a cartoon, sometimes two, a main feature and
a serial calculated to keep us in suspense and to return next
Saturday to see how Flash Gordon made out against the
evil forces of Space.

In between the feature and serial, we often had a “select-
ed short subject.” Sometimes they were dull, and l suspect
that an educator in the community was bribing or threatening
the theater manager to slip these in. But one afternoon,
the short was anything but dull. It was Howard Hill himself,
doing things with a bow that didn’t seem possible to us.

The gang was already into some form of archery, but it
was Hill who drew us away from the horrible mismated
archery tackle to balanced tools. My first bow, in fact, was
an oleander limb whacked off of my grandfather’s hedge, a
stretch of packing twine for a string and milkweed reeds for
arrows. Self-bows were next. They were often lemonweed,
and not all that bad, but too thin of core and too flat of
limb. They only cost a few bucks to buy and arrows for
them were twenty-five cents. Mine drew around twenty-five
pounds. I still have it.

The yew bow was a romantic and suitable model. But
back in these carefree days of the twenty-five-cent movie
in the l950s when this writer was a ripe IO years old we
began to tune in on the Hill archery song the handsome bows
with matched equipment to go with them, longbows. By
way of definition, these bows were indeed long, certainly
sixty inches and more often sixty-six inches and more, and
they were thick of core and narrow of limb with graceful
tips to nock the string.

The Howard Hill Company of Hamilton, Montana, is and
has been offering a replica, as it were, of the Hill-style bow,
and the particular model which crossed my hands for a test
run was their top-of-the-line Big Five model. The Big Five,
according to the literature and information given me by Mrs.
Betty Ekin, friend of Howard Hill and, along with son Craig,
operator of the Howard Hill Archery Company, was patterned
after the famous “Sweetheart” bow of Hill’s.
This top-of-the-line model is the one I preferred to test,
as I try to do with all companies’ bows. The construction of
the bow is per Hill’s design. That is, the core is bamboo.
Anyone who looks into the older books referring to Hill’s
bows will recall that Howard preferred bamboo for his limb
laminations. The current Hill Company has followed suit
and is still using the particular bamboo which Hill deter-
mined was best. Those of you who may, perhaps, flyfish,
may be familiar with the “temper” and action of the more
expensive “split bamboo” flyrods. The same criteria of
action and resiliency which make a flyrod “alive” also make
the longbow feel alive in the hand.

The specific type of bamboo, of course, is important as
all bamboo is not created equal. Hill reportedly took a trip
to Japan in 1960 in order to find and ship home a specific
species of bamboo he found most suitable for his needs, and
I am told that the Hill Company still uses this species in the
bow’s construction to date.

Obviously we are speaking of the heart of the bow when
we talk bamboo. This heat-treated bamboo, which of course
has been split into thin lengths, is then laminated together
to form the thick, but narrow core of the true longbow type.
As a simple matter of rule, I noticed that the Hill’s bows rank
according to number of laminations, the top of top-of-the-line
Big Five having four strips of bamboo, the Tembo with three
and the Half Breed with two. I cannot say that the bows with
only two laminations or three, are not fine-shooters too, because
my previous tests show that they are; however, the price being
reasonable anyway, the Big Five is surely one to look at as
a bargain.

The Belly and face of the bow are both backed by glass on the
Big Five, in this case, Bow-tuff, a brand with which we are all
familiar. The riser is Bubbinga hardwood, another material we all
know well. Though not an elaborately beautiful wood, Bubinga is
a sturdy and entirely suitable in the longbow. The traditional longbow
riser is going to sport a handle of tanned leather anyway, covering
most of the wood. The shelf of the bow consists of a small hunk of
very hard tanned hide which is tucked underneath the leather handle.
Another piece of hide is used against the side of the handle
where the arrow would make contact.

