If your machine justs runs on while you wind a bobbin

I can't resist it! 

    A gentleman wrote to say his Featherweight just keeps runnin'-on when he tries to wind a bobbin. I suggested he take the hand wheel off and clean the bore and the bushing it turns on, with 220 grit wet and dry sand paper and oil.  He did and the machine still didn't behave. So I suggested;

     I think you will find that if you take the motor drive belt off it will take no effort at all to turn the hand wheel on your machine compared to a machine that doesn't have "the problem". I suspect your machine is so well "broken-in" that all of the parts are working in perfect concert with each other therefore there is no resistance to the machines being turned and however slight the tug of a well oiled hand wheel there isn't enough internal resistance prevent the machine from "running-on". Your machine probably runs fast compared to some Featherweights.

     To induce a little internal resistance to the machine's turning I suggest this. Gain access to the underside of your machine and locate the set-screws that secure the bushings for the lower high speed shaft. The bushings and their set-screws are in the "aluminum blocks" cast into the base of the machine that support the bushings. These two blocks have the oil holes drilled through their side to oil these bushings. I'll pick on the bushing at the hand wheel end of the machine that has the lower high speed shaft's gear next to it. The other end of the shaft has a block with a bushing in it also. In both blocks is a set-screw pointing out the bottom of the machine. But for now we pick on the bushing in the block at the hand wheel end.

    What I am suggesting is that you induce a little resistance into the free turning of the machine by over-tightening the set-screw near the gear to the point that we deform the bushing a tiny amount. I have done this several times and it has worked well. Before you do anything, take the motor belt off of the machine and turn the hand wheel a whole bunch and remember the effort needed. Get use to the feel of how much or how little effort is required to turn the machine without the motor connected. Get/find/steal a good quality screw-driver that fits the set-screw quite well and tighten the set screw more/excessively. If you detect/feel that the screw has tightened a tiny bit, check to see if you can feel an added resistance to the machines turning. If by chance there is a bunch more resistance, back off on the set-screw a bit and things will go back to normaler. Keep it up until you feel some resistance or until it appears this might not be getting what you wanted and you fear it is getting to be a bit much. Lets try something else.

Plan "B", if the above didn't work;

    Remove the set-screw near the gear completely. Using a "nail set" punch (or something of the kind) reach down to the bottom of the hole touching the bushing (which is the bottom of the set-screw's hole) with the end of punch and tap it with a hammer. Feel for resistance to turning again. If the resistance to turning hasn't increased, tap it again just a little more firmly, and again until you do get some resistance, testing between each progressively heaver tap. Baby steps. At no time should you let yourself get impatient to get things done and clobber the punch hard. Just a little harder each time until it works, replace the set-screw and go off telling your self that you'll never tell anybody what you just did to your Featherweight. Especially that I said to.

    I have done this before also, and it does work.

A machine that runs on while you wind a bobbin and.....

