Jerry Lynn

Everything else aside, the clutter of that bench is the stuff of nightmares.

Hi Scordatura! I have two Richpen Phoenix airbrushes that I use. I got them because Jeff recommended them to me. Both of them are the 213C model. One has been modified to have a smaller nozzle and needle, essentially making it a 212C which wasn't an official product of the company, but a reseller was modding them that way. Richpen Phoenix I mostly use the stock 213C, the larger bore seems to work better for me. I always use a combo of dyes and dry pigments, the pigments seem to have an easier time with the larger size. Unfortunately, it would appear is if they've been discontinued. A trusted friend and colleague in Boston has recently gotten the Iwata Neo gravity fed dual action airbrush . They say good things about it, and it's very affordable. I'm so glad you like Omo! We've shelved the next episode on Baroque set up for a later date in favor of some commentary from Ben Hebbert.

At the time, I didn't have the Jeff slush fund for toys, so I bought the Power Jet Pro... they've updated the model now to include two hookups, hopefully it retains the quietness of the older version which isn't much louder than Jeff's. My workshop is small and I don't mind it at all when it's running, even when it's directly by my feet. It's also a whole lot more portable, hence why it makes the trip to Oberlin: Iwata Power Jet Pro The fifth tile on this instagram post shows me using it, I think at the end the compressor kicks on. neck heel/airbrush I'm not showing good form by how I'm holding the the hose... or by not wearing a mask (really should mask up). I often use the airbrush together with a paintbrush for heels.

Eternity arts makes an okay UV chalk that is white in daylight. It's a little grainy for standard use, but it can be useful if you are stuck. Normally, I'm using regular eternity arts chalk for patches, and Mercurious for bass bars. All chalk will lie if you aren't careful with it... Kind of makes it look like a party is happening

I think I might have been the friend that told Jeff about it.... I've been using the pocket plane for a little while. I first acquired it because It of Gear Acquisition Syndrome, otherwise known as GAS. Since then, it's become a go to plane for a a wide variety of trimming and fitting jobs, and it feels wonderful in the hand. Perhaps the most surprising thing i've found it useful for is trimming the sides of fingerboards when fitting a new board. Being smaller than a normal block plane, it's somewhat easier to achieve nice hollow on the flanks when using a shooting board. The thumb hollow is square to the bottom, and it's relatively easy to ride the thumb hollow on the shooting board.

Exactly! I seem to attract broken buttons, the vast majority of them have been safer to go from the top down rather than to remove the back.

If you really do want to work back in your old stomping grounds for a while, I do have a guest bench.... not sure how much work we would actually get done though.

What Julian said about what Tommy said.

This is my take on the idiot stick. I make it from rib stock for violins, and thin plywood for 'celli.

I use it too to start on end grain if the top is healthy. If you can sense the purfling channel is cut deep it's best to avoid it, other wise you are looking for a piece of edge on the other side of your shop . Speaking of JP, I think triangle has an article on top removal written by Greg Tracey. Probably worth checking out.

Did you "red up" your workshop today?

Agreed!

I've developed a flair for the dramatic I guess. I blame Rozie and Jacoby. Your hinge theory is right on. The main job of a cleat is to keep the plate from flexing in a localized area. I seem to recall something from the pro narrow parchment crowd that it's providing a barrier to humidity swings for the crack on the inside, like retouching does for the outside???

Linen used on the top and back for reinforcement is often a hot button issue - zealots on both sides of the argument usually come out in force. Maybe they're too tired to go another round? I believe that there are past discussions on it here. In my experience, I've removed way more than i've installed (removed=lots, installed=0). I've removed it because it's been rather wide and caused localized buckling along the split. Perhaps as Christian says: "If they are not wider than the thickness of the top, there should be no problem." All of the stuff that i've removed has been considerably wider than the thickness of the top. I've also seen my fair share of stable linen/parchment/silk reinforcements that was quite old. For me, I know I can install cleats that work, and I won't have to keep thinking about them after I install them. So, I stick with cleats for table and back repairs, and keep linen for ribs. He also lives in Ann Arbor, right? You really can't swing a cat around your head with out hitting someone in the trade there..

You’re totally right, “neck attachment” would have been a better term. Calling it a mortise is a force of habit. While working for a larger firm, I was assisting in the procurement of Scottish violins to sell to a market of Celtic music enthusiasts. One of my favorite attachments found on a few was a screw under the board, through the neck root, into the block.