Shooting off the shelf is, of course, standard practice
with the longbow, and it sometimes bothers those who have
not tried this type of bow. It should not. Shooting off the
shelf works fine. If a very special arrow rest were attached to
the bow, there is no doubt that a few foot-seconds of speed
would be picked up, but shooting from the shelf offers fine
control and very easy handling of the shaft from nocking to
controling during the holding of the bow at fulldraw. l prefer
to shoot off the shelf with a longbow and will not attach
a rest to one.

The nocking ends of the bow are traditionally pointed and
very lean. And, contrary to the way things might look,a long-
bow tends to remain strung admirably well. l have never in
my life had one become unstrung in the act of shooting, in
fact, and I have shot a good many longbows. There is an enforcer
strip of glass laminations on both ends of the Big Five.
This is a sandwiched piece of glass that tapers thin.

The final finish of the bow is excellent with the exception
of a couple places where it looks as though there was an
epoxy run, or lumping of final liquid finisher. The widest `
part of the limb is about 1 1/4 inches. That will i seem slim to
anyone used to the limbs on a compound, and it is also
quite narrow as compared with the recurves of the Fifties
and Sixties that were sold primarily over the counter. It is a
matter of what fits where, and the narrow limb on the long-
bow is a plus factor, The core, that is the thickness of the
bow as viewed from the side upward from the riser and down
from the riser, is thick, in this case about seven-sixteenths-
inch at the widest measure.

The particular longbow that I elected to test turned out
to be a draw weight of sixty-four pounds thrust at twenty-
seven inches pull. I would have preferred a seventy-pound
draw at twenty-eight inches; however, I did overdraw the
bow by one inch in the test so that I ended up with a force
of sixty-seven pounds. This was close enough, as I do like to
keep all my test bows within a range of about seventy pounds
pull. Overdrawing is not the best practice in the world, by
the way, but for the few shots I had to fire over the chronograph
screens, plus less than fifty darts tossed at the targets,
the bow was not in any sense harmed.

All in all, those are the physical characteristics of the
Howard Hill Company’s Big Five longbow. However, the
reader may be curious about the name itself. As already
stated, the Big Five is a direct copy of the old Sweetheart
bow of Hill’s, and it was that bow which went on the famous
safari after the “big five” of Africa. Hill took three elephants
on that trip, I am told, firing four arrows for all three
from his 115—pound bow. Back in the Fifties, when the feat
was fresh, wild stories flew all around the archery world that
Hill had used a 150-pound bow and so forth, but it was the
II5-pound model that did the trick, firing special forty-one-
inch arrows.

Hill’s bows were set up for a twenty—eight-inch draw, I do
believe, and that has been considered a standard for many
years. While Hill was not a weight lifter, he was a powerful
man who had a good set of arms on him, However, he apparently
credited his ability to totally master the eighty,
ninety and one hundred-plus-pound bows to building up to
them. Naturally, a whole different set of muscles apply to
drawing the bow, and I have seen many a strong man shudder
and shake trying to draw a bow of far less than eighty
pounds pull.

Hill did not advocate going to heavy bows that were not
manageable by their owners. Of course this is correct, but
we should not misconstrue the statement as some have. Hill
was not in favor of sticking with a light bow just because it
could be easily mastered. He elected for the heaviest bow a
person could shoot with comfort. That means, he wanted us
to build into our bows, finding a place where we could
master a given poundage.

In shooting the longbow, it is difficult to explain how
to aim one. I have never had any luck trying to tell some-
one how to hit a target with a longbow, although Hill at-
tempted to teach a split-image design of aiming. I am not
certain that is what he called it, but the term seems to be
correct. Simply, a longbow is fired-pretty much the way
we toss a rock. A rock has no sights. And yet I’d bet that
no one reading this would have any trouble coming pretty
close to a tin can at ten feet, thirty feet, twenty yards;
even much farther. And·we have darn little practice at
rock throwing, too.

