When we pulled up to the Festhalle Barn the morning of the Handworks show, we were impressed to see a long line of people wrapped around the barn, along the fence and into the street.
As we made our way to our booth, we realized this line started at our booth. I put down my bag and the first guy in line pounced on me.
“I’m here for the calipers,” he said.
Calipers?
“The Studley calipers, the limited edition ones. You only have 50,” he replied.
“Dude, that was two years ago,” I said. “We don’t have any calipers.”
He insisted that we did, and that I had been blogging about it leading up to the show. He got a little cranky and I thought he might take a swing at me. The next guy in line had the same story. I looked and John and mouthed “WTF?”
We still don’t know what happened and why 100 people thought we were selling calipers. So if you are coming to Woodworking in America, read this next sentence: We don’t have any H.O. Studley calipers. We have the book and DVD on Studley, but not the calipers.
(If you want a nice pair modeled after Studley’s, you can buy them from Lee Valley Tools here.)
We do have some other cool stuff at Woodworking in America. A beautiful letterpress poster for $20 that was a joint project between Steam Whistle Letter Press and us. We’re bringing about 470. We sent 25 to Classic Hand Tools in England, which they will offer over there. If we have any posters left over (and we should) we’ll find a way to put them up in our online store.
We also have our crazy Bandito shirt – a skeleton holding two dovetail saws – that was designed by Shelby Kelley. Will these sell? We don’t care. We’ll just wear them all if we have to. The shirts are in an olive green with black ink. Also $20.
Book Signing for ‘Virtuoso’
If you’d like to get your copy of “Virtuoso: The Tool Cabinet and Workbench of H.O. Studley” signed, stop by the Lost Art Press booth at 2 p.m. Saturday. Author Don Williams and photographer Narayan Nayar will be there to sign your books.
Our booth is at the back of the Marketplace, a small corner next to Stumpy Nubs’ triple-wide booth.
Stop by to say hello to me, John or Brian Clites, our new forum moderator.
Shortly after I started editing the video “Virtuoso” I began to dream up a soundtrack. About the only specific request Lost Art Press gave me was that they wanted the music to be piano based. H.O. Studley spent his working life as a piano and organ maker so it was only fitting that the music pay homage to his work. Considering Studley made pianos in the early 20th century it seemed obvious that I could put any ole Scott Joplin track in and it’d work. The only problem was that it didn’t work.
Narayan and Chris went to great lengths to capture the footage as perfectly as possible. The lighting is fantastic and for the most part all of the shots are crystal clear. Putting a musical bed that was recorded in 1910 against footage that was captured in 2013 would create a disconnect between the two. Even though the subject was from the early 1900s the video and photographs of the tool chest were clearly modern. I needed to find a way of paying homage to the time period Studley worked in while making sure the music seemed timeless to today’s viewers.
My greatest hurdle was the fact that I didn’t think like a piano player. I can play piano fairly OK. I can make it sound like I play piano pretty well if I’m given the power of modern day recording software. But creating a piano soundtrack proved to be quite difficult for me. For me, piano is a second language and creatively writing in a second language can be quite difficult (I’d assume: I don’t creatively write and I don’t speak a second language).
In comes the ukulele.
A great friend of mine bought me a baritone ukulele years ago and it quickly became my favorite instrument to play. It’s small enough to play reclined on the couch watching a football game. Quiet and subdued enough to not bother my wife and best of all for some reason the limitation of four strings makes the guitar player in me think more creatively than when I have six strings. For this project the baritone ukulele became my sketchbook. As I was editing video I always had my uke within arms reach. Video editing can get pretty tedious and while focusing intently on something technical I found that my mind could creatively wander. Often times a melody would pop into my head. I’d quickly grab the uke and record the newfound musical idea into my phone.
Once I was no longer asking my brain to be creative while trying to play piano I was able to just concentrate on playing piano. After I was done with the editing of each chapter I’d play it over and over while experimenting with a piano track based on what I came up with on the ukulele. Once I had the basics figured out I would record the soundtrack a few times while watching the video, making sure to line up any spots without dialogue and especially making sure to get out of the way when nothing was necessary.
Most of what you’ll hear is a simple upright piano. Sadly, because of the hours I was working on the film (night time often when my son was in bed) I wasn’t able to use a real life acoustic piano. I wound up using the Braunschweig Upright samples from Imperfect Samples. An upright piano seemed the most appropriate to me because every picture I’ve seen of a Poole piano (where Studley worked) was an upright. I like the Braunschweig samples because they sound like a well loved and well maintained piano from the early 20th century that is starting to show its age.
In the chapter “Enigmatic Genius” you’ll not only hear the piano but you’ll also hear a reed organ, which would be somewhat similar to what Studley might have worked on when he was employed by the Smith American company. This particular organ is an Estey portable preacher’s organ circa 1906. The organ belongs to a friend of mine and I was lucky enough to sample it myself a few years ago (it can be heard on almost every record I’ve worked on).
