Knife collecting is an extremely rewarding experience for knife enthusiasts. There truly is a knife for everyone. Many increase or hold their value throughout the years, making collecting knives something to pass on to the next generation of knife collectors.
The late Gunny’s final knife collaboration was certainly not his least.
KA-BAR Gunny Review
The KA-BAR Gunny is a hybrid design that resembles a bolo. I suspect R. Lee Ermey, the unforgettable Gunny who serves as the knife’s namesake, spent some time in jungles because this combination chopper/slicer’s performance is on par with village-forged bolos I’ve used in Southeast Asia, and that’s a high compliment.
Its forward weight and terrific blade design promote efficient chopping. We cut through 3-to-4-inch-thick saplings with two strokes. We took down a tree with a 6-inch-thick truck just because we could.
After the chopping the blade was still sharp enough for camp kitchen work. The belly, good balance and fine edge combined to make slicing meat and vegetables a pleasure. Slashing hanging rubber hose and the water bottle were a piece of cake.
The comfortable handle lends itself both to heavy chopping and fine meat cutting, which is unusual.
Bottom line: The Gunny is an excellent all-around bush knife. The sheath has a pocket for a sharpening stone, which was not included with the review model.
After chopping wood, the Gunny sliced tomatoes like a chef’s knife.
A new book from the publishers of BLADE magazine, Greatest Living Knifemakers, celebrates today’s legends who make knives in ways that most can only dream about. They make knives that can easily fetch tens of thousands of dollars, and even more.
Given all that talent, how does a book like this come together? Who gets to decide who is counting among the “Greatest Living Knifemakers” anyway? If you’re someone looking to collect or make knives, you’ll enjoy this interview with the editor of the book, Steve Shackleford, who is also a member of the BLADE Magazine Cutlery Hall of Fame®.
Many talented people make knives of outstanding quality. How did you go about choosing who should appear in this book?
Steve Shackleford
The hardest part was choosing who NOT to include. I’ve been covering the knife industry for BLADE®, the world’s No. 1 knife publication, since 1985, so I’ve had the privilege of seeing and handling some of the world’s greatest knives, and meeting some of the world’s greatest knifemakers.
As a result, some of the makers I picked peaked years ago and don’t even make that many knives anymore. On the other hand, some are peaking now. However, at some point in their careers each has made knives that are among the world’s best.
In addition, each has either made knives and/or introduced designs, techniques, folding mechanisms, damascus or other steels and other materials, etc., that in turn have set a standard or inspired other makers in the way they make knives.
And, of course, to qualify as per the book’s title, each must be living, though Tony Bose passed away after the book was finished. We decided to include him as a tribute to his fantastic slip joints and the overall impact he had on the knife industry, which was and remains monumental.
A mechanism that enables the handle to slide back while the blade closes, with the result being that the handle and blade can be the same length, distinguishes Emmanuel’s Mata Hari Dagger. What makes the feature so notable is that the handles of most folding knives must be at least one-half to 1 inch longer than the blades so that the blades will fit into the handles properly. The sliding mechanism is a combo of titanium and stainless steel gears, with the inlays moving on Teflon™ pads. (Francesco Pachi image from 2017 AKI)
What makes a knifemaker “great”?
Some of that is covered in my first answer above but there are other things as well. They must have a lifelong dedication to making knives, which all of those profiled have exhibited, as well as a passion to make knives for much more than just the money.
It’s kind of hard to explain unless you’ve followed knives for a long time, but, in a nutshell, most great knifemakers make knives because they sweat the load, they agonize over the details, and they don’t provide just a “product”—they produce a knife that almost always acts, looks and feels like it’s the best knife that maker makes. There’s much more but that’s part of it.
Are there any names that couldn’t make it into the book due to space limitations?
As noted above, yes, many make knives worthy of inclusion. However, I won’t name names here in case we decide to do a second volume of the book.
The Razorback State is the theme for Jerry Fisk’s Arkansas #1. The 11-inch blade has a Dog Star-pattern damascus with 1836 layers to represent the year Arkansas became a state. The blade also has steel welded into it from the Statue of Liberty. The walnut handle is from the official James Black walnut from the cemetery where Black is buried in Historic Washington Arkansas. Some believe Black made a bowie knife for James Bowie. The mountings are fully engraved and carved, including deep relief scrollwork and 24k-gold inlay—all by Jerry. (Whetstone Studio image)
Are the names ranked or is this just a collection of noteworthy knifemakers?
Since they are all great and, as John Wayne’s character once said of two great gunfighters in the movie Rio Bravo, “I’d hate to have to live on the difference,” I decided to list them all in alphabetical order—with the exception of R.J. Martin.
His profile appears first in the book because it is the only profile written by the maker himself. I did not ask him to write it, he volunteered to do it. I was so taken by the quality of his writing and the information he provided on what being a great knifemaker is really like that it was a no-brainer to include it.