If the "stop motion" knob located in the center of the hand wheel is loosened the entire Featherweight sewing machine should not keep running when you wind a bobbin, just the hand wheel. We have "stopped the motion". Should have at least. If not the cure is to remove the hand wheel and clean the hole (bore) of the hand wheel, oil it well and reassemble the hand wheel. This only takes about ten minutes. We begins by removing the hand wheel. Get a washcloth and fold it twice, into quarters. lay it on your base extension and lift the extension all the way up as if putting the machine back into machine's case and then tilt the machine forward until the machine is resting on the folded up base extension and the hand wheel pointing to the ceiling. Toward the edge of the stop motion wheel (knob) is a small screw. Loosen it by three full turns and the stop motion wheel can be unscrewed completely (lefty loosey, righty tighty). There is an odd washer that can be seen now that the knob is out of the way. It fits on the exposed end of the shaft that the hand wheel spins on. The washer has three tabs spaced evenly around its outside edge and two bent tabs on the inside of the washer's hole that fit the slot in the end of the shaft. Leave the washer on the shaft until you get a felt tipped pen or something you can scratch steel with. We need to make a mark from one side of the hole in the shaft out across one side of the washer. The washer we are speaking of has to go back onto the shaft the same way it came off of the shaft. When you put it back on make sure the mark is up and we will know the correct side of the washer is up and align the marks across the end of the shaft and the side of the washer and we will know the washer is "clocked" properly as well. Felt tipped pens work well but the mark will go away after awhile. I prefer something that will mark (scratch)the steel of the washer for keeps. Remove the washer and pull up on the hand wheel. Notice: I did not tell you to remove the motor belt. The hand wheel will pull off the end of the shaft with the belt left on and you will not have to adjust the motor drive belt's tension if you don't have to loosen the motor and remove the belt. Get hold of the hand wheel and pull. If it just moves a little, slap it back down and pull up smartly again. Repeat if necessary. It will really will come off. Ultimately we are about cleaning the hole (bore) through the center of the hand wheel and oiling it well. Oh, and putting it all back together. There are two simple ways to clean the bore of the hand wheel. Steel wool or fine sand paper. With four ought (0000) steel wool I pull off a one inch ball of the steel wool and pull it thinner and larger, pulling at the edges, without tearing the little pad. Ladies, I suggest you put on a rubber glove on your "using hand" and everybody cap the end of a correct sized finger needed so you can push the pad into the bore of the hand wheel and twist your finger like you do with the wash cloth in your ears on Saturday night bath-time. Don't dab at it, honestly clean the hole out. Change sides of the hand wheel and work from the other side as well. The bore of the hand wheel is one of the most neglected places on our machines and it frequently is dry of oil and it cruds-up preventing the hand wheel from turning freely. The other approach is to roll a piece of wet and dry sandpaper about two inches wide and six long into a tube rolled around a finger that allows the sandpapered wrapped finger fit the bore. 220 wet and dry sandpaper (used wet) works well. Either way you do this you will end up with a dirty finger and that shows we are cleaning crud out of the hole. Keep working until you are not finding any more crud to get your finger dirty with. Clean the bore of dust and such caused by your efforts and put some oil in the hole/bore. Put a little oil on the exposed end of the shaft and put the hand wheel on the shaft without the motor belt and give it a spin by hand. The hand wheel should turn very freely. If that is the case remove the hand wheel again and loop the motor belt around it and put the hand wheel back onto the shaft. Install the washer with the mark up and aligned with the mark on the shaft and install the stop motion knob. Turn the little screw in that is out there on the edge of the stop motion knob. Not tight, just there. It might take a second for your machine to buy into the idea its clean again. Loosen the stop motion knob and run the machine electrically. Give the machine a little while to break-in again. If the machine is thinking about not turning with the stop motion knob loose, run the machine and hold the thread take-up lever to stop the machine yet let just the hand wheel spin for a bit.

THE NEEDLE IN MY MACHINE IS NOT CENTERED IN THE HOLE OF THE NEEDLE PLATE !!! WHAAAAA!

