Ed Nisley's Blog: Shop notes, electronics, firmware, machinery, 3D printing, laser cuttery, and curiosities. Contents: 100% human thinking, 0% AI slop.
The Branson 200 ultrasonic cleaner in the bathroom has been with me for a long time. If I’m reading the IC date codes correctly, it’s one of the first things I bought after real paychecks began arriving back in 1974:
Branson 200 ultrasonic cleaner – IC date codes
The circuit board has that spacious old-time layout:
Branson 200 ultrasonic cleaner – PCB overview
Believe it or not, this isn’t why I took the thing apart:
Branson 200 ultrasonic cleaner – charred resistor
I’ve never seen a PCB with the component values printed on it, but they definitely came in handy!
That resistor measured 743 Ω: still good, even with an extra-crispy coating.
Assuming it was dissipating a bit more than its 2 W rating could handle, I replaced it with a 470 Ω + 330 Ω series combination of 2 W 1% metal film resistors:
Branson 200 ultrasonic cleaner – retrofit resistors – top
In parallel with a 15 kΩ resistor on the back of the PCB to bring them down to 759 Ω:
Well, almost perfectly. The original case holes were a snug fit around a 25/64 inch = 9.8 mm drill , so I hand-twisted X and Y drills (10.1 and 10.3 mm, respectively) to embiggen the holes for a loose fit around the new switches.
The two small plastic disks + paper shims hold the PCB just far enough away from the case to put the switch actuators flush with the case surface, with 12 mm M3 SHCS replacing the original 6 mm screws.
The cardboard test piece came from the usual scan of the original switch cover and, after a few iterations, we now have a stylin’ paper replacement:
The transparent cover with greenish edges is transfer tape intended for vinyl sheets, which will likely not survive very long at all. It’s outset 3 mm from the paper label, just barely enough to get any traction at all on the case.
While I was at it, I replaced the worn black rubber feet with fancy red stamp-pad rubber feet:
For the record, only two screws secure the top & bottom parts of the case. They’re on the power-cord end of the bottom, so those are the only two feet you must peel off to get inside.
All of which put the cleaner back in operation while I figure out what kind of tape will seal the power switches more permanently.
The motivation for making Yet Another Coaster was to see if combining a few techniques I’ve recently learned would produce a nicer result.
Spoiler: Yup, with more to be learned and practiced.
This is a somewhat nonlinear narrative reminding me of things to do and not do in the future, so don’t treat it as a direct how-to set of instructions.
The glass fragments sit inside holes in the next two (or three or whatever) acrylic layers, which must have a total thicknesses slightly more than the glass thickness andremain properly aligned while assembling the whole stack:
Smashed Glass Coaster 5 – alignment pin
Bonus: all that cutting generates an absurd amount of acrylic scrap. I eventually put much of it to good use, but not producing it in the first place would be a Good Thing …
So 3D print the entire base, which requires generating a solid model with recesses for the fragments:
Printed Coaster Layout – solid model
Because there’s no real justification for an optical-quality mirror under smashed glass, use reflective metallized paper in the recesses as reflectors:
Smashed glass printed coaster – metallized paper assembly
The glass is more-or-less greenish-blueish, so I used a strip of green metallized paper that made the glass fragments green. Obviously there’s some room for choice down there.
Both the base and the reflectors use outlines of the fragments, so I started with a scan of the approximate layout in GIMP:
Smashed Glass – 4in – group A – tweaked
I traced the outline of each fragment using the Scissors Select Tool, which lays line segments along the sharpest gradient between clicked points, then switched into Quick Mask mode to adjust & smooth the results:
Smashed Glass paths – quick mask
That’s the result after sketching & saving all the paths as separate SVG files to allow importing them individually into InkScape, OpenSCAD, and LightBurn.
Which turned out to be suboptimal, as it let me write an off-by-one blooper omitting the last file from the OpenSCAD model:
A better choice puts all the paths into a single named group, saved as a single SVG file, then importing that group from the file using its name, along these lines:
It’s not clear if I can do that directly from GIMP by saving all the paths in a single file, then importing that lump into Inkscape as a group, but it’ll go something like that.
