Subject: Tool Steel

From: "David C. Hufford" <[email-masked]>
Date: Fri, 05 Jan 1996 07:26:17 -0500 (EST)

Any suggestions for sources of tool/spring steels in odd sizes and small 
quantities?  For example, I need a small amount of 5160 in 5/16 x 1 bar 
stock, but can't locate a vendor which lists such.

David C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Fri, 5 Jan 1996 07:36:21 -0500

You might check Burgon Tool Steel Company  1-800-258-7106  Ask for Art Putnam.
They will do small orders.

On Jan 5,  7:26am, David C. Hufford wrote:
> Subject: Tool Steel
>-- End of excerpt from David C. Hufford

-- 
Dr. Mark E. Williams

Bldg N-159, Rm E-215
NASA/GSFC/WFF/EG&G
Wallops Island, VA 23337
804-824-1744

[email-masked]

Eat a live toad every morning. Everything else will be better by comparison.

---

From: "David C. Hufford" <[email-masked]>
Date: Fri, 26 Jan 1996 07:00:04 -0500 (EST)

Does anyone know of a source of metal-cutting band saw blade in bulk 
rolls?  I understand it's cheaper to purchase the blade in rolls and 
cut/brase blades to fit your saw.  Any info as to sources is 
appreciated.

David C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Fri, 26 Jan 1996 07:39:56 -0500

On Jan 26,  7:00am, David C. Hufford wrote:
> Subject: Band Saw Blades

I'm looking at an ENCO sale brochure that has 100' coils of Bi-Metal bandsaw
blades. The cost is between $1.6 and $2.2 per foot. Enco may be contacted at
1-800-873-3626. I'm sure that MCS, McMaster-Carr and Wholesale Tool have 100'
or longer coils of bandsaw coil stock. You may contact WT at 1-800-521-3420.
For completeness, MSC may be contacted at 1-800-645-7270 and McMaster-Carr at
908-329-3200.

-- 
Dr. Mark E. Williams

Bldg N-159, Rm E-215
NASA/GSFC/WFF/EG&G
Wallops Island, VA 23337
804-824-1744

Self-confidence is walking barefoot through a cowpasture at midnight on a moonless night.

---

From: "Szucs" <[email-masked]>
Date: Fri, 26 Jan 1996 10:46:16 -0500

> cut/brase blades to fit your saw.  Any info as to sources is

	Thisi s true.  Try MSC.  Don't have the # handy at the moment.

	And just to be clear, you don't braze the blades together, you
	butt weld them.  A brazed joint would not hold up and therefore
	constitutes a significant safety hazard.  If you've ever had a
	blade break on you or even seen it happen to someone else you will
	know precisely what I mean.

	-Andy V.

---

From: "David C. Hufford" <[email-masked]>
Date: Wed, 31 Jan 1996 09:15:41 -0500 (EST)

With regard to joining band saw blades, or other applications for that 
matter, what constitutes a `hard' silver solder?  What is the percentage 
or ratio of silver in a `hard' solder?  

David Hufford

---

From: "Szucs" <[email-masked]>
Date: Wed, 31 Jan 1996 10:02:34 -0500

> or ratio of silver in a `hard' solder?
	"Hard" silver solder is 75% Ag and the rest alloying elements.
	"Medium" is sixty some % and "easy" is something like 56% (I'm
	getting this off the top of my pointy little head, I can look
	it up if you need more accurate numbers).  Here the terms
	hard medium and easy refer to the relative difficulty of use
	with sterling silver.  "Hard" is harder because the MP is pretty
	close to that of sterling, therefore you have to be careful with
	your torch lest ye slag the work, making for reduced stomach
	lining in some cases.  If you are soldering steel, you need not
	worry about this.

	BTW this is all referring to silver solders used by jewelers (it's
	all I usually use).  I not sure if the brazing rod you find in a
	welding or machine shop will prove significantly diffferent from
	this unless they use different alloying agents where strength is
	a factor and color is not.

	"Soft" silver solder, i.e. plumber's grade is about 4% silver and
	the rest tin.

	-Andy V.

---

From: Morgan Hall <[email-masked]>
Date: Wed, 31 Jan 1996 07:34:02 -0800 (PST)

> or ratio of silver in a `hard' solder?  

Let me try to give an old "burned out" jeweler's take on this.  I
recognize two basic types of solder -- hard and soft.  From a jeweler's
view, hard solder is nearly the same strength as the parent metal and
melts at near the same temperature.  