On the Featherweight model 221 or the Model 301..........and others Singer machines........ Many machines do not put the needle into the needle plate's hole in a way we may feel is perfect. Absolute dead center in the hole is not what Singer was after as they manufactured your machine. There was an "allowable tolerance" that meant that if the machine functioned, that was Singer's bottom line, things just needed to be within a working allowable tolerance. If the needle is not dead center in the needle plate's hole, sorry. You can get a very small diameter "mouse tail" file (at higher end hobby shops)and file the hole wider and away from the needle to center the needle better in a slightly larger hole. If the needle is touching one of the toes of the presser foot, this can be adjusted away. But First; check to find if the needle is bent? Using the hand wheel; withdraw the needle from the needle plate's hole and keep turning slowly until the needle is ready to reenter the needle plate. Watch the needle in relation to the needle plate hole as the needle descends into the hole. As the needle travels down, if the needle drifts closer to one side of the hole and then backs off again as you withdraw the needle you've got yourself a bent needle. If so, replace the needle. If this ain't the case, read on. Remove/open the faceplate and look at the presser bar. The presser bar is made of two parts you can see (there is a spring hiding inside), the bottom half of the bar is about a 1/4 in diameter shiny steel rod that that becomes a 3/16ths (approx) black steel rod above. This assembly of two rods runs from the top of the machine's head (inside), from the adjustable knob at the top of the head to the presser foot down under the head. On this shaft/rod/bar/assembly (let's call this the "bar" from here on) is a metal block (looks like 3/8ths X 3/8ths)that is part of the presser bar assembly and is about half way up the bar assembly. It has a set screw looking straight out at you and the block and bar move up and down with the presser bar if you lift the chrome lever hanging out the back side of the machine's head. Loosen that set-screw a tiny bit. we want the bar to be able to turn with moderate effort and not just drop as it is under moderate spring pressure pressing downward (but not dangerously so). Loosen the set-screw and as you begin loosening it the screw will kind of make a "pop" when it breaks free of having been tightened for 40 years. Stop loosening the set-screw. Reach down to the presser foot's toes at the bottom of the bar and use it like a small tiller on a small sail boat to straighten the foot out a small amount. To do this the presser foot should be lifted (the up position as in when removing your fabric from under the foot) off of the needle plate so you can get a grip on the toes of the foot/tiller to turn/twist the toes into alignment so the needle does not strike the toes any more. You might have to loosen the set-screw a bit more, but do such in tiny increments. If you have turned the foot and you think its about right, with the machine's needle centered between the toes, let the foot down gently onto the needle plate and the slots for the feed-dogs will act as a guide to confirm the foot is aligned with the the feed dogs and they are no longer angled across them slightly. If things look good, tighten the set-screw again. Or keep fiddling. As you loosened the set-screw; the presser bar may have dropped down to the needle plate because the set-screw was loosened a bit too much. Not to worry, we'll reset that. Internally, within the two part presser bar, is a spring that will encourage the bar to drop. If the set-screw was loosened a bit too much (which never happens to me) tighten the set-screw ever so little so the bar resits being turned but can be turned with a little effort. Go get a pocket book and and open it to about page 150, which will be about 5/16ths of an inch of pulp including one of the covers. Measure it so we are fairly accurate. 5/16ths of an inch. You don't need to buy a dial indicator, just a ruler will do fine, but try to be accurate, within reason. With the presser foot lifted; put the pocket book's 150 pages (w/cover) under the presser foot. If you need to force the book to get it under the foot; loosen that set screw centered in the metal block ever so little, and twisting the bar by the presser foot's toes, pull the bar up or down as needed within the block until the book just fits under the foot. Turning the bar by the foot's toes will help the bar move within the block and once it turns it can now move up and down within the block with relative ease. The foot should be resting (not pressing firmly) on the pages of your book and not hovering above the the pages. If you have had to twist the toes of the foot to get the bar to move up/down within the block you may find the foot will be crooked again and you will do the juggling act of aligning the foot and not letting the bar drop down next. The secret is how tight is the set-screw. The bar must be able to be turned within the block but not loose. If you have something that is 5/16ths of an inch thick and it is easier to work with than a book, use it. I made a "Go-No-Go gauge" (it "fits of it don't") of 5/16ths thick Plexiglas to do this with, but I work with a lot of machines and I don't know if this is a practical thing to make for yourself out of any material if you have but one machine to work with. The foot doesn't go out of alignment very often. I prefer to use a gauge as it is so hard to read a book with the presser foot pressing down on the pages as I work, and turning the pages is just plain problematic.