Since there are no sights on the longbow (although
there certainly have been sights on some longbow models
out of the past) it is best to grab up the bow, nestle the
hand comfortably into the leather grip without choking
the grip down, and then moving the bow around a bit to
get the feel of it. Remember, the entire mass weight of the
Big Five is only one pound and six or so ounces.

The bow can be held without undue strain in the bow-
hand, by the way, as the handle wedges back into the palm
just as with any other bow type, and this is the best way
to shoot, without choking down on the grip. The same
anchor point the archer uses for his compound may not
be fitting for longbow shooting, although I find no problem
using the same point. The left arm is somewhat crook-
ed in drawing the longbow and the archer leans into his
work, rather than standing straight up. The bow is usually
canted, or tilted off to one side, which not only aids
in maintaining the arrow balanced on the shelf, but also
allows for the head to be bent a little, too. The bending
of the head puts the eyes in line with the shaft and the
target.

All I can say is that something unconscious soon takes
over and the archer is popping arrows into the target butt.
I like to think l keep my eyes on the target and not the
tip of the arrow, but I am told by smarter men than l
that the eye does dart back and forth from target to
arrow tip. I am not going to consciously try to discover
whether it does or not. `

The fistmele on this bow will be terribly small by the
standards of the old recurves and the modern compounds.
In fact, shooters may have trouble with this, sometimes
turning the riser so that the string snaps into the arm.
Naturally, it is wise to use an arm guard But the shooter
should not try to make the fistmele dimension wider. It
will normally slow the bow down and decrease the cast
and sometimes upset the arc of the arrow. The fistmele
is properly short, and on my test model it was only 5 3/4
inches from the back of the riser to the string.
The riser is standard on the Big Five. That is, it points
inward to the hand as per normal/average. However, Hill
did use some models which were reverse handle. I have
such a bow and I am forever asked “Why did you string
your bow backwards?” It is not strung backwards. The
handle is fitted that way to offer a different type of grasp
for the hand.

In stringing the Big Five, I used my stringer. That
makes sense to me. I never did care for the step-through
method, because even with a stable-limbed longbow, a
twisted limb is still a possibility. There is also the push-
away method, and that works all right. I may not have
developed the particular muscles necessary to master
the latter, and with my own seventy-pound longbow, I
have a hard time stringing it with the push-away, so I
have gone to the stringer. Sissy, maybe, but it works.

Hill Company has suggested the stringer too, incidentally.
As for arrows, the plain old cedar shaft is still mighty
good in the longbow, but I have successfully fired all
types of materials. The quick recovery of the cedar shaft
is hard to beat. Remember, the arrow has to, in fact,
dart around the riser of the bow and then spring back
into the line of arc. Therefore, the resilient cedar shaft
is a good one. I was surprised to see the true all·graphite
shaft work well, too. The shaft was a Lamiglas, which
is not part graphite, but all graphite.

Only these two arrows were used for shooting, as I had a
dozen of each around. The cedars were trimmed to twenty-
eight inches from the inset of the nock to the very tip of the
arrow and then the arrow was drawn back until the tip rest-
ed full on the shelf.

As for the Lamiglas arrows, they were left full length as
they are so very light anyway, and contrary to what we might
think, the longer pure graphite arrow is stronger than a short-
er pure graphite arrow. At least, this is what I am told by an
engineer who is in the business. Therefore, I have left my
graphite arrows at a full thirty-one-inch draw. With my favorite
compound I have trained myself away from the long 31 1/4 inch
draw I used to have, down to a more useful twenty-nine-inch draw.
I like a twenty-eight-inch draw in the longbow. We sometimes get
carried away with getting our equipment tuned and forget that we
can tune ourselves, too. Our bodies bend. And we can change a
draw length to some degree. It is no trouble to relax into the longbow,
lean into it, bend the elbow and enjoy a nice twenty-eight-inch draw
and the resulting lighter stiffer arrow.