Thus, if I hard solder silver, the solder will be predominantly silver and 
melt somewhere between 1200 and 1400 (approx).  If I solder gold the solder 
will be mainly gold and melt a few degrees lower than the base alloy.
In actuality, these are alloys just a little closer to the eutectic
point than the alloy you are working with.  Working with sterling
silver (92.5% silver, the rest other alloy) you can usually use coin
silver as a solder.  In reality there are about 5 grades of hard solder
commercialy prepared for silver.  For gold, the alloy is usually about 2
karats below the base metal -- for solder on 14k gold you can use 12k
gold.  Again, there is usually commercialy available solder.

For copper, brazing spelter (close to brazing rod) works.  For brass and
other bronzes, brass with a bit of extra tin makes a spelter.  Thus, I
equate brazing with hard-soldering.  

Hard soldering usually uses a borax-based flux.  In fact, you can
usually hard solder using a flux of simple borax and water, although
commercial fluxes may make the job easier or clean up better.

Soft solders are normally lead or tin based.  The soft "silver" solder
may contain a small percentage of silver, but this does not materially
affect its strength or melting point.  Knife makers use this soft-silver
solder to attach knife bolsters, for example.  This is usually
successful because there is a large area wet by the solder and it can be
applied without destroying the blade temper.

Soft solders use a acid or rosin based flux.  Some very-low-temperature
solders use a glycerine-based flux.

If you were to use this soft-silver solder to join a band saw blade, I'd
prefer to be standing by the phone to call 911 when YOU turn on the
machine.  I'm not going to be anywhere near!!!

On the other hand, were you to use a hard-silver solder to join the
blade, the results would depend on the melting point of the alloy.  By 
"scarfing" the ends (actually grinding a small bevel, rather than just
butting the joint) and holding them in a very exact alignment, a silver
soldered joint using a HARD-SILVER solder should be safe.  The amount
would be so miniscule that grinding should not be necessary.  If the
joint were covered with enough solder to make grinding desireable, I'd
worry too much about alignment to use the joint.  I'd expect a solder of
around 1200-1300 melting point to give plenty of strength, and the heat
should merely soften the blade.

Note that I have NOT tried this.  I'm not an expert on bandsaw blades
by any means.  I've destroyed enough hard-soldered joints, however, to
have some idea of what's happening on them.

Hope this helps sort out soldering for someone.

Morgan

---

From: "David C. Hufford" <[email-masked]>
Date: Wed, 20 Mar 1996 20:46:56 -0500 (EST)

As Page has pointed out, I believe the old masters did strive to produce 
work with few or no hammer marks.  This was, and is, a high level of 
forging skill.  However, I feel hammer marks are one of the features 
which give hand-forged ironwork character.  And even if you produce more 
than one of a piece, each is quite distinctive due to the hammer marks 
and other irregularities of the forging process.  While I can appreciate a 
smooth-looking hand-wrought piece, it seems too *sterile* to me.  Of 
course, my work has hammer marks whether intended or not!

David C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Thu, 21 Mar 1996 07:12:44 -0500

On Mar 20,  8:46pm, David C. Hufford wrote:
> Subject: Re: marks of the hammer

I agree with both of you. I know from experience that when I produce some
object for sale, I must leave some hammer marks on the piece. Otherwise, I get
accused of making the object with a machine. Given a choice between two
objects, one more crudely made than the other, it is the more crudely made that
usually sells first.

Mark E. Williams

---

From: Ralph Snel <[email-masked]>
Date: Thu, 21 Mar 1996 13:56:03 MET

> objects, one more crudely made than the other, it is the more crudely made that

I've noticed that depends very much on the object. I sell often at medieval
markets, and it seems that the customers there _can_ tell the difference
between handmade and machine made. With knives and daggers they never buy
the crude ones. Cloak clasps are more popular if they're elegant and well
done. Candle holders are sometimes a bit more popular when they are crude,
but it depends much on the individual.

Medieval ironware always contains a minimum of iron. A 13th century foldable
candlestick for four candles, found in a town close to where I live, contains
only a few cc iron. Still it's an impressive little thing for its weight. I
wanted to make a copy of it and could either chisel it out or forge it from
thicker stock. I had the rare opportunity to handle and measure the original
find, and could clearly see that this one was not chiseled out. The basic
shape is 3 long and one short T shaped pieces, bent at the top of the T to
make a holder for the candle, with the short T a lot thicker and stronger in
the "leg". Punch a hole in the middle of the leg of the 3 long T's, and rivet
them to the bottom of the thick T. Bend the 3 long legs in a nice bell shape.