Touch-up paint for a white (pale celery) Featherweight

I was letting my mouse wander freely through eBay today and noticed several things of interest. Somehow my mouse went directly to "Featherweight 221" I am Always interested in the "RARE" machines, AND THERE ARE SOOOOO MANY RARE MACHINES" on eBay. I really must do some research as I swear I NEVER KNEW THERE WERE SO MANY "RARE MACHINES" AND I must have about 30 of those same machines. I'M WILDLY RICH!!!! There was another machine that kind of looked like a Featherweight, I mean, it had a needle and it had a hand wheel. It must be quite good as the title of the auction stated "MADE IN CANADA AND IT DOES ALL THE THINGS A FEATHERWEIGHT DOES. Now there's a commendation. $89 plus $36.00 for shipping "as it is a heavy Featherweight." Another was a person who was selling touch-up paint for Singer model 301's. Brown ones. A one ounce bottle was going for $18, but it had a brush in its cap! If you have a white (pale celery) Featherweight with paint chips there is a solution. I will assume you have a copy of my book "The Featherweight 221 and I". In the last half of the book I go into repairing chips in the paint of a Featherweight and although I was talking of a black machine, it goes the same way with the celery white machines. In basic you clean the hole in the paint that is the chip and fill the chip with paint, NOT IN BRUSH STROKES, but dip into the paint in the tubes I will describe and let a drip/drop of paint touch down and fill the hole a little more than flush. That's not the issue here, I want to tell you the formula for the color so you can make a very acceptable mix that will not disappoint. At better automotive shops (for some reason, not NAPA) you can buy tubes of Dupli-Color automotive (lacquer based) touch-up paint that comes in a tube that looks like a short felt-tip pen in a blister pack hanging on a peg. You need two at about $7 each. The first is "Pure White", part number NG GM 387. The second is "Dark Green", part number NG GM 517. Shake the tubes of paint to mix them and open the new tube of White paint and open the dark green as well. I make a point out of "a new tube of white" so we have a known amount of paint in the tube when we mix the color we are going for. From the Dark Green tube take 16 drops of paint and add it to the white paint. The process is like this; with the white tube open, open the green and using the green tube's brush, mounted on the inside of the cap, dip deep into the green and let the paint run down the brush and drip into the white paint. 16 times. Do not cross pollinate the brushes, keep the white paint white and the green brush green. Only when you have acquired your 16 drops of green paint and put them into the white paint can you put the white paint's brush back into the white paint's tube. (read these words a few times and it will make sense), seal it up and shake the fool out of it. There is a weight within the tube that will thunk up and down mixing the paint for you. Before you use your paint, shake it to mix it well BUT LET IT SIT QUIET FOR AN HOUR BEFORE APPLYING IT. Shaking the paint tube will mix air into the paint that we pros call bubbles. If you let it set for an hour the bubbles rise to the top and pop, a process we pros call p................... You can apply a little of your touch-up anywhere on the base of the machine and check the color mach. You can wipe the touch-up paint off with a little lacquer thinner or acetone on a rag and you will not damage the paint on the white machine. DO NOT GET LACQUER THINNER OR ACETONE NEAR ANY OF THE BLACK LETTERING ON THE WHITE MACHINES BASE OR ARM/LIGHT SHADE AND DO NOT WIPE THE ALUMINUM BAND AROUND THE MOTOR. For those having a black machine as well, DON'T WIPE THE FINISH WITH AN ACETONE/LACQUER THINNER SOAKED RAG, EVER, except to remove the paint from a black machine. NOW YOU'VE GOT A FULL OUNCE OF PAINT FOR $14 WHICH MAKES THE FELLOW ON EBAY not LOOK look so odious, EXCEPT MINE IS A PERFECT MATCH, says the color blind man who is writing this. Say goodnight, Dave Goodnight.

This one I cannot just keep to myself.

I received this email the other day and I think I read it fifteen times in a row. I love it and wanted to pass it on, with permission, nuff said. Dear Dave and Sharon, I have a story to tell you about my Singer 221. I married my husband in September, 1959 in Cleveland when I was 18 and he was 22. By January, 1960 he had been transferred to Baltimore, MD. We were poor as church mice so having children wasn't something we could do right away. We decided that we should have our first child by our second anniversary. BUT, I told him I couldn't have a baby until I had a sewing machine! Another young wife in our apartment building was making slipcovers for her sofa out of naugahyde. Remember that heavy, heavy fabric-backed fake leather stuff? She was using her mother's Featherweight to do it. I wanted a Featherweight. My husband was in Naval Reserves and in talking to a fellow sailor on his once-a-month duty weekend, he found that sailor's day job was working in a Singer store (yes, there were such things in 1960). When he jokingly told the man about my ultimatum, the man said, when we were ready to buy, call him and he'd take a brand new machine out of the box and put it in the display window. He'd then be able to give us a 5% discount. When my husband got home from that weekend he told me what his fellow sailor had said. I could hardly wait until we saved enough money to go down to the store and take MY Featherweight home. It wasn't long before I was sewing my maternity clothes, then all the toddler clothes and my wardrobe on my trusty Featherweight. Over the years I've maintained my Featherweight carefully, even when I had other machines for my quilting. When I went to classes where I knew I would only be doing straight stitching, my 221 always was my go-to machine. It sews a much better stitch than my other machines. I love it! Thanks for being there and carrying on the love affair with the Singer 221s. I'm glad you understand my passion for my machine. Denise of Leesburg, FL

This is exciting, to me at least!!!!

