fiddlefaddle

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  1. use your legs... The hip pain is most likely stemming from stress on the back, which is least able to absorb the motion stress, your legs are best equipped to handle the motions involved in planing Conrad Tamea Board certified orthopedic surgeon
  2. the most important aspect of tendonitis, treatments, is elimination or diminishing swelling. Carpal tunnel is a complex syndrome which may feature reversible tendon swelling, Irreversible tendon hyperplasia, followed by reversible or irreversible median nerve injury, due to chronic compression in the carpal tunnel which is a closed space. the most effective treatment for synovitis, is gentle compression with either an ace warp, or a neoprene wrist sleeve http://www.activeforever.com/banyan-wrist-compression-sleeve?adtype=pla&gclid=COm4jcGduroCFRFo7Aod_TYAUw This is used in conjunction with a cock up wrist splint. http://www.allegromedical.com//orthopedics-orthotics-c528/cock-up-wrist-splint-p556191.html?gclid=CN3Aq-ieuroCFSlo7AodNj8AWg#118B-E997F3C?engine=froogle&utm_source=froogle&utm_medium=feed&CS_003=9164468&CS_010=ff8081811899effd0118be9003750adb&gdftrk=gdfV21244_a_7c477_a_7c4637_a_7c556191 Generally if the swelling is effectively managed, sustained relief can be expected Conrad Tamea MD Board certified in Orthopedic Surgery
  3. fiddlefaddle

    Great News

    I wonder if you can print from it??
  4. great thread. I found the article to be transformative I also am struck by the idea that the process is called transformative learning , rather than transformative teaching.
  5. it's a big job. I did that with a maple log. Sawing the splits is tricky . Have you devised a trolley for a large band saw?
  6. I found it thanks, Yes, I've got my sodium nitrite from a chemical supply, sodium nitrite is cheaper and more easy to buy than potassium nitrite. Yes, the turpentine with oil works, I'm using my oil varnish (2 parts oil, 1 part rosin, one part mastic) diluted in turpentine to help the tanning process too. My whole process, that I may have already mentioned here is the following: I start with a somewhat dark coloured wood, this way: Sun tanning, strong tea, 4% potassium nitrite in water followed by exposition to direct sun (6 hours), perhaps 2 times that (test in samples first, take care with the top, it can get blotched), some of my oil varnish (the recipe in Biblioteca Marciana, Venezia, also on Baese's book: 2 parts oil, one part colophony, one part mastic) diluted in turpentine, 2 coats, strong tea, light glue sizing with a bit of alum, stain (harmell) more tea, light fumigation with amonia. If it gets too dark in the middle stop the process. It's a bit intuitive, like cooking (I love cooking...). After all that the wood will have a strong cinamon colour and the wavings will be darker. This method would not be used by people with a faultless and very clean work, such as Darnton or Burgess, but it's good for a "Guarneriesque" work as mine. Ground: my oil varnish (2 parts oil, one part colphony, one part mastic) can send you the recipe) in a paste with tripoli rubbed into the wood (don't leave it build up, don't leave it thick anyway). I take off the excess with a rag with kerosene, apply a bit more of my oil varnish and rub it over the wood to develop a very thin, but quite reflexive surface. This ground will penetrate a bit in the wood and that will make the contrast in the flames more visible, I think. The penetration in the wood will be stoped in different depths of the wood (this process had already started with the aplication of my thinned oil varnish) causing the holografic and tridimensional effect. Varnish: one coat of Padding's "Doratura Cremonese" thinned with Kerosene and heavily coloured with asphalt (roof tar) and Alizarin Crimson. The kerosene/pigments thinner will be very very concentrated, a residue will form in the bottom of the jar, so filter it; two coats of Padding's "Doraratura Rossa" used the same way. Used 1500 Micro Mesh betwen the coats, as well as tripoli. Polished with tripoli and polish
  7. Manfio, I remember that recently you posted a recipe for your technique.. would you be so kind asx to direct me to thatpost?
  8. perhaps I am showing my ignorance here, but it seems to me that Fry's method differs from Fulton, in that he did not create a resin, which Fulton then dissolved in an oil, but simply oxidized the terpene, and called that a varnish. It is not illogical that this avoids the drying problem Taylor uses Dammar, (oxidized) then dissolve that in boiled linseed oil. This is really a Fulton Varnish ( with Dammar rather than colophony). So, I am saying that Taylors process more resembles The Fulton method, except that he uses dammar. Please correct my observations if they are incorrect. I am enjoying this debate immensely.
  9. thank you.. could someone summarize the difference in the Fry process and the Fulton? How about nitrifaction of the Fulton resin.. Colophony? does that interest anyone?
  10. I recently began reviewing the Cremonese varnish thread on this board ..... including Taylor's varnish coloration method using nitric acid oxidation as a coloration. I came across this I recall several people asking about sources for this treatise, and here it is on the web. I also wonder where to find the Ferbose paper on this board? I haven't looked at it.. does he discuss nitrification? This Fry treatise has a wealth of information, much more than I have digested so far, But it raised for me the question, why has nitric acid oxidation as a coloration fallen into disfavor, over pigments? I would appreciate any thoughts on this. Thanks
  11. I used a shop bandsaw, and a belt sander to shape mine. If you have a medium sized bandsaw, cut out the outline with a series of straight cuts to end up with a roughly coffin shape, then put on a pair of heavy leather work gloves, get a five gallon bucket of water to periodically cool the work. 60 grit on a bench type belt sander does a beautiful job. Here's mine. mine. I keep meaning to dress it up a bit, but it works great. I use a copper flashing bendin strip, , and just wrap it around the iron, which is shaped just like a strad "C" bout, then let the rib cool in the malleable copper strip for a bit. Perfect fit. sometimes I transfer the rib to this cold bending form for a day in the sun.
  12. I use the woodslicer blade for resaw, and I do a good bit of it, I saw all my backs out from a log. with wood this valueable, it is well worth the effort to have the best blade, available. After I set up my saw it has essentially zero drift. I happened upon the idea of making the fence parallel to the blade, rather than perpendicular to the table.For resaw work, makes a BIG difference. even if the blade is square to the table, it's still impossible to hold the piece perfectly square tp the table, . but it's a cinch to hold it flat against the fence. for a piece of wood this size I wood make a fence from a flat 2"x6" . I would also plane the surface of the work flat before I cut. Do you have ball bearing guides? The blade should run with ANY friction sounds. Test the set-up for drift with a free 1"x4", cutting free hand, then cut a 2"mm slice against your fence. let the blade eat the wood , don't "push "it. If there is zero drift you are ready to cut. Good luck
  13. I can't count the times I have tried to get two pieces of wood from one piece, and ended up with no pieces
  14. Keep in mind , Tim, that to prepare a truely good joint one must begin the process, even with a rough board, with a thin cut. Often initially, the blade will remove often only a small fraction of the surface, skipping the low spots, and removing only chips , not shavings.. . However if you proceed , you will find the board begin to even out, and nice shavings begin to appear. Let the plane simply rest on the board and push forward only, not down. It is a naturally tendency to want to remove a large shaving. However that simply doesn't work. A smooth surface is not neccesarily a flat surface. By taking thin, thin shaves, nice and evenly one can do the job with many strokes, little effort, and remove very little wood. Chalk is not neccesary, but holding the surfaces together, and looking towards a bright light will tell you what's going on, and you can adjust your technique with understanding rather than guesswork Good luck.