After getting the fragment paths into Inkscape, add a 0.5 mm offset to each path to clear any non-vertical edges. This will be checked with the template cut using LightBurn as described below.
Add a 1 mm rim around the outside, with the 4 inch OD matching the usual PSA cork base:
Fragment layout – 4in
Now’s the time to nudge / rotate the outlines so they have at least a millimeter of clearance on all sides / ends, because that’s about as thin a section of printed plastic as you want.
Locating the center of the OD (and, thus, everything inside) at the lower-left corner of the Inkscape page will put them at the OpenSCAD origin. I have set Inkscape to have its origin at the lower left, rather than the default upper left, so your origin may vary.
Select one of the paths:
Fragment layout – Inkscape A
Then set the ID in its Object Properties:
Fragment layout – Inkscape A – properties
There is an interaction between the name over in the Layers and Objects window, which apparently comes from the GIMP path name for the imported fragments, and the resulting ID and Label in the Object Properties window. However, renaming an object on the left, as for the Rim and Perimeter circles, does not set their ID or Label on the right. Obviously, I have more learning to do before this goes smoothly.
With everything laid out and named and saved in an SVG file, the OpenSCAD program is straightforward (and now imports all the fragments):
Which squirts out the solid model appearing above.
Feeding it into PrusaSlicer turns the model into something printable:
Printed Coaster Layout – slicer
And after supper I had one in my hands.
Before doing that, however, import the same SVG file into LightBurn, as on the left:
Printed Coaster Layout – LightBurn
On the right, duplicate it, put the inner Rim on a tool layer, put the rest on a layer set to cut chipboard, and make a template to verify those holes fit around the fragments:
Smashed glass printed coaster – fragment test fit
Which a few didn’t, explaining why I go to all that trouble. Iterate through GIMP → paths → SVG → Inkscape → LightBurn until it’s all good. Obviously, you do this before you get too far into OpenSCAD, but they all derive from the Inkscape layout, so there’s not a lot of wasted motion.
The middle LightBurn layout insets the fragment outlines by 0.25 mm to ensure the paper fits easily and puts them on a layer set to cut metallized paper. Those fragments then get duplicated and rearranged within the rectangle on the top to fit a strip of metallized paper from the scrap box. Fire The Laser to cut them out and stick them to the bottom of their corresponding 3D printed recesses with leftover snippets of craft adhesive sheet as shown above.
I had originally intended to cover the bottom of the entire sheet of metallized paper with an adhesive sheet, but realized the whole affair was going to be submerged in epoxy, so just making sure the paper didn’t float away would suffice.
Having recently had to move the flat box of shattered glass to get something from behind it, I figured I could apply new techniques to old material :
Smashed glass printed coaster – oblique view
This is something of a test case to restart the whole process, so it has a few bloopers. This post covers the results, with more detail on the process to follow.
Arrange some good-looking shattered glass fragments within the 4 inch circle on the fixture:
Smashed glass printed coaster – fragment test fit
Scan it, trace the outlines into paths using GIMP, label the paths in Inkscape, import into LightBurn to laser-cut the chipboard disk in that picture to verify enough clearance around the fragments, import into OpenSCAD, and produce a solid model for PrusaSlicer:
Printed Coaster Layout – slicer
While it’s printing, laser-cut green metallized paper to serve as a reflecting layer below the glass, then affix the paper to the bottom of the recesses:
Smashed glass printed coaster – metallized paper assembly
During that process I discovered one of the fragment recesses didn’t make it from the Inkscape SVG file to the OpenSCAD model:
Smashed glass printed coaster – missing fragment
Like I said: bloopers. That fragment now has its place in the OpenSCAD code and the slicer preview above, not that I have matching fragments to build another one.
Put all but one fragment in their places, pour clear epoxy over everything, pop bubbles for a while, then let it cure overnight:
Smashed glass printed coaster – front view
Stick a PSA cork disk on the bottom and it’s ready for service.