    I paint Featherweights and am familiar with the prepping of a Featherweight for paint and the application of the paint. As with any paint project of importance, careful, attentive preparation of the surface to be painted is imperative if you want good results. If you are thinking of painting a Featherweight I believe a brief understanding of the paint on our machines is in order. Few really know what the paint is and not knowing can have you looking in all the wrong places. It is not japanning (small j and two "N"'s) and it isn't powder-coating, which wasn't invented until the 1980's.
    This I know. The aluminum castings of our Featherweights were cleaned and prepared for paint and a special black enamel paint was applied. I refer to this as being "special" because it is a paint designed to be baked-on to the surface of the machines in an oven that is not unlike the pizza ovens of today, just bigger. This oven has a metal conveyor belt that went through a four-hundred and twenty degree "hot-box" and deposited the freshly baked enamel painted castings in a cool-down room waiting for the "transfers" (we call them decals now) to be applied.
    Once the transfers were applied a top-coating of clear "four-pound cut" shellac was applied to protect the decals and impart the bright shine we all love about Featherweights.
    If you paint a Featherweight you will need to remove this shellac top-coating and the removing has to be done well, throughly even. Some, especially those who have never done it before, advocate using a sandblaster to "strip" their machine's paint. Don't! You will not like the cost nor the collateral damage. I did have a machine sandblasted once so I could show students that our Featherweights really are made of aluminum, and that machine's shafts have never turned again without grinding and crunching. Paint strippers (cans of caustic goo) work, but it is a long and ugly process, and don't get any on your hands or clothes.
    If you read my last blog (you should know better than to come back) I told of getting "the smell" out of a Featherweight by washing out the inside of the machine using hand dish washing soap, warm water, bottle brushes and someone else's tooth brush. Please go back to that last blog for details.
   In that blog I told of wrapping the motor in plastic food-wrap and avoiding getting the exterior surfaces of the machine wet. If a little gets on the outside it is OK, but don't let soapy water just flow over the outside unchecked and you are about to find out why. 
    I had a machine that needed painting and it had "the smell". I normally wash a machine just before I paint it having removed the shellac and decals already,  the old way. I want to get the grease and oil out of the inside of the machine and the exterior oil holes so resident grease/oil cannot compromise the new paint's application. But in the last blog I was telling of cleaning "the smell" form an assembled machine's interior, so I emphasized keeping the exterior dry while you scrubbed the inside. I literally had a machine in our kitchen sink stripped of all its external parts and the sink was protected by a layer of cardboard in the bottom with a hole cut for water drainage. I was running hot water through the machine's spool pin hole working hard to get rid of a big gob of grease I had found there in the gears up top. I turned the water heat up to hot and I appled a little extra soap. Because I would be painting this machine shortly I wasn't to worried about the exterior of the machine getting wet so I was a bit sloppy while having a good ol' time, water everywhere. (those were my wife's words, not mine) And it was at this time I noticed something. The shellac was coming off the exterior surfaces that the hot soapy water was running over. It didn't happen instantly, it was taking a minute while being bathed with the hotter soapy water running over it. The shellac could be simply rubbed off with your fingers, and that which didn't came off easily could be removed with a little steel wool.
    The black baked enamel was not phased by the hot water as it removed the shellac, even from the hard to reach places. Some of you know I do not advocate removing the black baked enamel as it is a very good foundation to apply paint to, so to me this was great!
   This was so exciting that I grabbed two more machines I had waiting in line to be painted and proceeded to "get water everywhere" all over, again!! This new process really works!!!
   For those who are thinking "that it doesn't take much to get him excited" remember please that it normally takes five hours to remove the shellac from a machine and do it well, or eight if your machine was a 1937 model.
    As explained in the last blog you must dry the machine out, and no, this does not damage the machine or render it into a pile of rust. It is just neat to have found a fast way to remove the shellac, completely, in just minutes. I had done three machines in an hour and a half and all that without creating an explosive atomosphere with acetone or the like.
    This really does work! Hot water, some hand dish washing soap and maybe a little application of steel wool (two ought, 00). And oh, while you are there, wash the interior of the machine. Back to the bottle brush and not letting the wife find out who's tooth brush you are using.
    Good-night

A "NON-GLARE" needle plate?