   T
 T_|_T         __T
 / | \        /

Assembled   single leg

Since the parts were forged out very thin (1.5-2 mm) I had to use thicker
stock. After a few test runs I got the hang of it, and I made a few from
1x1/4" stock. The final dimensions are about 1/2" x 1/16". No visible hammer
marks (except for not-so-perfect straight lines), and it can absolutely not
be mistaken for something machine made. I've seen the same candlestick at
other markets, forged in "wrong" dimensions, sometimes cut from plate. It's
just not the same thing, and I know what it should look like since I saw the
original (of course there is artistic freedom).
One "interesting" thing I found out when forging these is that the volume
of metal for the long thin legs is the same as for the short thick central
one.

What I want to say with this (besides give a nice idea for a candlestick)
is that complete reforging of stock will never give an impression of being
machine made, no matter how nice finish you put on it. Start with (slightly)
thicker stock, draw out, and give the best finish you can achieve with a
hammer, and customers will be satisfied.

Same goes for knives, even when ground, filed and polished. You may need
to point out the differences between a stock removal blade and a forged one
though.

Ralph Snel
[email-masked]
Sweden

---

From: Dan Nibbelink <[email-masked]>
Date: Sun, 24 Mar 1996 20:28:14 -0800

Ralph Snel wrote:
> I have been told that in Samuel Yellin's shop, if the design called for a round bar square stock 
was forged to round, and if a square bar was needed round stock was forged to square.
Even with a flatter or swages this would remove the uniformness of the mill finish and add 
character to the final product.
-- 
Dan Nibbelink
RedHawk Forge
Berthoud, Colorado
[email-masked]

---

From: "David C. Hufford" <[email-masked]>
Date: Mon, 22 Apr 1996 12:31:14 -0400 (EDT)

I tried to contact TIP Sandblast Equipment in Ohio using the phone 
number listed in the Thomas Register; got a recorded message to "enter 
my numeric message"(?)  Does anyone have a phone number I can use to 
contact a live person at TIP?  Or can someone recommend another source 
of sandblast equipment with which they've had good experience?

My quest is for a compact blast cabinet/blaster which I can use to 
clean/descale small items of ironwork.  Any suggestions on what type of 
equipment would be best?  I don't have the shop space or inclination for 
a major blasting operation, and I've had no experience with 
sandblasting.  Any guidance would be appreciated.

David C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Mon, 22 Apr 1996 12:53:14 -0400

On Apr 22, 12:31pm, David C. Hufford wrote:
> Subject: Sandblast Equipment

I'm not sure what number you have but you might try either 330-533-3384 for
voice or 330-533-2876 as fax.

I wouldn't want to belong to any club that would have me as a member.
Grouch Marx

---

From: "[email-masked] 415.855.5707" <[email-masked]>
Date: Mon, 22 Apr 1996 10:24:50 -0800 (PST)

I just ordered some 'stuff from them this morning - using the number in the
register.  Check that you didn't mis-dial or use the wrong number.

---

From: Michael Spencer <[email-masked]>
Date: Mon, 22 Apr 96 15:58:06 EDT

David Hufford wrote:
> clean/descale small items of ironwork. 

You might check in with your local automotive machine shop, especially
if there's one that does custom speed work. Ask them where they got
their cabinet.

And if your "small items" are ornamental, consider using glass bead
instyead of sand. It won't cut and matte the metal surface unless you
turn the air pressure up too high. There are other blast media (such
as walnut hulls) that treat the metal even more delicately but
probably won't remove firescale.

- Mike

-- 

Michael Spencer               (902) 543-8375
[email-masked]
URL: http://www.mit.edu:8001/people/mspencer/home.html
---

---

From: "David C. Hufford" <[email-masked]>
Date: Tue, 23 Apr 1996 07:19:08 -0400 (EDT)

Andy:

The Spring 1991 (volume 18, number 4) issue of the Anvil's Ring has an 
article titled, "Making the INBA Anvil", by Clayton Carr and Richard 
Karnesky.  They describe the process of designing and casting the 
"perfect" blacksmiths' anvil, which includes a detailed drawing and 
dimensions of the pattern.  The finished anvil was a 200-pounder, and 
they report the cost, including foundry, machining, and heat-treating, 
was $400 each for 46 anvils.  You might want to check out this article 
for info and inspiration.

