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Mibeck

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About Mibeck

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  1. Small Diameter Ring Making?

    Details: 1mm thin wall ring-----silver. the highest part is 1mm thick----curved shape--- edges narrow to 1/2 millimeter at edges. 20mm outside diameter 18mm inside diameter full circle.
  2. Small Diameter Ring Making?

    can anyone suggest a process for making small rings like the ones shown? i need to make three of them as replacements for a missing piccollo ring set. They are needed as they protect the endgrain from splitting.
  3. Carving The Fipple In A Woodwind

    Mibeck, what makes you think that the recorder plug in the photo is off-centre? because i measured it in a precise way! i agree with the slight cone idea. im sure its different for every instrument------especially those made by hand. again---as always its comes down to artistic choice guided by physics. There are probably an equal number of recorders that do it a different way. ive seen some nice silver and brass fipple recorders that avoid the whole issue with ring over a turned piece.
  4. Carving The Fipple In A Woodwind

    I'm afraid you need to express your point a bit clearer. one point is its easier to cut a ramp shape when you back it from the inside------the backer minimizes breakout. another point is scrapers can make a surface---even an endgrain------free of fuzzies. scrapers work for this----wood that has the grain raised can be easier to scrape and shape flat after its been raised---raise the grain first---let it dry then shape it. big point: if you turn a fipple for a recorder you have a choice to use the same axis as the bore-----or you could use a 2nd axis----- that is one axis for the bore and another axis for the outside shaping on a lathe --- this can place the bore itself closer or further from the players embouchure----and nearer or further from the edge of the turning. This is an artistic choice guided by physics. Wood turning on second axis can also significantly change the relationship between the air passage and the vibrating part of the fipple. what it does give you more room to cut the air passage and the plug which fits it. this is why the mouth end of the recorder is often tapered and shaped after the bore is cut. (pic of a recorder fipple also) +Miles (on this recorder the bore is not in the center----off axis turned after initial woodturning)
  5. Carving The Fipple In A Woodwind

    please offer your thoughts. The problems I have run into trying to do that are that I am working inside of a wooden tube with a bore size of 14mm (0.55") cutting end grain from the very end down in to about 1.5" - 2" and most stop before hitting the edge or I will destroy it. Even at that short distance, it is hard to get a tool to ride the bevel inside the tube. some thoughts come to mind----first you could place a sacrificial wood dowel or wood backer inside when carving. second is that the thinning of the wood could be done with a flat 01 steel ground to where the end was ground like a scraper---they call this tool a flats scraper and it is used in planemaking after the roughing with a float. to be truly effective, you could use some water on the endgrain, cause the grain to raise by hydroscopicity, then take a fine shaving cut or extremely fine scraper cut. I need a really flat smooth cut at about 30 degrees and I need to get rid of any "fuzzies" around those cuts without rounding edges. you can undercut the lip of the 30 degree slightly. but there are limits (1mm or so not more) scraper would indeed get rid of the fuzzies. that I am working inside of a wooden tube with a bore size of 14mm (0.55")------ -change the head shape of the recorder so its wider----whereby giving you more room to control the cuts. the older makers did this by cheating using off axis turning around the bore. a bore which is reamed from the end which makes it wider. the bore is done first then the turning done so as to accomodate the bore. NOTE THAT the head stock shape can be significantly different than the bore shape and usually is, the pleasing wood turned shape addresses this issue making it look straight when its not. the air chamber is opened with very fine chisels.
  6. Carving The Fipple In A Woodwind

    http://www.flute-a-bec.com/bouchongb.html i found this to be very informative. +Miles been there-----done this. of everything mentioned here the hand cut files esp the handcut riffler is a very useful tip. something magical about the irregularity of the handcut tines that makes it smooth the wood so much faster in preparation for a fine file. also you may want to join 2 other groups---- EARLY FLUTES YAHOO GROUP and the FLUTEMAKERS YAHOO GROUP they have a bunch of good info. pictures and measures.
  7. Carp and lotus leaves