     Many of you will have heard me to say that I love questions about the Featherweight sewing machines. One of the best ways to learn something is to teach something. Answering questions is a similar "back-against-the wall" situation.
     "Where do I get a Non-Glare" needle plate" was the question?
     My first reaction was; "You don't".
     But then....well maybe....let me think on this a bit.
     Some of the later "pale celery" (otherwise known as "white") Featherweights came with a numbered needle plate that had a satin finish to it that would serve as non-glare surface. I do not know if Singer designed this finish for needle plates as a non-glare surface. I have been seeking Singer brochures that might have promoted a "non-glare" finish on any of their machines, but I have not been able to find such a beast.
     But there is a satin finished numbered needle plate that came with the 1964 and later white machines that does fit any Featherweight, but it might not fit your budget. The average bright chrome numbered and marked (for seam allowance) needle plates seem to be averaging about $45 on eBay. The ending cost for a satin finished numbered needle plate shouldn't be much more. The numbering on the needle plate has to be checked as there is a metric numbered plate design and a fractions of an inch numbering design which many in America will be more comfortable with.
     By the way; eBay is an excellent place to see what things are selling for. When I am just seeking pricing information as to the cost of something (on eBay or off) I will put an auction of that thing onto the "watch list" of and eBay will email you when the auction is drawing to a close so you can bid if the auction price is attractive (and you want to) or just glean the information and run with it. You are under no obligation to buy something that you have placed into the"watch list".
     I don't think using the term "non-glare" in your eBay search wording will help, if you ask for just a "Featherweight 221 needle plate" you will have several auctions to pick through. And try again later as the auctions are always being added to and closed so the options change frequently.
     It has been my experience with the satin finish needle plates that the finish can be scratched by pin-heads being drug across them. Watch for scratches on one you are looking at to buy, from anyone, and then pull your pins before they get to the needle plate if you get a Non-Glare plate. 

You cannot count on it all being the way Singer sold it originally.

     I've recently acquired a slug of Featherweights to restore and refurbish. With 30 machines piled around me I began looking at them, one by one, to determine the problems the machines had so I could figure which ones to attack first.There typically is a reason that Featherweights get sold. The machines haven't stopped looking cute so it must be something else. Maybe the person just doesn't use the machine enough and would rather someone who would use it would buy it and try to wear it out. That makes an nice wish but it doesn't happen often.
     The number one reason that these machines migrate is that somethings has gone wrong with the machine and the person finds themselves in over their head trying to determine what is wrong  and what to do about it.
     The number one reason that a Featherweight gets sold-off is that when it was maintained last; the needle plate was removed. When the needle plate was reinstalled the positioning finger of the hook assembly was not captured in the slot for it between what look two metal blocks on the underside of the needle plate. The machine will not sew in this state and the owner will sometimes think it is time to get rid of the machine. One in seven machines I buy do not have the positioning finger in place.
     Number two reason: You are charged $35 to be told the parts are not available anywhere. You are told this by someone who doesn't know, is too lazy to look or want's to sell you this honey of a machine over here. Hog wash!!!! Parts are easy to find and cheap.    Moving on.....
     Tension problems are the next in line. This is a rather convoluted subject but often the problem has to do with the Upper tension assembly having been disassembled (which makes it a disassembled assembly) and it was not reassembled the way Singer thought it should have been. The original manual for the machine, my manual (The Featherweight 221 and I) and the Technician's Service Manual for Featherweights have good illustrations of how the parts stack-up when correctly assembled. That funny washer that goes over the beehive spring must be installed with the tab on its edge side installed pointing up and so the tip of the tab is pointing out, like a small cobra head poised to strike.