David C. Hufford

---

From: "Szucs" <[email-masked]>
Date: Tue, 23 Apr 1996 13:16:12 -0400

> for info and inspiration.

	Will do.  Thanks for the pointer.

	-Andy

---

From: "David C. Hufford" <[email-masked]>
Date: Tue, 21 May 1996 07:07:06 -0400 (EDT)

UV protection is provided by the plastic lens.  It's my understanding 
that the only effective IR protection is provided by gold-coated lenses.  
There are glasses with dydimium or cobalt blue lenses and a gold 
coating available which cost about $45.  If anyone is interested, I can 
post the source.  The dydimium and cobalt lenses do help one "see" into 
the fire, but are rather dark when looking elsewhere.

D.C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Tue, 21 May 1996 07:25:28 -0400

On May 21,  7:07am, David C. Hufford wrote:
> Subject: Re: Eye protection

David,

I would appreciate knowing your source for these lenses.

I've talked with various safety glasses vendors/manufacturers. In addition to
gold-coated glasses, the green lensed safety glasses afford IR protection. Look
for the shade, 2 - 5 or higher, stamped into the lens. If it's not there, then
there is no IR protection.

Mark

---

From: "[email-masked] 415.855.5707" <[email-masked]>
Date: Tue, 21 May 1996 07:19:25 -0800 (PST)

The "Cobalt Blue" glasses which used to be widely available DO NOT provide
adaquate UV or IR protection, there are serious safety considerations too using
these type of lenses.  That is why they aren't sold anymore.

---

From: "Andy V." <[email-masked]>
Date: Tue, 21 May 1996 10:28:09 -0400

> I would appreciate knowing your source for these lenses.

	I got mine from Glass Schell.  Will have to look up the address unless
	someone else can cough it up first.

	-Andy

---

From: Steve Smith <[email-masked]>
Date: Tue, 21 May 96 9:57:42 MDT

Standard welding glasses provide protection against IR as detailed in
ANSI Z87.1 on eyewear (I don't have a copy unfortunately). Gold lenses
work, but they are expensive and fragile (scratches). 

--
Steve Smith
[email-masked]

---

From: Michael Spencer <[email-masked]>
Date: Wed, 22 May 96 01:11:04 EDT

> The "Cobalt Blue" glasses which used to be widely available DO NOT
> provide adaquate UV or IR protection, there are serious safety
> considerations too using these type of lenses.  That is why they
> aren't sold anymore.

These were in use in a steel mill (when I visited one in 1975) by the
guys who worked wround the tap hole of an open hearth furnace and
around the ladle.

What's your authority for the claim that they don't stop IR?

- Mike

---

From: "[email-masked] 415.855.5707" <[email-masked]>
Date: Wed, 22 May 1996 07:15:49 -0800 (PST)

>What's your authority for the claim that they don't stop IR?

I wish I could quote you chapter and verse here - but I can't.  I have seen
this referenced in several places - magazine articles on welding - not to
mention talking with fabricators who are experienced in this area.

I just put in a call to the AWS and will discuss this with their tech staff. 
I'll report back with whatever I learn.

Emperical proof might be the best, anyone have equipment to test the UV and IR
transmission properties of a lens?

---

From: "David C. Hufford" <[email-masked]>
Date: Mon, 12 Aug 1996 06:57:31 -0400 (EDT)

I believe Eric hit the mark with his reference to the "idiot box".  I 
think recent generations have developed a TV mentality; they can't 
separate reality from theatrics.  Their perspectives are very passive 
from always being a spectator to the "idiot box".  It's amazing ... and 
frightening.

D.C. Hufford

---

From: "Dr. Mark E. Williams" <[email-masked]>
Date: Mon, 12 Aug 1996 08:16:11 -0400

On Aug 12,  6:57am, David C. Hufford wrote:
> Subject: Re: *Real* fire (was: Demo)

About twenty years ago while living in Antigua, I went to an action movie. The
spectators so identified with the actors that fights broke out in the theater
when their particular actors fought on screen. I don't tell that story very
much anymore. Too many Americans don't find anything unusual about it. That's
scary.

Mark

---

From: David Wilson <[email-masked]>
Date: Mon, 12 Aug 1996 09:39:30 -0600

>Dr. Mark E. Williams also said,
>when their particular actors fought on screen.