Which looks OK-ish, although not significantly different from the straight-hole versions:
Layered Paper – tapered blocks
The taper shows off the layer colors along the sides of the holes:
Layered Paper – tapered blocks – oblique detail
Unfortunately, it also makes the corner blemishes painfully obvious:
Layered Paper – tapered blocks – detail
My first attempt didn’t skootch the squares over by the size of the inset, thus neatly aligning the upper left corners and giving the bottom right corners twice the inset:
Layered Paper – tapered blocks – fixed origin – detail
Which made those gnarly corners painfully obvious.
I tried stacking the sheets with their bottom side upward, hoping to disguise the edge charring, but to no avail.
The inset code remains in place with a default of zero:
One of Mary’s gardening buddies gave her a Taylor rain gauge he picked up at a closeout sale, but the exceedingly thin aluminum holder obviously wasn’t up to the task:
Taylor Rain Gauge – OEM metal stake
I briefly considered 3D printing a better bracket, but came to my senses:
Taylor Rain Gauge holder – front
A generous fillet of tan JB PlasticBonder holds the thin aluminum clamp ring to the top of the dagger spike:
Taylor Rain Gauge holder – rear
The spike is 6.3 mm acrylic and should survive for a while despite the stress-raiser corners. The next iteration will have radiused corners and could last longer:
Taylor Rain Gauge Holder – LightBurn layout
The holes will fit 4 mm screws, although the OEM holder isn’t good for more than 3 mm.
A colony of Yellowjacket wasps moved into a gap somewhere inside our front door, which we noticed only after they set up a heavy traffic pattern over the front step. The nest is far enough up inside the door frame (or, shudder, the wall) to be immune to rattlecan insecticide spray and the wasps simply tiptoe across sticky-trap sheets laid on their entrance paths.
That’s a hulking 12 V electronics case fan mounted on a cardboard bulkhead inside what’s basically a tunnel, with its power supply plugged into a widowmaker extension cord screwed into the light fixture next to the door.
The fan blows away from the door, with the general idea of killing wasps leaving the nest. Arriving wasps can walk home around the box, but departing wasps always take flight from the small crack under the door sill, whereupon they’re sucked into the fan, shattered by the blades, and blown out onto the step.
A Yellowjacket can make headway into a 1 m/s wind, but not for very long, which explains why most of them prefer walking home.
The carnage looks awful, so it seems to be working …
Run the program ten times to generate ten SVG images:
for i in {00..09} ; do python Layers\ -\ 24x18.py --layernum=$i --colors=9 > Test_$i.svg ; done
The LightBurn layout dwarfs the machine platform:
Layered Paper – circular colors – 24x18in – LightBurn layout
Fire The Laser ten times and you get a wall hanging:
Layered Paper – 24×18 – trial alignment
That’s a trial alignment atop a cardboard box on the Basement Shop floor, because gluing those 24×18 inch sheets of paper requires time on the Sewing Table, which is currently occupied by a much higher priority project. The brown innermost circle in the design is entirely separate from the brown Amazon cardboard box underneath everything.
Fairly obviously, you’d want something other than brown at the focal point of that design, but following the EIA color code gives me some confidence the result matches the intention. Feel free to tart it up with your own colors.
I laid a 29×23 inch sheet of sketch paper on the honeycomb, distributed neodymium bar magnets around the perimeter, and cut a 24×18 rectangle out of the middle:
Layered Paper – 24×18 – brown squares
Those squares are the cutouts from the brown sheet, minus what you see in the lead picture.
The black rectangle on the left of the LightBurn layout above is the 24×18 inch cut for the fixture. Centering that rectangle on the LightBurn layout (click-select, Ctrl-D to duplicate, then hit P to move it to the center) means aligning each of the ten patterns requires nothing more than the same click-select / dupe / P, with no delicate fiddling.
Then just lay each colored sheet into the hole and it’s properly aligned. Because the machine homes to the same physical location every time it’s turned on and the fixture is mmm fixed to the platform, cutting all ten sheets over the course of two days proceeded smoothly.
Cutting 2537 holes in the black mask takes a little under an hour:
Layered Paper – 24×18 – cutting black
The other sheets have fewer holes and go progressively faster:
Layered Paper – 24×18 – cutting yellow
The white sheet on the bottom has four alignment holes and four layer ID holes, so the cuts take a few seconds.