     With some machines there are often some rather creative repairs that have been imposed on the original Singer design. Please, if you have to change something completely to get the machine to work (?) it might not be the best idea. One of the most confusing conundrums is; why, after removing the hook assembly to clear a jam or whatever, and having correctly installed the hook assembly (for a fact) onto its shaft again, why does the needle strike the hook assembly?
     Sometime in this machine's past the hook assembly had been removed and the wrong set-screw on the hub of the hook assembly was put over the flat that is ground into the shaft it mounts on. The hook assembly is 180 degrees out of rotation now. The person doing the work believes the hook assembly was correctly installed, "I mean what can be so hard about putting a part on a shaft?"
     "It must be the timing!!!" so the cure is to change the timing of the machine to make the machine agree with the incorrectly installed hook assembly rather than making the hook assembly agree with the machine. The hard part is that the machine works. So what's wrong with that. I just wanted a machine that works? The next time someone works on that machine and installs everything the way Singer says it should have been (for a fact) the machine wont work.The person working on the machine by the hour, if they haven't run into this before, will not work their mind numb trying to figure what is wrong and might well suggest, "let's go sell it.!"
      I love talking at you and I hope this blog helps. Feel free to ask questions.

What about the "white" Featherweight?

    The white machine is not the same as the black or tan machines.

    How so?

    The white machines body is made cast from the same aluminium alloy as the black and tan machines although the lifting bed extension is made of stamped sheet steel. This was but one production cost savings utilized by Singer so that they could keep producing a machine that had been getting too expensive to keep manufacturing and sell at a price that people would still afford.

     The power cord does not unplug from the base of the machine as the earlier black Featherweights do which was another production cost savings. I prefer a machine that the electrical cord can be unplugged from for storage or carrying about. It really is not the end of the world for me but simply a personal preference.  

    The steel base extension works quite well and is strong. This base extension on the white machine is about an inch and a half shorter than the cast aluminum extension found on all black and tan machines. To some this might seem important but actually it doesn't change things much in use.

    The most notable difference and the greatest money saver for Singer was to be found internal to the machine. The black and tan machines are all gear driven, but the design change to the white machine utilizes a cogged drive belt. This had quite the effect on the bottom line.

    How does the cogged belt effect the white machine when compared to the gear driven black and tan machines? The internal belt drive (rather than gears) has proven to be very reliable and it typically runs quieter than its black and tan siblings. I have talked with Graham Forsdyke and Glenn Williams about their experience with the belt drive and they concur with what has been my experience, there is no problem with the cogged belt drive. Although Graham had seen one fail when a person was "adjusting" the belt with his pocket knife. Obviously, this is a design flaw.

    In the 1950s, type-writers were cleaned by immersing them in a chemical bath not unlike the early dry cleaning chemicals. Type writers were soaked, shaken while immersed and dried. Then they were oiled again. Sewing machine service people tried this immersion in cleaning chemicals with Featherweights and found that it worked very well with the black and tan machines. In the 60's the white machine came about and the "sewing machine service people" put the white machine into the chemical bath and the internal drive belt melted in the harsh chemicals used for dry-cleaning back then. The service person had a three hour job ahead of them to remove the internal shafts and replace the cogged belt.The cure for this was that the service people told prospective buyers that "the white machine was not as good as the black machine, believe me I'm a service person and I know". If you are around white Featherweights long enough you will hear people say that "they had a Friend who said she heard that the white machine was not as good as the others. And now you know why. Telling this to prospective buyers kept the service people from getting their fingers dirty by having to clean a machine by hand rather than giving it a bath while they drank coffee. This is a "story" that you can take to the bank. I have talked with "old-timers" (which I am rapidly becoming) who have stated this is the truth.

    I have had to replace the gears in machines before, but never a cogged belt. In my experience the white machine (which isn't white, it is "pale celery" according to Singer) is every bit as good as any other color and I think it can be adjusted to sew marginally better than a well adjusted black or tan machine. I believe it runs smoother internally which in my opinion gives the machine its edge.  

    I will not go so far as to say the white machine is better than the others, but it is not a compromised design as had been implied by Singer's own and definitely is not second place to any other.

I really am not a writer.