The film ends with more than 20 minutes of footage of the tool cabinet being unloaded piece by piece. I knew that the music here was going to be of much greater importance because there is no dialogue at all. I also knew that I was nowhere near the composer and nowhere near the piano player to come up with something that could stand on its own the way this section needed. Here in Nashville we are incredibly lucky to have some of the best musicians in the world just a phone call away.
I first met Micah Hulscher when he came to play on an Americana record I was producing for David Newbould. I hired half the band and David hired the other half. I had never worked with Micah and didn’t know what to expect other than a few people telling me he’s a monster. He came in and immediately started playing (what I assume was) a Bach piece. Normally this wouldn’t be a red flag, but when you’re working on a record where less is more I instantly went into worry mode. Moments later as Micah was playing he seemingly moved into a Jelly Roll Morton tune in three moves. I suddenly realized he was a rare talent and proceeded to pick my jaw up from the floor. Throughout that recording Micah blew me away with his ability to play anything but more importantly his ability to know when he needed to play nothing at all.
I called Micah and explained the task we had in front of us. A few weeks later in between dates playing with Emmylou Harris and Rodney Crowell, Micah came to my house and we got to work. Over the next few hours I would play him a section of the video and we’d discuss a style that would be fitting. Micah would compose something on the spot and we’d start recording, watching the video the whole time. When the day started, Micah seemed to think it was silly that a tool cabinet warranted a book and a video about it. By the end of the session he was commenting on how mesmerized he was watching the tools come out of the chest and wanted to know more about Studley.
I think the viewers will find Micah’s playing and compositions perfect to help guide them through the unloading of the chest. The unloading is not for everyone. I’m sure many spouses will leave the room after a few minutes but I hope many viewers will be as enthralled by it as I was. The intention of the editing was to show as much of the unpacking as possible while leaving out any unnecessary parts. Hopefully Micah’s playing makes this portion a little more palatable for those who aren’t mesmerized by tools coming out of a cabinet.
Our offer of free domestic shipping on our documentary on the H.O. Studley Tool Cabinet and Workbench called “Virtuoso” ends in one week on Sept. 25 – the release date of the DVD. We’ll be selling the DVD at Woodworking in America next weekend along with the companion hardbound book.
Also, for you autograph hounds, both the author Don Williams and the photographer Narayan Nayar will be at Woodworking in America. Oh, and the editor of the DVD Ben Strano will be there as well.
The “Virtuoso” DVD is $20. You can order one from our store via this link.
Given a choice between reading estate inventories or criminal records I go for the criminals. The carpenter above was found guilty in August of 1678 and his punishment was having ‘M’ branded on his thumb. If convicted of murder he would have been hanged. Life was not easy for the working class in the 17th century and punishment was harsh.
The Tyburn Tree…built by Carpenters.
Before being taken to Tyburn the condemned spoke with an Ordinary (a member of the clergy) and a statement was entered into the official records. Themes of Idleness, Excessive Drink, Swearing and Lude Company were often written into this final statement. Theft of even very small amounts could lead to execution.
May 1690 Execution at Tyburn: Andrew Browne condemned for Felony and Burglary, he is Aged 30 years, was born in Shrop shire, and bred a Carpenter. He followed that Employment Three Years in Red-Lyon-Fields. But leaving his Trade, and taking to an Idle Life, he fell into Evil Company, and thereby Committed the foresaid Crime. He said, that he had been guilty of swearing and excessive Drinking, of which, he now Repents.
They do not labour like the ant, Their work is play and play their want.
Apprentices seldom had an easy life and there are many accounts of runaways and other trouble.
October 1718 Execution at Tyburn: Henry Abbott, condemned for Burglary in breaking the House of Mr. Jonathan Jones, and stealing then 5 Silver-Spoons, a Silver-Cup and other Plate and Goods. He said he was 19 Years of Age…That he was bound Appentice to a Carpenter in White-Chapel, with whom he had been two Years, he left him, upon the account of his great Severity to him and his Hastiness in giving him Blows on the Head, and anywhere else he could hit…That as soon as he had left him, he went to serve another Carpenter, who was to maintain him for his Work till he had serv’d out the Remainder of his Time, which was five Years; but of those…he had not serv’d above two when he committed the Fact he now stood condemn’d for; which he confess’d, but said it was his first, and would be his last, if he should live never so long.