In my opinion, it’s one of the best ways for the reader to truly appreciate what it’s like to be a great knifemaker—done from a great knifemaker’s point of view. I think it’s the best profile in the book, hands down.
Steve Johnson’s spectacular repro of a Loveless Big Bear sub-hilt fighter is highlighted by Barry Lee Hands engraving that includes 24k-gold inlays and overlays set with diamonds and gilded mother-of-pearl. The knife is made from one block of 5/8-inch thick, 4-inch-wide and 16-inch long CPM 154 stainless steel. The blade is a quarter-inch thick and 8.5 inches long. Overall length: 14 inches. Steve made it for the 2015 Art Knife Invitational. (Francesco Pachi image)
Do great knifemakers have a peak or a golden era within their careers, or are they great throughout their careers?
As with most all great talents, they do indeed seem to peak at certain times. Some peak for longer periods than others and some even seem to have more than one peak. Some may burn out early and then something happens to help them regain their mojo.
However, in most cases the great ones maintain varying levels of greatness throughout their careers, and I think that’s the case with all of those featured in the book.
Is there a list of the knifemakers featured in this book posted somewhere for people to check out?
Maybe it’s a bit of a contradiction, but both elegance and simplicity are elements of African blackwood, a handle material with a rapidly rising profile in the custom knife industry.
The color of the material combined with properties that make it a pleasure to work with has resulted in an explosion of interest. Ranging in luster from a reddish to a deep black hue, the wood is the product of a flowering tree also known as granadilla or mpingo. A relatively small tree, it grows primarily in the forests of Senegal east to the horn of Africa and in some parts of South Africa. Long used in musical instruments and high-end furniture, African blackwood is protected in order to prevent overharvesting.
Ken Hall’s sgian dubh features a 4.25-inch blade of twist damascus in a blend of 1075 spring and 15N20 nickel alloy steels. The pommel is formed from stone and giraffe bone. The African blackwood handle not only is ideal for its carvability but also in keeping with the sgian dubh’s name, which is Scottish for black knife.
When the material finds its way to a knife handle, something dazzling happens, and the makers who use it sing its praises. “I’ve always loved black-handled knives, especially with brass,” related Abel Price of Fayetteville, Arkansas, a part-time maker who is completely self-taught. “The black and gold combo just pops and gives it a beautifully elegant Art Deco feel.”
In the mountains of western North Carolina, ABS master smith Andrew Meers finds African blackwood a pleasure to work with. “It’s a dense and stable wood with a consistent grain structure that is excellent for handle material. It is workable and carves well,” he noted. “It has a rich, dark color and finishes out beautifully when sanded, and I haven’t noticed any cracking, shrinking or expanding, especially compared to the cracking I’ve noticed at times in similar looking wood such as ebony. I think these qualities contribute to its growing popularity among makers.”
Abel Price used African blackwood for the handle of his Deco Petty kitchen knife. He said the handle “was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines.”
Andrew uses rasps and files for shaping, a flex shaft for carving, and prefers to sand and buff to finish his handles of the material. Last of all, he applies a coat of Danish oil. So, the finished product is just what the maker wants, and getting there is most often a pleasurable journey rather than an arduous trek. African blackwood exhibits excellent stability and takes a shine quite well. Custom makers agree that the material is ideal for carving, though whether it carves easily or not is open to the interpretation of the individual maker.
“I think the main reason for its carving ability is that it is hard,” commented Pekka Tuominen, a 17-year maker from Keitele, Finland. “Wood has to be hard if you wish to carve it with sharp and tight curves, and also polish those curves. Let’s say it’s not easy to carve, but when wood is hard you can get a good finish. Of course, it’s popular, too,” he observed. “Everybody knows that if some famous knifemaker uses a material, then the rest of the makers at least want to test it.”
MORE ATTRIBUTES
Waynesville, North Carolina-based ABS journeyman smith Ken Hall appreciates additional attributes of African blackwood. “I like using it because it’s a very dense wood, doesn’t require stabilizing, is hard and does not crack easily,” he stated. “It has a tight grain structure, so you don’t have to fill voids, and it can be carved or shaped without difficulty and provides a dark contrast to a steel blade.”
Huginn and Muninn are the names for two bowies by Richard Dawes. Huginn and Muninn are two mythical ravens that attend Odin. Dawes carved the African blackwood handles in a bird’s-head motif based on the style of bladesmith Bill Bagwell, one of the founders of the American Bladesmith Society.
Securing the handle to the blade most often involves a quality epoxy and a combination of pins, depending on the type of knife under construction. “I use rivets, pins and epoxy,” Pekka said, “but I don’t use African blackwood for full tangs. With hidden tangs sometimes just epoxy will keep the tang solid inside the handle.”