     I know I have most of you fooled into thinking I am a writer. I really am not. I'm just an old guy who loves Featherweights. When I began writing my manual The Featherweight 221 and I, I just wanted to write what I would have loved to have in a book/manual like it, when I first lusted for a Featherweight; a book that went beyond telling me that I was looking at a sewing machine. As I learned about my Featherweight, I wrote, and it has been a wonderful experience, if for no other reason than I have met some of the most wonderful people.
       There are things I am learning along the way though, both with Featherweights and writing. For example, don't use the word "it" unless it (oops!) is clear what "it" is.
     One thing I stumbled upon that shouldn't have taken much thought, if I had thought for a moment, was that a paint color called "Lamp Black" by General Motors does not necessarily mean that they will call it (oops) that forever, or even a week longer just because I wrote a book. At the time I was writing my manual, I was talking about what I had in my hot little fist at the moment and never thought that the color would go away. (For you artists: I know pure black is not a color but the complete absence of color, which doesn't change the fact that you cannot go into a GM dealer and buy "Lamp Black" by color, or lack there of). How does a blog become so complex?
     I got myself an email from someone who is touching up their black Featherweight, and she had walked into a GM dealer to get Lamp Black and walked out with egg on her face instead. Sorry, Mary. She did walk out with a tube of complete-absence-of-color touch-up paint that GM identifies as 1052807 Code 41 WA8555, which will work fine.
     A person does not have to buy GM paint only, for that matter. Ford's complete-lack-of-color touch-up paint that looks just like Toyota's will do just fine. All you need to do is get basic BLACK and avoid name variants on the theme, such as, Mid-night-Shadows-on-the-Serengeti's-Rose-Sand-Dune-Lacking-Any-Color-Black.
     I hope this helps those of you who are looking for paint to find it. (Oops again.)

White belts for white Featherweight sewing machines that are green (?)

    It interests me the way the desire/need for products flows in and out like the tides. For years I have not had a single request about a white belt and now I have had three requests in two days, and I now have a well rehearsed answer.

     They don't exist, sorry.

     I've asked around for them a good deal over the years and I even asked about getting some made. I was told that if I would pay the up-front costs for 10,000 belts they would manufacture them for me. I told them I would get with my staff, we would think on it and get back with them. The infamous "be-back".

    The white belt has not been manufactured in 50 years. The demand for the white belt does not justify the expense of gearing up to produce them (even though I know of several who would stand in line for a week in January for the store to open). A supply of originals was found about 10 years ago, in the back of an obscure storeroom, and they sold instantly. They sold to people who pondered later why they so urgently needed a 40 year old rotting piece of rubber covered with white cloth.

    New white belts do not exist any longer I fear. You will have to settle for a black belt. May I caution you that there is a cogged vinyl belt that isn't white and isn't much good in my opinion. These clear to light tan colored belts are difficult to adjust and I don't think they look good on a machine of any color.   

    I have honestly looked pretty hard to find white belts for myself to no avail. The market for black motor belts is strong because there were many more black machines manufactured.

    Black is basic and goes with most everything I have been told.

Lift out tray for Featherweight case…..

Well, this blog thing is new to me, so I thought I’d start out by sharing my answers to some of the questions I’ve been asked recently....

I received an email from a customer who had purchased a lift out tray for his 221 case and could not figure out why the tray did not fit. Have any of you ever noticed that FW cases are not all the same size?

There were three cases made for the Featherweight 221 machines over the years. An A, B and C case.

The "A" had the lift out tray. There were slight changes in the class "A" cases design in the very early years ('34 to '37) but you have to be pretty sharp to notice them. In 1948 Singer discontinued making the lift out tray cases and went to the "B" case. The "B" case has a small metal box secured to the left interior side of the case. This held the odd stuff you personally used and had a narrow slot for holding bobbins on the outside edge. The attachments were in a green box set into the bottom of the case under this metal box and the controller was put on the base of the machine under the machine's arm. The "C" case is like the "B" with the addition of a metal bracket secured to the inside lid of the case that the controller slides and latches into for travel.

The "A" case is taller than the other two cases to accommodate the lift out tray, the "B" "C" cases are longer than the "A".  An "A" case's lift out try which will fit any "A" case, but it will not fit the other two models of cases, the "B" and "C".