The facing pass
Glaze is a finish we are willing to delete
A hitting window that has been skidding on mats becomes a skillet. Spin becomes a rumor. We take a square-end across that window until the ball can see metal again. The cutter is not decorating. It is deleting polish.
Climb mill, then stop
Keiko programs a climb pass with a stepover in the third-of-a-millimeter neighborhood on 17-4. Conventional milling can raise a burr that looks like texture and acts like a snag. We would rather sound boring. Chatter is not “character.” Chatter is a flute that lost the argument with the cavity.
Ball-nose scallops photograph like a billet. They also launch a ball in a direction the golfer did not ask for, especially from a wet lie where the first land the ball meets is a ridge. Square-end, modest scallop height, Ra written. If you want jewelry, a different mill can engrave your initials. This one recuts the window you hit.
When a face mill is the wrong tool
If the grooves are the only tired part and the window still has roughness, start with groove-edge. If the cavity is thin, start with a map and a veto. If you want loft changed, start with a bending bench we will name. Face milling will not unwind a 2° stamp argument.
After the pass
Nia sleds Ra, then the wet tray. You get paper. Keep it in the bag pocket that does not hold tees. The next recut, if the Pacific asks for one, starts from those numbers instead of from a guess.
Full sequence