When Price went to work on his Deco Petty, a kitchen knife creation with a 6.5-inch blade of AEB-L stainless steel, overall length of 12 inches, and a handle of African blackwood, deer antler and a copper spacer, he knew just what he wanted to achieve. “The goal was to hit form and function,” he commented. “The ultra-thin cutting edge flexes with lateral pressure, and a Rockwell hardness of 61 [HRC] makes for a laser sharp tool in the kitchen. The handle was sculpted to contain design elements of the Art Deco era while hitting several notes of contrast: smooth and stippled, round and flat, black and white, and straight and sweeping lines. African blackwood does everything you want it to do with a perfect finish.”
Hall fashioned his sgian dubh as an interpretation of a historical Scottish knife. “African blackwood is the ideal wood for the sgian dubh because it can be carved and shaped to the hourglass design of the traditional sgian dubh handle,” he noted, “and provide an eye-catching contrast to the stainless steel bolster and pommel.” He added that blackwood is his preferred wood for a handle with a keyhole design because it can take the force applied to pressing the wood into the keyhole.
AESTHETICS & FUNCTION
Meers made the striking Vulpecula with a 12-inch damascus blade of 1084 carbon and 15N20 nickel alloy steels. Meanwhile, something of a surprise is embedded in the African blackwood handle.
Matt Gregory’s LWT (Lum-Walton Tanto) is based on a design by Mike Walton inspired by the late Bob Lum. The African blackwood handle is polished to a mirror shine and tapers slightly in reverse of the tang, and has a delicate bulge in the center to provide for a subtle yet improved grip. The sheath (not shown) is by Jill Gregory.
“Vulpecula is a reliquary dagger,” Andrew explained. “It is inspired by the tradition of keeping objects, often hair or remains, in an embellished vessel. I found a fox tooth and had it sealed in a glass vial by a friend. I then built this dagger to house the vial as a reliquary.
“The blade fittings and handle are adorned with 24-karat gold inlay depicting a large fox, its skull and paw prints. The hardware is torch-cut steel plated with gold that is brushed back. Vulpecula, the ‘Little Fox’ constellation, is set into the blade with blue diamonds.
“It was a combination of aesthetic and functional choices that made me choose blackwood for this piece,” he concluded. “The wood machines and carves well, so for this handle it was the ideal choice. The blackwood’s depth serves as a rich contrast to the bright gold used in small inlays to represent a starry sky and the fox prints as well.”
Tuominen built his Protector, or Suojaleijee, dagger with a 5-inch welded damascus blade of 1080 and 80CrV2 carbon and 15N20 nickel-alloy steels, a guard of Nicorros (a copper/nickel alloy), African blackwood handle, and a handmade leather sheath with stainless clip. The blade is 7 inches and overall length is 12 inches. “It’s a custom order for an American collector,” he noted. “I used African blackwood because it’s black and more stable than other black-colored woods.”
SOURCES
While African blackwood remains protected, it can be found through various sources. However, Abel has a warning.
“I stocked up at a Rockler store a few years ago,” he remarked. “I’m not looking forward to finding another supplier. I believe the demand is outpacing the supply, and as conservation efforts increase, as they should, so will the price.”
Kelly Vermeer Vella em- ploys African blackwood and sterling silver for the handle of her dagger. The blade is a damascus of 1075 spring and 15N20 nickel-alloy steel.
Hall searches eBay for African blackwood and makes his selection based on what is available. Pricing, he says, runs $20 to $30 for a handle block or set of scales. While Pekka often sources his African blackwood from European knife shows, he also checks the internet for block-size pieces. Meers has had success with retail suppliers and finds a broad range of dimensions.
The custom knifemaker and the consumer alike have taken a new interest in African blackwood, and that fascination is not likely to fade in the near future.
Whether for bushcraft, carving, or just straight woodworking, drawknives are handy tools that range quite a bit in size, function, and style. There are large drawknives to peel bark or hew small logs, as well as models for specialty purposes such as coopering or making chair seats. There even used to be specialty drawknives for shaping round handles small in diameter for brooms, rakes, and other implements.
Three small drawknives for carving and crafting are the focus this time: the MoraKniv Classic wood splitting knife, Flexcut Drawknife, and Veritas Drawknife. They are great because they are relatively compact and portable, and help comprise part of what you could call a portable rustic tool kit.
DUAL BEVEL
I know, right off the bat the MoraKniv Classic is called a wood splitting knife and not a drawknife. I thought this model would be interesting to test because it departs from the regular one-bevel blade geometry. The handle positioning is straight, giving the tool a compact configuration for transporting. It also comes with a sheath.
The author uses the MoraKniv Classic wood splitting knife in a push-cut motion to perform a stop cut while contouring the grip on a paddle.