Anyone remember the film"Grey Fox"? I think it starred Robert Farnsworth
(sp?). Anywho... there was a scene about the talkies films first being
shown. The audience started shooting real guns at the movie screen when
they were shown a bank robbery in progress. They assumed that there were
real bad guys up there!

My personel childhood misconception:  I couldn't figure how a camera could
be transported to the actual Old West time period to film my favorite
western films. Magic, pure magic.

IMHO, TV is another tool, it can be used or abused. Kinda like these
computers we all bang on. Some, like us, use them to exchange wonderful,
useful info. Others use them to learn how to build bombs. Idiots, putting
it mildly. Nuf said.

--
David
http://www.flash.net/~dwwilson/
[email-masked]

---

From: "David C. Hufford" <[email-masked]>
Date: Tue, 13 Aug 1996 14:37:06 -0400 (EDT)

Larry:

I have a Lorance swage block from about 4 years ago.  It's one of the 
rectangular blocks and probably weighs about 50 lbs.  The finish was 
sort of rough.  More recently, I bought one of Ron Thompson's swage 
blocks.  It's about 12x12x3.5, weighs about 90 lbs, and is nice quality. 
I've been quite satisfied with it, and I believe it might cost less than 
the Lorance or Laurel units.  I fabricated a stand of my own design for 
the Thompson block and would send a sketch via snail mail if you desire 
(and provide your address).  Ron also casts some nice cone mandrels.  I 
can post his phone number later (or someone on the list may have it 
handy), if you are interested.

D.C. Hufford

---

From: "Mark E. Williams" <[email-masked]>
Date: Wed, 14 Aug 1996 06:40:14 -0400

On Aug 13,  2:37pm, David C. Hufford wrote:
> Subject: Re: New Swage Block
> Larry:
>

Ron Thompson, Ohio, 513-492-2259

He also makes/casts shovel swages.

Mark

---

From: "David C. Hufford" <[email-masked]>
Date: Mon, 23 Sep 1996 14:40:25 -0400 (EDT)

Anyone know of a source on the web of blacksmithing-related graphcs?  
I'm looking for some images I can use on a web page.  Any pointers to 
resources would be appreciated.

D.C. Hufford

---

From: "Mark E. Williams" <[email-masked]>
Date: Mon, 23 Sep 1996 15:13:24 -0400

On Sep 23,  2:40pm, David C. Hufford wrote:
> Subject: Graphics

David,

Get in touch with Franklyn Garland, [email-masked]

He's the editor of the UMBA newsletter and has some blacksmith related clip
art.

Mark Williams

---

From: "David C. Hufford" <[email-masked]>
Date: Fri, 04 Oct 1996 07:42:50 -0400 (EDT)

On the Plaza del Herrero web site I noticed a photo of a propane tank 
sitting in a barrel of water; the caption states it's there for 
the purpose of *extended operation*.  I've not seen this done before.  
Anyone know the purpose for this?

D.C. Hufford

---

From: "Mark E. Williams" <[email-masked]>
Date: Fri, 4 Oct 1996 08:18:37 -0400

On Oct 4,  7:42am, David C. Hufford wrote:
> Subject: Propane tanks

When propane is in the tank it is in liquid form. When it emerges from the
tank, it has changed into a gas. Heat is needed to have that change occur. That
heat comes from the tank itself and the tank's immediate environment. Water is
a much better source of heat than air. Water has a larger specific heat than
air. Putting the tank in water will allow more propane to be changed to gas
than just having the tank in air. More propane translates to extended
operation.

Have a good weekend.

Mark

---

From: [email-masked]
Date: Fri, 04 Oct 1996 08:37:17 -0500

I use 30# tanks on a small raku kiln and when the fuel gets down to
about the last 2" it freezes up and the temperature stalls and
declines.  You can see the frost on the outside of the bottom of the
bottle.  Setting the bottles in a pan of water, pouring hot water over
the tank or even using a hose will thaw the propane enough to continue
the fire.

Cynthia
TX

---

From: Steve Herrick <[email-masked]>
Date: Fri, 4 Oct 1996 10:42:22 -0700 (PDT)

One place I worked kept their propane out in the sun. When it heated up
and the pressure increased, the safety valve also opened up. If the
cylinder gets hot the safety valve will open to releave the pressure.
This was the only reason I could figure out for putting them into water.

