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The Gun Room: Episode 28

The Gun Room

Release Date: 10/01/2021

TGR: Episode 37, Lars Jacob show art TGR: Episode 37, Lars Jacob

The Gun Room

In Episode 37 of TGR we sit down with Lars Jacob of Wild Surroundings. We speak on hunting out of layout boats, shotgun fitting, bird hunting, and at length about the unique underhammer rifle, which Lars built a number of in his early career. 

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TGR: Episode 36, Diggory Hadoke show art TGR: Episode 36, Diggory Hadoke

The Gun Room

Joel has the opportunity to catch up with Diggory Hadoke, author, shooter, and firearms and hunting advocate. Diggory has written several notable titles focused on vintage British sporting arms including hammer guns, vintage guns, and the British boxlock. Diggory works at vintageguns.co.uk and is an absolute wealth of knowledge when it comes to the history and development of modern cartridge arms. The conversation focuses on the history and development of sporting arms from around 1850 through the turn of the century and beyond. If you have ever had an interest in early cartridge arms...

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The Gun Room: Episode 35 show art The Gun Room: Episode 35

The Gun Room

In this episode of The Gun Room, Joel talks with Brian Dudley of BMD Gunstocks. They talk about Brian's fine art background and how he transitioned into firearms full-time. The conversation covers a variety of topics related to stock making including original finishes, shaping, and finishing stocks including a good conversation about stock checkering.  

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The Gun Room: Episode 34 show art The Gun Room: Episode 34

The Gun Room

Part 2 of a discussion with Nick Larson of The Birdshot Podcast. Nick and Joel talk about Nick's turkey gun project and the jitters surrounding drilling into your gunstock. The discussion moves into progress and updates from the Upland Gun Company where we talk about their new offerings and the process of creating your own upland shotgun.

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The Gun Room: Episode 33 show art The Gun Room: Episode 33

The Gun Room

To me, the Savage 24 represents youth and the carefree existence that places a child in the woods, free to roam as they see fit. It harkens to an older time when this child's feral existence was the norm rather than the exception. Going out the backdoor of a white farmhouse with a few .22LR rounds and a few .410 shells in his coat pockets, looking for a rabbit or maybe a partridge for the table. The gun is kept in the corner of the mudroom, alongside boots and coats, a scruffy dog waits outside the door, tail wagging, waiting to accompany the boy as they head out into the big wide world.

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The Gun Room: Episode 32 show art The Gun Room: Episode 32

The Gun Room

Welcome Back to The Gun Room! We have the opportunity to go to Brays Island in South Carolina where we visit the home of Eric Klein, the keeper of a very fine collection of early American side-by-side shotguns. Both originally from New Jersey, Eric and Joel cover a variety of topics including the philosophy of collecting vs accumulating as well as some good discussion with a focus on Parkers and Ithacas. Eric takes us on a tour of his gun room and shows us some very unique guns in his collection. 

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The Gun Room: Episode 31 show art The Gun Room: Episode 31

The Gun Room

Joel and Gregg have the opportunity to catch up in the midst of the bird hunting season on Episode 31 of The Gun Room. Gregg keeps up the Dogs and Doubles webpage as well as keeping the upland world abreast of some of the better deals in the sporting shotgun market. His posts about 5 guns you shouldn't miss are surely a hit for anyone in the market for a fine shotgun. After a quick season update, Gregg and Joel dive into a discussion surrounding double guns and the current state of the gun market.

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The Gun Room: Episode 30 show art The Gun Room: Episode 30

The Gun Room

Join us for a conversation with Amanda Rutherford of Zeb gunmaking. Amanda attended gunsmithing school in Colorado where a fortuitous trip to the Dallas Safari Club show led to an apprenticeship with Chuck Grace as a stockmaker. Amanda and I discuss some of the finer points of the master/apprentice relationship, the value of gunsmithing school, and her journey to becoming a gun maker on her own. https://www.zebgunmaking.com/

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The Gun Room: Episode 29 show art The Gun Room: Episode 29

The Gun Room

Proof marks can be our best link to a guns history, much like a passport that helps reveal a bit about the gun and its past. They can tell where the gun came from, where it travelled in its lifetime, and so much more. They are certainly one of my favorite aspects of old shotguns and rifles.

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The Gun Room: Episode 28 show art The Gun Room: Episode 28

The Gun Room

One of the most common things folks do when inspecting a potential shotgun purchase is shoulder the gun. It seems an interesting thing that ‘gun mount’ is such a crucial part of the gun purchase, but so many folks simply shoulder a gun and assign a non-quantitative value to it: “oh this shoulders nice” or “feels right”. So many of those folks realize that a gun must ‘fit’ but very few actually know or understand their own dimensions and how they translate to a gunstock.

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One of the most common things folks do when inspecting a potential shotgun purchase is shoulder the gun. It seems an interesting thing that ‘gun mount’ is such a crucial part of the gun purchase, but so many folks simply shoulder a gun and assign a non-quantitative value to it: “oh this shoulders nice” or “feels right”. So many of those folks realize that a gun must ‘fit’ but very few actually know or understand their own dimensions and how they translate to a gunstock. The same holds true for backyard clays shooting when you try a new-to-you shotgun that seems to break everything you point it at. In those situations gun fit and by association stock dimensions are the heart of the matter. Im Joel Penkala and this is 10 Minutes on Gun Fit.