Over the years, I’ve seen many a bushcrafter try and find a way for a standard knife to act as a drawknife. You can do many bushcraft chores with the MoraKniv Classic, from spoon work to shaping a tenon on a stool leg. You can do some of the same things with a regular knife, but with a drawknife it can be easier.
The 4.5-inch carbon steel blade has a dual bevel. An advantage of such a bevel is it makes the knife more versatile. A disadvantage is you don’t have depth control on a cut like you do with a single bevel. Single-bevel blades provide control similar to using a woodworking plane or a chisel. You shear through the levels you need to and, once you establish your depth of cut, you can remove material without bogging down by using a bit of depth control. Given that the dual bevel is a Scandi grind, it makes control easier than, say, a grind with a micro and major bevels on both sides. Control is most certainly easier than, for instance, with a convex grind. In the end, it is no big deal. Having to control a blade only becomes a problem when its design is not conducive to the job at hand.
Having in-line handles and a dual bevel, the Mora allows use like a sheath knife. It adds to the tool’s versatility and saves time, as you don’t have to put one knife down and pick up the other.
For the most part, control affects how much energy you put into making the blade do exactly what you want. In the case of a convex-ground blade, if you want to make a long, straight cut at the same depth, you will expend more energy than you should trying to keep the blade from “porpoising” (that is, front to rear bouncing of the blade). The alternative is simply getting used to making shorter controlled cuts more frequently.
The Classic cuts extremely well. Due to the straight handles and dual-bevel blade, you can switch and use it like a sheath knife in a split second.
WESTERN TRADITIONAL
Flexcut has a variety of tools covering chip, relief, and decoy carving, just to name three. The company also has a couple of drawknife styles. The Flexcut Drawknife is more of a traditional Western version. The 5-inch blade is 1095 carbon steel with the bevel brought to a mirror shine.
The Flexcut comes with a well-made sheath. It is always nice to have something protecting the edge—if not for safety’s sake, for that of preserving the edge from accidental harm.
Right out of the box, this thing is wicked sharp. It comes in a leather case with a peg-hole loop. It has a curved blade, which gives it a natural tendency to skew in a leading edge cut. If you haul the spine up a bit on your cuts, it will make more of a scraping action for a hollowing effect. It is a thin blade and not suited for hogging off large amounts of wood at one time. It is great for detailed jobs like the subtle contours you might find in a canoe yoke.
Using the Flexcut Drawknife, the author shapes the handle for a flat-board atlatl. The efficiency you gain using a drawknife is hard to beat for control and energy.
Such a small drawknife is a good tool not only to create art but to make utilitarian items. Given its Western-style handles, it doesn’t make a streamlined package for carrying in a pack like the Mora does, but it still has very little bulk and weight. The arched blade can be sharpened with a flat stone, though I find sharpening it with a small handheld stone and using a dynamic sharpening method easier. The Flexcut Drawknife is the kind of tool that suits the creative mind.
HOB-KNOBBER
The Veritas tool company manufactures the last of the test drawknives in Ottawa, Canada. Sporting a 4-inch blade, it is a small carving-style model. Steel is PMV-11, a stainless with a Rockwell hardness of 61-63 HRC. Veritas made the switch from traditional tool steels like O1 and A2 to up cutting performance and edge retention. A case for the knife sells separately.
The Veritas Drawknife’s 20-degree angle cuts aggressively and you have complete control with the well-shaped handles. Here the knife is skewed compared to its cutting path. Skewing the knife provides a leading edge to the cut, reducing resistance
The company’s technical information says the bevel is ground at 20 degrees. To sharpen the Veritas, be sure the sharpener is of a flat design. Given the knife’s size, you can sharpen it in either a dynamic or a static style*. To cover/sharpen the entire bevel, you will need a flat surface. There is no micro bevel on the Veritas, though that’s not to say you can’t apply one. However, if you want to keep it original, you will need to cover the bevel.
The angling of the handles is a traditional Western style, though they have more of an elongated knob shape to them. The shape helps reduce fatigue. Because of the handle angling the Veritas does not offer as compact of a carry as the Mora, but the .125-inch-thick blade makes it a bit sturdier user than the
Flexcut. Handle material is torrefied maple. Due to the kilning process, the material has a greater stability to it without the use of chemicals. At the top of each handle is a brass ferrule.
The author stated he has been known to push a drawknife to make a quick cut. The Veritas Drawknife clearly warns not to do that. At a 20-degree bevel, you take a chance of damaging the edge if you were to catch and roll it.
It is a good-looking product and out of the box is ready to work. It is the most expensive of the review knives, yet is not so much more that you wind up scratching your head. A drawknife like this can be put to work doing a number of things limited only by your imagination. Veritas promotes it more as a carving tool and actually shows it making a decoy in the company’s marketing media.