Hrolthgar -   [email-masked]
           Steve Herrick

---

From: Tom Vincent <[email-masked]>
Date: Sun, 6 Oct 1996 22:12:42 -0500 (CDT)

I can't answer fully, its not my forge design, but I have lived in
Ecuador, and my wife lived right around the corner from the plaza. Tanques
in Ecuador do not have state of the art regulators. They often leak and
occasionally explode. Superstition, at least, held that cooling the tank
allowed for better functioning of the regulator as the propane was cooler
and less anxious to force its way out. Tom

---

From: "David C. Hufford" <[email-masked]>
Date: Sun, 29 Dec 1996 10:48:31 -0500 (EST)

This isn't exactly a blacksmithing question, but ... does anyone know 
where those aluminum mouthpieces used on hunting/fox horns can be 
purchased?  Most of the hunting horns I've seen made from cattle horns 
have a metal mouthpiece afixed, which looks like spun or cast aluminum.  
I'm looking for a source of these mouthpieces.  Any suggestions would be 
appreciated ... and I promise my next question/contribution will be 
strickly about blacksmithing.

D.C. Hufford

---

From: Bill Wyant <[email-masked]>
Date: Sun, 29 Dec 1996 11:38:03 -0500

Dave,
   Been there, done that. Had to cut my own to fit a horn out of
aluminum, and I made it on my lathe. There are some cheap horns I've
seen (Taiwan quality) that have some nasty looking ones on them, but if
you want a good mouthpiece, you have to make your own.

Bill Wyant
Avalon Ironworks

---

From: Fulwood <[email-masked]>
Date: Mon, 30 Dec 1996 00:11:22 -0800

> strickly about blacksmithing.

David,
   One of my other hobbies is scrimshaw (especially powder horns). I have made a few hunting horns. On mine I 
make a mouth piece from another piece of horn tip by cutting it off, roughing it out with a rasp and forming a 
3/8" shank on the smaller end to chuck in my drill press. I turn it in the drill press using a file, then 
sandpaper. Remove it, and drill a 3/16" hole through it - then using a LARGE bit, countersink the end where 
your lips will go. Clean it up with fine paper and epoxy it into a matching 3/8" hole in the horn. I choose to 
make these because I couldn't find mouthpieces either. If you decide to go with metal ones, I think brass 
or Stainless ones would look much better than aluminum.
-- 
Donnie Fulwood Mailto:[email-masked] 
Editor Ocmulgee Blacksmith Guild Chapter of ABANA Newsletter

---

From: "Mark E. Williams" <[email-masked]>
Date: Mon, 30 Dec 1996 07:45:36 -0500

On Dec 29, 10:48am, David C. Hufford wrote:
> Subject: Fox Horns

David,

Try a music store that has brass instruments. Ask for either a trumpet or a
french horn mouthpiece. The french horn is probably more accurate.

Mark

---

From: Otto Bacon <[email-masked]>
Date: Thu, 05 Dec 1996 00:31:00 -0800

David C. Hufford wrote:
> purchased?

David,
Musical instruments is one of my OTHER hobies.  I've seen boxes full of 
old band instrument mouthpieces at music stores.  You have to find an old 
established store with a little old white haired guy who fixes broken 
trumpets and stuff.  (not in the mall, you see) Some of these will be 
stainless, but most are plated brass.  I think I've seen them for about 
$10.00 ea.  Call around.  Yoiu might also call the local high school band 
teacher. 

Good luck

Otto Bacon
Bacon Tool Works

---

From: Greg Shuman <[email-masked]>
Date: Mon, 30 Dec 1996 09:43:10 +0200

Don't know what the cost would be.  You can find mouth pieces at any 
music store that sells brass instruments (i.e. trumpet, coronet, 
bugle, french horn, etc.).  They are usually plated brass or stainless 
and come in a variety of sizes.  Quality also varies.

Greg

---

From: Otto Bacon <[email-masked]>
Date: Thu, 05 Dec 1996 03:56:14 -0800

> have a metal mouthpiece afixed, which looks like spun or cast aluminum.

I already jumped in on this once, but I had another thought-it takes a 
while sometimes.  I've seen aluminum used as a mouth piece, and it works 
except it leaves a nasty black ring around your lips.  The solution is to 
have it anodized, but even that wears off after while.  Another factor is 
the taper on the inside of the mouthpiece.  Different taper gives 
different tone, and makes the higher or lower notes easier to hit.  Once 
again I refer you to the little old white haired guy that repairs band 
instruments.

Otto Bacon 
Bacon Tool Works