The most basic of gunstock dimensions and one that is actually addressed by some gun companies is the Length of Pull or LOP(as it appears on many online gun listings). The length of pull is the distance from the center of the trigger, rearward to the center of the butt plate or pad. This is also expounded upon at times with three different LOP measures: LOP to the heel, center, and toe. The comb is the top of the stock, where your cheek rests which terminates at the heel, while the toe is the bottom portion of the end of the stock. It is typically tapered and comes to a point. LOP to the center determines the primary contact between shooter and buttstock, but the heel and toe measures give an idea of the stock’s pitch. 

Pitch is the angle between a line defined by the rib (and/or comb) and the line defined by the butt(given that the butt is not curved). If you imagine laying the long leg of a square on the rib, the 90-degree angle defined by the square would be pitch. This angle can obviously be greater or less than 90 depending on the shooter’s preference or the gun’s intended use. Typically pitch is adjusted for guns that will shoot driven birds; all overhead shooting where the gun is pointed primarily up, vs rough shooting where shots are out in front of the shooter. Pitch can also be adjusted so that the toe of the shotgun does not dig into a shooter’s chest. Shooters with fuller chest dimensions will oft times complain about this digging of the toe.  

LOP is important because it determines the geometry of the shooter’s arms. A short LOP will ‘chicken-wing’ your arms; the angle at your elbows being very acute. A long LOP will open up the angle of your arms and in extreme cases even straighten out the arms. The goal here is to adjust the LOP to create a proper geometry between the shooter and the shotgun or rifle in question. There is of course a sweet spot where the shooter’s arms are comfortable and provide the most stable and controlled connection between the gun and body.

LOP is addressed by companies like Rizzini and others who typically include a basic thin wooden or black butt plate with their guns. The idea behind this is that they leave as much stock wood as possible by only adding a thin pad. Then the shooter can add a 1” or larger recoil pad to increase LOP or cut the stock down and add a pad to decrease LOP. Other instances like youth guns for example typically have shorter LOP to fit youth shooters.

Two other primary stock dimensions are drop and cast. Drop addresses the relation of the comb to the rib up and down, where cast determines the relation of the comb and rib left to right. Drop on a stock comes in two (sometimes three) measures, and they are usually listed in order from the nose or most forward part of the comb to the heel. The measurement is actually the distance from the line defined by the rib (and parallel to the bores), to the spot on the comb being measured. One can get rough dimensions of drop by placing a shotgun upside down on its barrels(and thus the rib) and taking the measure from the comb to the tabletop. These measures are complicated by Monte Carlo stocks with elevated cheek pieces, which sometimes have drop measures for each end of the raised cheek or Monte Carlo piece, as this is where the shooter’s cheek contacts the stock and in effect is the important factor in drop. Proper drop will position the shooter’s eye in line with the rib. Too much drop and your eye will be below the barrels and when your face is properly against the stock, you will be looking at the breech of the gun. Too little drop and you will be looking down at the rib, seeing the entire length of it while shooting. 

Too much drop requires the shooter to lift their cheek off the stock to appropriately sight down the rib. Though this can be done, it is no longer in vogue. The old style of head-held high shooting has gone by the wayside as folks have moved into more modern styles dictated by sporting clays and other shotgun sports, though this old shooting is immortalized by our favorite shooting artists in many of their classic pieces. Too little drop is very hard to adjust for because you can’t ever get your eye properly in line with the rib, so the gun will always shoot high. 

Cast in a stock is dictated by the shooter’s dominant hand/shooting side, and by their physical appearance. Guns can be cast on or cast off. I always remember it (I am a right-handed shooter) that when I mount a gun, a stock with cast ON will be ‘on me’ or closer to me. A gun with cast off will be ‘off me’ or away from me. When one sights down the rib of a gun from the muzzle (a double-checked unloaded and safe gun) standard stocks will generally be neutral cast; the comb aligns with the rib. Guns that have cast will either have the comb of the stock to the left or right. This is in effect a slight bend in the stock that generally happens in the wrist. This bend could be just that, an actual bend where the stock was steamed and put into a fixture to impart the bend, or shaped into place when the stock was made by a stockmaker. This cast is typically given as a single measure taken from the comb, but again there can be measures for the cast at the heel and toe. A cast difference between heel and toe can dictate a twist in the stock. Again, for fuller figured folks, a gun with the toe cast further off than the heel will help eliminate uncomfortable toe digging into the chest.

Typically a gun with cast off would allow better alignment with the right/dominant eye and the rib. When you lay your cheek on the comb, your eye typically is offset to the line of the comb. For a right-handed shooter the eye typically lands a bit to the left of the comb, and a bend ‘off’ or away will allow the eye to come back to the center of the rib. This bend keeps the shooter from having to roll their head over the stock to get proper eye alignment. Cast on is generally the proper dimension for a lefty. Though all of these are generally speaking. Righty shooters with fuller faces need more cast and those that are skinnier, need less and so on. 

There are additional dimensions and features of gunstocks if one wants to dive into the minutia of detail. For most though, an understanding of these basics should help the next time you are considering a gun purchase. And of course, like patterning your shotgun, the effectiveness of shooting skeet chokes, or the cadre of other things I harp on, nothing can replace a gun fit done by a professional. Even if you don’t plan on having a stock made for you or having one bent to your specification, simply knowing your dimensions may help tip the scales the next time you are faced with the age-old question of whether to buy or not to buy that old shotgun.