    was given the netsuke below. i think it was made in boxwood? it has black eyes. it has a name on it but i cant read it. Thought id post pictures of it here:
  8. Best graver-making tutorial

    in terms of found materials----- the metal in fencing foils (like for swordfighting) works very well. the cross section gives you this diamond shape that gives you excellent control of the graver. the sizes from tip to hilt taper and you get about five different sizes out of one foil. i think its a form of spring steel but its very high carbon. lots of sparks. i do heat treatment with 2 mapp torches and quench in peanut oil. i then reheat in a stove. i also keep close lookout for Bodhran tippers (rosewood if possible) and found i can make very nice handles for my gravers.
  9. Dying Holly Wood

    rooiboos herbal tea makes a very pink color. i mean the real leaf tea--------- seep in hot water---- take the wood and wet it with the tea. it does raise the grain a little. i was trying for red and ended up with a real pink on test pieces. however i think herbal tea might fade in UV light ---- but im not sure. turned maple pink. (also suggested is hibiscus tea which is kind of a red leaf tea)
  10. Free Internet Book - Maori Carving

    WOW neat book---thanks for pointing out this reference!
  11. Carp and lotus leaves

    very beautiful--- its very lifelike and animated the scales make it look alive! and the translucence catches the light just right way! Beautifully carved.
  12. Pallasite......has anyone worked with it

    yes i do know its valuable. but then artists have traditionally reused lots of valuable materials in the creation of other art peices. ive come to the ultimate conclusion that as a material substrate has far too many variables to be worked effectively for my purpose and that other material may work just as nice. my skill and invention are rarely in the same room at the same time anyway and id hate to destroy it. So i'll concede that the universe made one really good art peice on its own.
  13. Pallasite is a meteorite that has a kind of yellow stone in it. very irregular but beautiful. im not sure what the best way to shape it would be. has anyone worked with it as a material? what method did you use to shape it? http://en.wikipedia.org/wiki/Pallasite
  14. Peach Pits anyone?

    'Mr. Wilsons cabinet of wonder" by Lawrence Weschler i just happened to read this book over weekend cause somebody said it had pictures of needle carvings. that is micro fine detailed carvings inside the eye of a needle. i assume you start with a metal blank and carve it out in microminiature? has anybody tried this? anyway if anybody is interested pg 97 has three pictures of fruit stone carvings. apparently a family named Tradescant made several of them (or had them made). "fruit stone" might help turn up more references.
  15. Is it Silver or Gun metal

    Gun metal is a form of silicoln bronze which is used alone or mixed with nickel gun shops have chemical solvents and blueing agents which will patina silicon bronze and tell you if thats what you have. usually a brass color with a slight red tinge to it is an indicator or silicoln bronze although some silicoln bronze is more brass colored. the biggest difference is weight. without use of chemicals i would get a digital scale compute the mass for your peice and use small peice silcoln bronze and small peice of brass and deduce mathematically how much metal----- brass versus bronze would be..........and that would let you know proof positive which one you have. bronze being heavier. However seeing your example ------ it looks very much like verdegris, which is a form of rust that commonly occurs when the copper and zinc which make up the brass come in contact with water and humdity. id be willing to bet a roll of duct tape its probably brass which had a silver coating. commerical shining products are often used to remove this----but they all detract from the value of the peice and if it had silver plating any chemicals can erase whats left of original silver. essentially verdegris is a form of metal delaminating. bear in mind that many forms of rust can also be artistic in color and shade but are not to be confused with patination which is delibrate process of chemical modification which can actually makes the metal stronger. what you have seems to be drop formed brass vase which has had a coating applied to it at one time electrochemically plated----possibly silver----the silver flaked off and left brass zinc to rust. Teapots are still commerially manufactured this way and several teapots ive had from 1760's bore the same verdegris type color and spotting. Nickel silver is whats its often mistaken for. Nickel silver peices do not rust---they can have a chemical patina but by and large do not rust.
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