Staying within the bounds of this tool, I can’t think why you couldn’t get chores done or entertain yourself by making pieces of art with it. Keeping you busy in the woods and not necessarily only during a survival situation promotes better mental health. It is a great little package and a good tool—I just think the company could include the sheath. When you hold the knife you see where the extra cost is as the precision work shows in the fit and finish.
EXPLORING OPTIONS
Once you leave the big city behind, in order to thrive you must know how to make what you need. Many of the tools you carry will depend on what you plan on doing. If you’re building up a getaway spot, you might need to build items for the camp. When planning to build a more substantial base, you will need more tools. Again, it all depends on what you plan on doing. A good drawknife can greatly increase your cutting and carving options—not to mention that being able to use two hands greatly reduces fatigue. If you haven’t tried a drawknife yet, I highly recommend doing so.
*Static sharpening is when the stone is stationary, and dynamic is when the stone is moving.
A trick to sharpening drawknives both in the shop and field is to brace one handle against your armpit or chest. After bracing the knife, simply use a dynamic sharpening method with a small stone running parallel to the edge.
People Who Like to be Prepared Will Love the latest EDC Tools
Knife guys love gadgets, fix-it people love gadgets and DIY-ers love gadgets, so it’s easy to see why multi-tools do so well in the knife market. Though not knives per se, they off er more versatility than just cutting ability by offering on-board tools. With broader appeal than knives, multi-tools have a further reach and encompass more markets, too. They appeal to folks who like to be prepared.In addition to DIY-ers, campers, hunters, fishermen, hikers, mountain bikers and anyone who enjoys outdoor activities benefits from owning and using a multi-tool. It performs in-fi eld repairs on equipment when you do not have access to regular tools. It can mean the difference between bowing out of a camping trip because of equipment failure, or performing an expedient in-field repair or adjustment and carrying on with your adventure. As with knives, advances in multi-tools have made them stronger and more user friendly and versatile.
FLASH in the HAND: Coast’s LED150 multi-tool
When you think of multi-tools, what immediately comes to mind is a pliers-based tool with little fold-out implements nestled inside the handle. Truth is, multi-tools can take on any form as long as they incorporate the implements necessary for field-expedient repairs and adjustments.
At first glance, Coast’s LED150 multi-tool might appear like any other pliers-based multi-tool, except for one thing: it incorporates not one but two LED lights. One LED is on the pliers jaw end and the other is on the partially serrated end of the knife blade. This way, you can confidently work in tight and dark spaces with confidence thanks to the illumination. The lights are activated by a recessed push button located on one side of the handle. Press once to activate the light by the main blade. Press again and the light turns off and, at the same time, the light on the pliers jaws end turns on. Press again and the jaws light turns off. With the multi-tool closed, you can use either light as a stand-alone flashlight, further expanding the multi-tool’s versatility. The lights are powered by two CR1616 lithium button batteries. The batteries replace easily.
The light on the end of the Coast LED150’s handle illuminates what you’re cutting.
The pliers jaws have different gripping surfaces for smaller objects and larger nuts/round objects. The jaws themselves are spring loaded, which helps to open them by spring tension, reducing hand fatigue. When closed, all the fold-out tools are easily accessible: a partially serrated main blade that works on a linerlock, spring-loaded scissors, large and small flat-head screwdrivers, can opener, Phillips head screwdriver and the pliers jaws—most all the common implements necessary for field repairs and adjustments.
The handles are aluminum and feature raised hard rubber for a non-slip grip. The LED150 has a good heft and the heavy-duty build will withstand normal use. The sturdy ballistic nylon belt pouch has a fabric-fastener flap closure. Manufacturer’s suggested retail price (MSRP): $49.
One of the LED lights on Coast’s LED150 multi-tool shines on the pliers jaws end so you can effectively work in dark areas easily without the need for a separate flashlight.
AFFORDABLE SOLUTION: Gerber’s Armbar
Gerber’s Armbar series incorporates the fold-out implements of pliers-based multi-tools like the Coast LED150—minus the pliers. Sometimes, you just need the versatility of screwdrivers, a knife blade and scissors. About the same size as a large multi-blade pocketknife, the Armbar Drive features seven on-board fold-out tools: 2.5-inch plain edge sheepsfoot blade with opening hole and framelock, 2.5-inch extension driver with a double-sided bit of Phillips and flat-head screwdrivers, a prybar, bottle opener, hammer, scissors and awl.
The Gerber Armbar Drive features a sturdy main blade. The entire package has about the same dimensions as a medium-sized traditional pocketknife.
The extension driver has a magnet that holds the double-sided bit and allows for fast flip-over when transitioning to different screws. The driver socket can accept aftermarket quarter-inch drive bits, too. Hence, you can customize your Armbar Drive just about any way to fit your tasks. The spring-loaded scissors provide enough blade length for cutting coupons, stray threads and duct tape. The plain edge sheepsfoot blade thumbs open easily like any lock blade. The blade is mostly exposed even when closed, but the metal channel protects it from damage and you from accidental cuts.
