Singer 411G stitching issues

I bought this machine on the price alone, and thought I'd start by cleaning it. After cleaning it wasn't stitching well, so I assumed (correctly) that something I did had caused it to go out of balance.

The 411G has gold accents

The symptoms were that threads were nesting badly in the bobbin area. After perusing the 401 service manual thanks to Sewing Dude (https://sewingdude.files.wordpress.com/2012/09/singer-401-service-manual1.pdf page 131), I decided to go through and check the clearances for the bobbin case (which seemed very loose even before I cleaned it) and anything else in the bobbin area.

So this is the procedure:

Remove the needle, remove the presser foot, slide the slide plate (1) back, lift and remove the stitch plate (2).

If you want to (it's not necessary) you can also remove the slide plate. It's just like the 66 and 99. Put down the platform that holds the stitch plate then slide the plate back until it clears the spring.

You should now see this (without the arrows of course)

You will need a set of narrow feeler gauges to check the clearance. If you don't have any, you'll need to get some or guess the gap.

Narrow feeler gauges

Using the picture with the arrows, check the gap marked 1. It should be 12-14 thousandths of an inch (thou). If it's not in that range, go on to check 2, the vertical clearance between the hook and the spring, 16-18 thou. These are both adjusted at the same time, by loosening the two screws marked by thick white arrows and moving it until the clearance is right, then re-tighten the screws.

Once you've done this, check 3, the distance between the bobbin case and the spring. If this is not between 12 and 14 thou, adjust it. The adjustment is easy, but you first need to remove the machine's plastic base (two screws), exposing the locking screw (see picture below).

lock screw for adjusting bobbin case clearance

Once you've loosened it, you can turn the screw to the right of the bobbin spring (see below) which is eccentric and will increase or decrease the gap. 

Once this clearance is right, perform a test sew. My machine was made to sew at full speed with a very narrow stitch length and making a pattern, the ultimate test. It didn't skip any stitches or even hint of bunching up. Machines like this that do everything are a lot more complex than, say, a 15 or 201 so they need more attention and are harder to get to, but with the right resources (mostly just knowledge) you can keep them in top condition. 

Another problem was varying speed during sewing. This means that the foot controller's carbon pile needs a clean. This is a horrible job, so I replaced the controller. Later on I pulled out a Japanese electronic controller I've had for a few years and that was even better, because apparently you can leave these plugged in without any heating (the 411's controller was also quite hot when I changed it). The electronic replacement required a little soldering.

It's now almost perfect. The last job is to see why the motor is noisy. A drop of tri-flow was suggested on another blog, but it hasn't quietened it, so I'm thinking I'll have to remove and disassemble. Not a job I'm looking forward to, since it's completely enclosed, but I'll do it and let you know of any obstacles.

Dress and Blouse for the Little Woman

Robert Fritzlaff is a shining inspiration to me. He is a male designer of women's clothing in the 1950s and '60s (apparently a bit in the '70s too). He is also heterosexual. Yes, I know it shouldn't matter but it does. Sewing dresses for GF and daughter shouldn't be this enjoyable for a hetero male, but thanks to RF there is a precedent. Actually it's possibly not that uncommon. RFs taste in clothing is brilliant, too, as is his view of high fashion today ("garbage").
OK, off the soap box. I started making a dress yesterday:
Butterick 4061 (1965), Size 16T, Bust 36 "proportioned for teens" for my girlfriend, who left her teens even before I did, but we'll see how it fits when I'm finished. She gave me two more hurdles, being I must use an invisible zipper, and I must re-use a skirt section of an old dress she bought at a garage sale (sigh).
I forgot to scan or photograph the pattern cover but it looks like this:

I've been given the task of creating 'A'.
Cover tells me how much fabric I need (which I ignore, since I have to re-use old pieces). I also need interfacing for the facing.
One thing I found curious is that the pattern keeps mentioning the "Jumper". This is referring to the bodice. I kept looking for a jumper and for the bodice instructions, but they're one and the same!
So, cut out the fabric. I did just the bodice first, rather than all of the cutting at the start (means I don't have to use a hundred pins all at once). The first thing to do is to attach the interfacing to the facing - fusing is the name for the modern version. It must be pressed on and heated (iron or press), and is to be applied to the inside of the facing.
I cut out parts 1, 2, 3 and 4 in linen and 3 and 4 again in interfacing (Tip: Lay the interfacing on the linen and pattern pieces on top - saves cutting twice). Then trimmed 3/8" from the bottom of the interfacing and fused it to the wrong side of the linen.

Cutting the front and back. Notice dot triangle at fold

Facings. Only #3 has the dot triangles

The dot triangles are Butterick for "place at fabric fold", because the piece has to be continuous and double the size of the pattern piece. Different pattern vendors have different codes for this. Also, the two big dots on #4 must line up with the grain of the fabric (the same thread must go through them both). Not doing so with affect how the garment will move or how it stretches, so it's quite important.
Butterick has "easy steps" in following their pattern. Unfortunately, some of these are very complex.
Step 1: To make dart in BODICE FRONT, bring small dots together. Stitch, tapering to single dot, press down.
Seems straightforward, make the bust darts in the front piece (big piece with the dot triangle), then press down. But wait, there's more!
Trim 3/8" from lower edge of front interfacing. Baste to inside of bodice front as shown. Here we must depart from the instructions. In the '60s the interfacing had to be stitched. Now it doesn't. Since you have pressed it on, you need to ignore any mention of stitching it on without the facing. It is attached to the facing, and they should be treated as a single unit.
Sorry, I was not going to publish this in parts, but now will since I'm taking so damn long to hem the thing. Invisible hemming is the last step, and I badly misinterpreted the instructions in the Singer manual. Now I'm off work for a while so will post again shortly.