The cedar arrow attained a velocity or 176 feet per second (fps).
This arrow, however, was a shade overweight for
the bow, being an Acme premium cedar in 70/75-pound
spine. l might have gotten the bow to stabilize well with a
65/70 spine, or even a 60/65 for a target arrow, though the
latter would probably be overcome by a heavy hunting head.
The Acme 70/75 weighed 497.5 grains.The stiff and ultra·light
pure graphite Lamiglas shaft
earned a starting velocity of 192 fps, this arrow weighing
only 434.2 grains. The stiffness and lightness seemed excel-
lent out of this bow, however, and it is a tribute to a good
arrow.

The nocking point was set on the bow by testing, not by
measuring first and then arbitrarily setting it, l simply put
the nocking point so that the arrow was perfectly horizontal
to start with and I moved the nock up on the string just a
little at a time until l was rewarded with a stabilized flight
out to forty yards and beyond. The greatest shooting I did
with the bow was at forty yards.

The arrows were, as per necessity, feather fletched. A
plastic vane will hit the shelf and toss the arrow askew. The
feathers simply fold back on the shelf and allow the arrow
to continue on its path. Unlike the testing of a compound,
the bow was shot “out of the box.” In other words, tuning
was not questioned. The longbow can be tuned, of course, by
changing the weight of the string, or by switching string
length to change fistmele. In short, by manipulating the
variables one at a time and checking arrow flight. Arrow
swapping is in itself bow tuning. But that is another story.

A glove was used, not a release of any kind. That’s nothing
new for me as l use a glove for all my testing, feeling that I
want to know the performance of the bow in the hunting
field as I would use it there. The glove will indeed slow down
the arrow to a small degree, however, and in all fairness this
should be pointed out. I have, in some compounds, picked
up several feet per second by going to a release, but usually,
in an overall contest, a smooth good glove won’t be that far
behind the velocity delivered by a release mechanism.

The newcomer to the longbow, especially the compound
shooter, should relax and enjoy this addition to his sport.
I call it an addition because I shoot both compounds and
longbows. And he should not go too heavy in draw weight.
It’s unnecessary for the most part when targets and deer-
sized game is going to be the main use of the bow. A fifty-
pound longbow will give a lot of pleasure, and when the
shooter builds up to it, a sixty or seventy will do a great
deal of work. If an archer is dedicated enough to spend
time in the back yard, he can build up to a lot of weight
and handle it well. Men of slight build can do it. I have a
shooting acquaintance who is small of stature, yet he fires
an eighty-six-pound longbow with ease and control. Unfortunately,
this peak can be lost if practice is forsaken. You’ve
got to keep in shape.

At the beginning of Winter, l am pretty strong with my
own seventy-pound longbow. By the beginning of Spring,
when Winter has denied me much shooting time, I’m pretty
bad. l should have an identical longbow to my seventy-
pound model that draws about forty-five or fifty to build
up with for the start of the new season each year, or move
to a civilized locale where shooting all year long is possible.

The Howard Hill Company Big Five bow sells, as this is
written, for $l79.95 plus F.E.T. (Federal Excise Tax) and
shipping. A letter to the company at N.W. 219 Blodgett
Camp Road, Hamilton, Montana 59840, will bring a price
list, plus a little catalog of the Howard Hill Company’s bows
and products, as well as some interesting information on
Hill himself. The company also sells arrows, gloves, arm-
guards, strings and other supplies to accompany the bow, all
in the traditional Hill format. And they also offer a few
books to help the archer, such as The Complete Archery
Book by Hochman and Longbow by Hardy.

The longbow, unlike the over-the-counter recurve, has
continued with a rather large following. It’s history is an
extremely interesting one, and a very long one, with no end
in sight, which is the way we would hope to have it. It is
good that an archer can select from different bow styles,
compounds, recurves and longbows, giving him that much
more scope to make his sport that much more interesting.