Perhaps the neatest implement is the combination hammer/prybar/bottle open-
er, which in the closed position is in the hammer mode by default. The squared-off back end takes care of light hammering. The prybar function is rather limited as you’re not going to get a ton of leverage. However, if you need staples removed or to pry open a casing and such, it does the job.
A fold-out prybar/bottle opener on the Gerber Armbar Drive performs light-duty prying when needed, saving the blade tips on your standard knives.
One thing I wish Gerber would have included is the ability to lock the screwdriver in the fully open as well as the 90-degree position. When you torque down with the driver, your hand may move and this will cause the screwdriver to fold a bit. Also, when you use the tool in the 90-degree position, you apply more torque. Having it lock in the 90-degree position would make it easier to use—if not lock in both positions, then a strong detent and a half stop, like a slip joint, would be better than nothing. The form factor permits easy carry in your pocket, toolbox, glove box or a backpack.
At 3.1 ounces the smallest multi-tool in the Armbar line, it comes in an aluminum handle anodized in a choice of urban blue, orange or onyx. With an MSRP of $39, it presents an affordable solution to a typical pliers-based multi-tool by reducing bulk and weight—that is, if you don’t need pliers.
The screwdriver tool on the Gerber Armbar Drive is easy to manipulate. The magnetic socket allows you to flip the double-end bit over, as well as use most any aftermarket quarter-inch driver bit.
TINY TOOLBOX: Utica Minimaster
Utica primarily manufactures knives for hunting and tactical but also makes multi-tools. The Minimaster is the smallest multi-tool of the test bunch. It’s loaded with many small fold-out implements: a pair of tweezers, large and small flat-head screwdrivers, a Phillips screwdriver, scissors, fingernail file/cleaner, knife blade, bottle opener, and ⅜-, 11/32- and ⅝-inch wrenches integrated into the folding cover. Made in the USA, it’s roughly the size of a Victorinox Classic, so it fits well on a keyring, its preferred method of carry.
The scissors may be tiny on the Utica Minimaster but it is effective.
None of the tools lock in the open position. You pull one out and then close the cover; the cover held closed by your grip acts as the lock so the tools won’t fold on you. The tweezers are pretty neat—this is the only compact multi-tool I know of that integrates one. The tips are not textured or ground precise like regular tweezers, so grasping some things with it can be a bit difficult, though having one is better than not. As for the rest of the tools, they are handy to have and definitely will work in a pinch when you need them.
The ultra-compact size of the Utica Minimaster makes it a great candidate for improvised tin-based survival kits.
The only down side to the Minimaster is the hinged cover. It needs to detent tighter in the closed position, as the sample sent to us for review had a tendency to open partway easily. This could present a safety issue, especially if the tools open inadvertently. MSRP: $60. There’s also an imported version that retails for $9.95. Same construction and implement selection, except the multi-tool is made overseas.
MAPPED MULTI-TOOL: Leatherman Signal
When it comes to an article about multi-tools, I would be remiss to not include Leatherman Tool Group, the brand that pioneered the concept. It is the originator of the pliers-based format, and still among the best of them after all these years.
The main blade of the Leatherman Topo Signal features a map-topography laser etching, hence the multi-tool’s name.
The limited-edition Topo Signal is a variant of Leatherman’s Signal multi-tool. The Signal was developed specifically for the outdoor enthusiast, integrating features like a ferrocerium fire starter rod, saw, survival whistle, diamond sharpener and hammer, along with standard Leatherman features such as pliers jaws with replaceable cutting inserts, fold-out driver with reversible bit, awl and can opener. There’s also an integrated quarter-inch-bit socket built into the hammer portion of the handle, which will accept any standard quarter-inch bit driver.
The main blade is a partially serrated 420HC stainless sheepsfoot pattern that locks open via a linerlock. The blade features an oblong opening hole, while the partial serrations eat through tough and fibrous materials with ease. The blade has a map-topography-style laser etch, hence the name. The distinctive appearance is pretty neat and fits in perfectly with the outdoor theme. Speaking of outdoor theme, the Topo Signal comes in a nice dark green Cerakote coating for the aluminum handles and pliers jaws, fold-out implements, and all-black hardware.
Making on-the-spot repairs and adjustments are a multi-tool specialty. The needle-nose pliers of the Leatherman Topo Signal works great at accessing small nuts in cramped places.
Each one comes with a nice ballistic nylon belt sheath withbutton snap closure. It has a steel pocket clip. There’s also an integrated carabiner in the hammer portion so the tool can be clipped on a D-ring, etc.
Comparatively speaking, a Leatherman multi-tool is engineered better than most on the market. MSRP: $119.95. Country of origin: USA. It is the most expensive of the test group, but the quality of the manufacture and fit and finish justifies the price.