May 1728 Execution at Tyburn: George Gale alias Kiddy George, about 17 Years of Age…born of Honest Parents who took care of his Education at School, and instructed him in the Christian Religion, and afterwards put him to a House Carpenter or Joyner, which Business he never followed; but was one of the most wicked, cross and disobedient Boys upon Earth; and married without his Parents Consent. He committed many Robberies, and was a constant Thief for a considerable Time…
Next, we have this fellow and an 18th century version of ‘Wanted!’: Advertisement for January 13, 1716: Whereas James Goodman alias Footman, made his escape (with Irons on, by leaping over the Spikes of the Bail-Dock and the Rails) at the Sessions-House in the Old Bailey, on Saturday last, being the 14th Instant, about 6 in the Evening; he is about 37 Years of Age, 5 Foot 10 Inches high, much Pock-fretten, has many Freckles in his Face and Hands, a wide Mouth, down Look, speaks very broad, a reddish beard, but did wear a brown wig, a Carpenter by Trade, and lately live at Aylesbury…He was shot in the Nape of the Neck about a month since, when he was taken, which Wound is not yet well, and several small Pieces of his Scull taken out of his Wound. Whoever can discover the said Person, so that he be brought to Justice, shall receive Twenty Pounds reward from Bodenham Rowse Head Turnkey of Newgate.
Cabinetmakers were a different story and were usually the victims of a crime instead of the perpetrator. In some cases we learn a bit more about them as in this example from March 1798:
John Westfield a cabinetmaker with Banner and Bruce’s Coachmakers in Long-Acre went to the country for six weeks. John Robinson, age 24, was a carpenter who worked for Westfield as a porter. While Westfield was away Robinson stole a pannel saw, carcase saw, sash saw, dove-tail saw, a stock, 27 bits and one saw pad.
Westfield: When I returned I found the chest broken open in the shop, and the articles in the indictment taken out; they have all been found since. In consequence of a suspicion…got a warrant, and went with the officer to search the prisoner’s lodgings; I found the small saw pad in his chest…
Westfield further testifies that his shop employs 7 to 9 men and sometimes Robinson did some work other than being a porter. Tools were sometimes lent to Robinson, but never the items that were stolen from the locked chest.
John Wray-Officer: searched the prison’s lodgings…Ifound two boxes, a number of duplicates [pawnbroker tickets], some saws, one stock and a centre-bit.
William Crouch-Officer: (Produces a stock and bits, and a saw)…Itook them of a young woman who said they were her husband’s.
Cross-examination of Crouch: Q. I believe you know it is no unusual thing, when poor people have duplicates that they sell them, and honest persons sometimes get possession of duplicates of things improperly come by? A. It is very often the case.
Westfield: That is my saw, it is my own sharpening; the stock has my own name engraved upon it at length.
Cross-examination of Westfield: Q. Do you mean to swear that this is your saw, merely because it is of your sharpening-do you sharpen differently from anybody else? A. There is a great deal of difference in sharpening, the same as difference in handwriting.
Q. Because it is done in a more bungling way than common, perhaps? A. I do not know but it is. Q. Any young beginner might blunder in the same way? A. There is as much difference as there is in handwriting.
John Robinson was found guilty of grand larceny and sentenced to six months confinement in Newgate Prison and fined 1s. A century earlier Robinson would have been condemned to death.
While some of the Old Bailey proceedings were very grim reading (execution for theft of a handkerchief in the 17th century), other cases brought to mind Horace Rumpole and his constant defense of the Timson crime clan…the window was already broken when I reached in and my hand happened to land on the silver plate.
It was my first book and took three years of my life to write and design.
It is still an excellent reference for anyone looking to build a first workbench.
It was produced and printed in the United States.
I still agree with (almost) every word of it (except an error I made in a caption).
And while I quite like this book, it hasn’t done much to help our household during the last eight years. Though it sold quite well, I was paid a flat fee for the writing and have received no royalties since it was released in 2007. I’m not bitter about it in the least. That was the deal they offered me, and I gladly accepted it.
However, all that changes with the release of the revised edition next month. I spent the first part of 2015 revising every chapter and adding material throughout – including two additional chapters on new versions of French and English workbenches – with complete construction drawings from Louis Bois. The book is now longer, stronger and I’ll receive royalties on every copy sold.
Lost Art Press has committed to carry 500 copies of the book, which is being printed in the United States to high standards. All 500 copies that we are selling will be autographed personally (not via bookplate) and will be shipped domestically via USPS with free shipping. The cost is $34.99 and can be pre-ordered through our store. The book should ship sometime in late October 2015.
You can place an order for one of these books from our site here. The price is $34.99.
Should you buy this book if you already have the first edition and a great workbench? Probably not – the core ideas are the same, though sections of the book have been expanded greatly to cover advancements in workholding. But if you like to support the work we do at Lost Art Press or know someone who could benefit from a book on workbenches, then we are happy to send you one.
We do have some other cool stuff at Woodworking in America. A beautiful letterpress poster for $20 that was a joint project between Steam Whistle Letter Press and us. We’re bringing about 470. We sent 25 to Classic Hand Tools in England, which they will offer over there. If we have any posters left over (and we should) we’ll find a way to put them up in our online store.