– Sam Fadala

ARCHIVED BY
www.ARCHERYTALK.com
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Published by Ryan Grand Pre on 02 Jan 2011

Late 60s Early 70s Fred Bear Kodiak Special Compound Bow

I have a fred Bear Kodiak Special Compound Bow That was made in Grayling, Michigan late 60s Earliy 70s. Need to know what it is worth?? any idea would help.

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Published by ashleylubold on 29 Dec 2010

Doinker 30″ Stabilizer and 8″ Back Bar

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Published by ashleylubold on 29 Dec 2010

Sure-Loc Supreme 10? Sight Bar

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Published by admin on 24 Nov 2010

THE CELEBRATION OF DEATH by Ted Nugent

THE CELEBRATION OF DEATH
by Ted Nugent

I know, I know, upon reading my inescapably obvious title, the socially challenged amongst us are spitting coffee or other some such beverage and assorted abused brown lippy substances all over their Texas Fish & Game magazine. In a world gone berserk with the scourge of politically correct denial, I expect nothing less.
The good news is that within this fine coterie of rugged outdoorsmen and women in whose hands this fine publication rests, the vast majority of hunters, fishers, trappers and just good ol all American grillmasters know exactly what I am talking about, and in fact grin with the certainty that though totally unnecessary to state in the world of honest consumers, in America 2010 it is time to state the truth as often as possible, confortable or otherwise.
And though I’ve heard it stated over and over again and again ad nauseum ad infinitum, I dismiss out of hand the lame claim that the kill is anticlimactic to the hunt itself. Yeah, right. I see it all the time where sporters get way more excited and jubilant when they don’t bring home fish and game than when they do. No one cherishes and celebrates the entire hunt and hunting lifestyle more than I do, but give me a break. When the beast is dead at our feet due to the incredible dedication, diligence, patience, sacrifice and good old fashioned good luck, the fun factor explodes exponentially when we kill, and we all know it.
The claim otherwise comes from some elitist, out of touch outdoor industry so called leaders, and certain cowardly outdoor writers that are afraid of their own shadows and recoil in abject trembling fear at the assumption that all people outside our sport hate us, hate dead deer and pretend that their store bought dinner is not dead. Not even close.
Of course, known by those of us who actually pay attention to life and hang out with attentive, intelligent and sophisticated folk, we are well away that our very lives carryon due to that very celebration of death. Numerous times each day throughout humankind history, it is the flesh of dead creatures that provide man life itself.
For those of us that hunt, fish and trap, the term “closer to the earth” wasn’t at all necessary to remind us where our protein and nutrition comes from. As we like to say, you can’t grill it till you kill it. Perfection personified.
As we approach our fallen prize, as we turn the straps on the grill, as we take a good hearty snort of prepared meals’ aromas at the table, and as we join hands in reverent thanks to the Creator for the miracle of sustain yield, all the way through the “mmm.. mmm goods”, “yums”, various questionable guttural noises, burps and other assorted such audible sounds of appreciation and joy, clearly genuine celebration ensues for dead stuff everywhere.
I’ve also heard of the feelings of remorse some consumers claim at the death of an animal. I’m not buying it. If ever there was a perfect act and a perfect moment, it is when we balance the herd and bring food home to our loved ones. Remorse? I think not.
So to quote the great Fred Bear, we all surely know that everyday afield does indeed “cleanse the soul”, but of much more importance, done with a sense of excellence and dedication to be the best that we can be, the results will fill our bellies too!
I share a lot of very special meals with my fellow man in my travels around the world, and I have yet to witness anything other than celebration at the table or campfire. Let it be known, the creatures feed, clothe, shelter and medicate us. Always have, always will. That is the prime cause of celebration in life, of life, via death. The beast is dead, long live the beast.

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Published by mkt on 29 Oct 2010

alphaburner max speed

Being as how the alphaburner is a speed bow.. has anyone chronoed one @ 30 inch draw/ 80 lbs, say 350 grain arrow?

 

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