Since 21-year-old Jarrod Fiscus won with an axe in his appearance on Forged in Fire and also participates in frontier rendezvous events, it seems most appropriate that he would build a traditional pipe tomahawk.
Jarrod handforged the head of 1080 carbon steel and the body of mild steel. He then forge-welded the pipe to the body. He said the “weeping heart” cutout is a design used frequently in Colonial days, from the Eastern woodlands to the Great Plains. Jarrod dyed the curly maple haft in the traditional manner with nitric acid. He poured the pewter inlays directly into the wood. He finished it all up with a brass cap and a mule deer antler plug. As Jarrod noted, “This hawk is a fully functional, smokable piece of art.”
SPEC CHECK
ODEL: Pipe tomahawk
MAKER: Jarrod Fiscus
HEAD LENGTH: 4”
EDGE LENGTH: 3”
HEAD/EDGE MATERIAL: 1080 carbon steel
HAFT: Curly maple
OVERALL LENGTH: 19.5”
MAKER’S LIST PRICE FOR A SIMILAR
PIECE: $550
Safety feature, bell and whistle, or what have you, the half stop stimulates lively discussion.
What is a Half Stop?
An old song includes the lyric, “It certainly is exquisite, but what in the dickens is it?”
The slip-joint knife version of the phrase can easily be attributed to the function, or lack thereof, surrounding the half stop, the flattened shaping of the tang that allows the blade to stop in mid deployment.
It’s a safety feature; it relieves pressure on the spring; it’s a mark of fit and finish that the best slip joint makers always include; or, just maybe, it’s like your appendix. It once had a job, but nobody really knows what that job was. It hangs around—and in some cases it has been removed.
What a Half Stop Does
According to Phil Gibbs of A.G. Russell Knives, “In a traditional slip-joint knife a half stop indicates the blade has a square tang instead of a conventional rounded one.” In Detail 2 is a diagram of a tang with a round end; in Detail 3 is one with a square end. (A.G. Russell Knives image)
“In a traditional slip-joint knife, a half stop indicates the blade has a square tang instead of a conventional rounded one,” explained Phil Gibbs, a veteran knife designer who has worked for A.G. Russell Knives for a number of years now.
“There are two reasons for a square tang. One is that a pause to move your fingers out of the way is desired halfway between open and closed. The second is that the knife has a flush end. Most issues of a square tang not working properly can be traced to poor spring/tang design and/or poor execution.”
There are plenty of ideas and opinions out there, and longtime custom knifemaker Gray Taylor admits the purpose of the half stop is something of a mystery to him.
“A half stop is just a low place in the back of the blade, a flat place that stops the blade and takes tension offthe spring,” he observed. “It just protects your spring from breaking, in my opinion, or it could be called a safety feature. Old guys have told me that if you have a whittler pattern, for example, with one blade on either end, you don’t want to open a knife halfway because you double the tension on the spring.”
The Case XX Vault Release Copperhead pattern, new for 2021, features a half stop. The knife is a member of the company’s Black Sycamore family. MSRP: $83.99. (Case image)
The History of the Flat Stop
The history of the half stop is as murky as its real role in the life of the slip joint. For sure, it has been around at least a couple of centuries, dating back at least to the knifemakers of old Sheffield—possibly much earlier.
Museum curator, researcher, and knife historian Pete Cohan points to traditional knives and modern multi-blades that have square backs; therefore, a half stop would have no purpose on them.
For Cohan, the “time factor” is relative, depending on how far back one would have to go.
“The amazing thing is that over a long period of time that feature was not present, and that is a fact,” he commented. “I was puzzled by this a long time ago and couldn’t find any indication of a patent associated with the half stop. At one point, I assumed it was a safety feature, and that was about the only thing I could come up with as to intent. I know similar things have been used in lock making, and that makes sense because you are pushing something to allow it to drop into a location to lock or unlock.”
Gibbs isn’t sure anybody knows the real origin of the half stop, but the earliest example he has seen through the years is on an 1800s barlow with a flush end made in Sheffield.
Veteran multi-blade slipjoint maker Bill Ruple has also seen the Sheffield connection but doesn’t know much more than that regarding the half stop’s history. Nonetheless, he does find function in its continuing existence.
“I have heard the half stop called a ‘safety catch,’ and my theory is that it was invented to be easier on the spring of a multi-blade knife,” Ruple offered. “The blade should literally jump into the half-open position and have no play or wiggle. If you can feel any wiggle or movement, it’s not right.”
At work here in his shop, Gray Taylor admits the purpose of the half stop is something of a mystery to him. “A half stop is just a low place in the back of the blade, a at place that stops the blade and takes tension of the spring,” he observed. “It just protects your spring from breaking, in my opinion, or it could be called a safety feature.” (Christy Harris image)
Half Stop Debate
For years, Ruple and A.G. Russell engaged in a congenial debate regarding the half stop. They never resolved their difference of opinion, and it remains one of Bill’s fondest memories of his relationship with the BLADE Magazine Cutlery Hall-Of-Fame® member.
“I personally use half stops on all my slip joint knives, unless the customer wants a full tang, and I have been doing it for 33 years,” Ruple commented. “The late Mr. Russell, however, would disagree with me on this one. A.G. was a good friend of mine for many years, and every time I saw him, he would give me a hard time about using half stops. He hated them.”
Gibbs acknowledges Russell’s disdain for the half stop and says it lies in a bad experience that occurred years ago.
“A.G. was not a fan of square-end tangs due to being severely cut by an extremely poorly designed and executed custom-made trapper,” Phil said. “He was cut because the maker apparently had no idea how to correctly design a pocketknife spring and tang to work well together. If your traditional knife works like a mousetrap, you are doing it wrong!”
Ruple is solid in his support for the half stop, relating, “Half stops are easier on springs, especially on rocker springs, which are springs with a blade on both ends. With the half stop, the spring is approximately the same, whether the blade is open, half open, or closed. With a full tang the spring has more pressure in the half-open position.”
Cohan concludes that the half stop has reached functional obsolescence. “Well, take a scout knife with four blades. Invariably, it has a half stop. Why? I can’t think of any reason they still make knives with half stops. Maybe it is more habit than requirement. My point is that the only answer I have ever come up with is the safety feature, and I’ve certainly never seen a patent on it.”
Some observers still assert that the half stop was a necessary revision to the tang, going so far as to state that it prevents the user from needing a pair of pliers to open a knife. Its absence, they say, would cause the spring to flex the entire distance of the end of the tang, and it functions to prevent the total failure of the spring, relieving pressure with the blade open that would otherwise fatigue and eventually compromise the spring’s integrity.
Gibbs scoffs and strongly disagrees.
“Converting to a square end tang in no way significantly reduces spring deflection,” he remarked. “It is the torque points of the tang that define the opening and closing force applied to the blade. A.G.’s tang designs employ a tangential radius to produce the round end of the tang joining the two torque points and resulting in zero increased spring force.
“Consequently,” Phil continued, “the round end tang and the square end tang would have identical opening and closing forces. Actually, with a square end tang the spring is flexed twice for each opening or closing, so I would surmise it increases stress to the spring. The only time there is any difference to the spring pressure on a square end tang compared to a round end tang is in the half-open position.”
Gray Taylor’s small sleeveboard lobster pattern sports six blades and/or tools: two spear-point pen blades, manicure blade, buttonhook, corkscrew, and pick. The sole-authorship piece is 2 3/16 inches closed. (Francesco Pachi image from the soon-to-be-released book Greatest Living Knifemakers by BLADE® editor Steve Shackleford https://www.gundigeststore.com/product/greatest-knifemakers/)
Making the Half Stop
Through the years, the inclusion of the half stop has probably remained fairly constant, and those who pay attention to it can’t say for sure that its use is waxing or waning. Gibbs recalls that the square end tang was traditionally found on barlows and Remington trappers, and some custom knifemakers continue to incorporate it today.
While the pros may differ in the usefulness of the half stop, they can agree that making a slip joint that includes a half stop adds little or no difficulty or cost to the construction process.
“I wouldn’t say it’s a lot harder,” Taylor commented. “You’ve got to make sure the half stop is positioned that when your blade stops at the half stop, it wants to be perpendicular to your knife. If your grind is off five degrees, the blade won’t sit straight. You’ve got to make it perpendicular to the back of the knife to look right. On the other hand, if you don’t have a half stop and cut a cam on the back of the blade, you’ve got to make sure the cam allows just the right tension. It takes practice. Throw a few blades away and you’ll catch on.”
Gibbs, who actually hails from Sheffield, England, considers the flush end knife more difficult to make than one with a square end tang, so the price might be somewhat higher due to the maker’s skill set. Throughout his career, he has had ample opportunities to assess thousands of knife designs.
“In my previous position as cutlery engineer at [the old] Camillus Cutlery Company, I designed several knives with square end tangs,” he related. “I considered it a required feature on some of the Remington Bullet knife reproductions we produced. We also made the Camillus Double Lock Back Trapper with square end tangs. It was not any harder to make at all.”
Gray Taylor said old-timers have told him that if you have a whittler pattern, for example, with one blade on either end, you don’t want to open the knife halfway because you double the tension on the spring. This I*XL George Wostenholm antique in ivory is an example of a three-blade whittler. (Pete Cohan image)
The Future of the Half Stop
Relevant or passé, here or gone, the half stop is a pocketknife feature that is likely to generate some lively discourse. While it may or may not add anything to the performance or durability of a knife, it’s healthy for the industry simply due to the fact that it gets people talking.
