Retirement, Inspiration, And Finding Joy In The Build: Episode 150

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
"The Voice of Bob" Bai (00:10):
Modeling module.
Well in the news and eventsaround the hobby.
Let's join Mike and KentuckyDave as they strive to be
informative, entertaining, andhelp you keep your modeling
module alive.

Mike (00:36):
Well, folks, it's 150.
How about that, Kentucky Dave?

Kentucky Dave (00:39):
Yeah, 150.
We're we're closing in on theBig 200, man.

Mike (00:44):
That'll be be a while, but uh yeah.
We'll get there.
We'll get there.
Well, happy Friday.
Happy Friday.
Happy uh happy episode day.
That's right.
So uh let's just get into it,man, because we got a pretty
pretty long interview bycomparison.
What's been up in your modelsphere, my friend?

Oh boy, what a model sphere.
As you well know, last weekendthe IPMS Cincinnati Club put on
this Cincinnati scale modelshow.
And those boys know how to puton a model show.

(01:24):
The weather was perfect, and itseems like it always is for
them.
I mean, it's wonderful.

Mike (01:30):
It's the time of year.

Yeah.
So they had the the hangaropen, which allowed them to get
extra vendor tables in.
The turnout was fantastic.
The vendors, there boy, youtalk about deals.
There were deals.
I and I got to spend the daysitting next to Inch, sitting

(01:55):
next to Skippy, talking modelsall day.
You got Barry Numerick came bythe table.
IPMS president John Nowack cameby.
Got to spend time talking withdifferent modelers.
Couple of listeners stopped meout of the blue.
And, you know, well, I'mwearing the PMM shirt, so people

(02:17):
know.
But stopped me and are like,hey, are you Kentucky Dave?
And got into some greatconversations.
People like what we're doing,by the way.
That just uh just to let youknow that was the consensus of
the people who stopped me.
Well, that's always good tohear.
And like most model shows, Icame home fired up.

(02:38):
Pre-Cincinnati show, I wasexperiencing a little bit of a
funk, had some stuff, uh, somenegative modeling and some
difficulties, and was feeling,you know, a little bit like I
couldn't glue two parts togethercorrectly.
And the Cincinnati show really,really got my juices flowing.

(03:03):
It was fantastic.
Had a great time.

Mike (03:06):
We're good.

And the model sphere is wonderful.
Now I'm already looking forwardto Murphy'sboro.
So hopefully you'll get to goto Murphy's.

Mike (03:14):
Yeah, I'm I'm trying.
I'm I'm I'm I'm I'm trying.
We'll see.
Okay.
Can't can't commit tillsometime next month, but yeah.
We'll see.
We're getting close though.
A couple of three weeks.

All in all, great.
Feeling good.
Got the mojo flowing.
You know, I feel like EmperorPalpatine when he's firing
lightning bolts out of out ofhis fingertips.
Here's a geek reference foryou.
So how's how's your modelsphere?

Mike (03:39):
Oh man, a lot of stuff other than modeling.

Oh, that's not good.

Mike (03:44):
I know.
Well, we won't talk about it indetail here, but we've talked
about it.
It's just yeah, man, I tellyou, life.
I'm about one inconvenience,we'll call it, from uh 2020
being better than 2025.
That's that's about where I'mat.
And I'm I'm serious about that.

Oh man, that's bad.
So that's bad.

Mike (04:03):
Well we'll see.
You know, we're we're lategetting this out, but we had a
our double double barrel modelshow spotlight last week, which
is still kind of crankingthrough the listeners.
And it's okay.
We'll get this dropped or firstof next week.
Luckily, I don't worry aboutthat too much.
Um, you know, it's it's helpedme have the edit time instead of
trying to crank crank it out onexactly the schedule, which

(04:26):
passed a long time ago.

But this is a model sphere.
It's modeling that you need toget inspired by.
I know, you're right.
You need to sit at a bench andput some parts together.

Mike (04:37):
Well, I was a little fatigued last night from uh
supporting the guys over at themachine shop.
Do you have a launch coming up?
No, we got some parts to getdone, and and one of the guys
was out, so they needed a chuckmonkey to keep feeding parts
into the CNC machine.
So Chuck Monkey.
I did that for about six hours.
But hopefully, hopefully thisweekend I can I can get some

(05:00):
stuff cranking on the bench.
Uh my fuel, we'll talk aboutthat during the during the bench
top halftime report.
So, you know, the model spherehas been a little distracted of
late again.
So getting a little tired ofit, honestly.

I'll send some mojo your way.
How's that?
All right.
Sounds good to me.
Well, since we're recording,you gotta have a modeling fluid.
So what modeling fluid do youhave?

Mike (05:25):
I have juicy IPA from Tailgate Brewing in Nashville,
Tennessee.

Juicy IPA from Tailgate.
Oh, the that's one of the oneswe got as a gift.
It is.
Well, who did who do youremember who gave that to us?
Bill Moore.
Oh, that's right.
We're gonna see hopefully we'regonna see Mr.
Moore in about a month.

Mike (05:45):
We should make it, you'll see him.

Well, good.
What about you?

Mike (05:49):
What are you working on?

Well, I am taking a break from the many beers
that we were gifted because if Igo to Cincinnati, one of the
joys of going to Cincinnati isgetting them to go over to
Hofbrow House and have a fineGerman meal.
And I gotta say, I think theone I had this pastime was the

(06:13):
best I've had ever.
And that means I also get toget a couple of growlers filled
with Hoffbrow House Hefeweizen,and it's freshly brewed, it's
awesome, and so I have aHoffbrow House Hefeweizen.

(06:36):
Oh, God, is that good?

Mike (06:39):
Well, Dave, my call for a little more listener mail than
we got last time was certainlyanswered.
We got some good stuff here.
Well, good, good.
Let's get into it.
Hopefully it'll keep cominglike it's coming.
Well, you know, we always askthe show people we talk to in
our show spotlights to give us alittle feedback at the end of
the thing.
Yep.
Doug Reed from the OregonJamboree Show did get back with

(07:03):
us and since a fairly exhaustivesummary of the show.
I'm not going to get intoeverything, but the sh the short
of it is it was a success.
And if you remember, their kindof innovation was these club
tables they were doing.
Right.
So they feel that went reallywell, and the feedback from the
participating groups was wasgood, and they they seemed to

(07:24):
love it.
And you know, they got a lot ofanecdotal type comments from
others and emails from attendeesthat also liked it.
Well, they ended up with eightgroups hosting tables, and it
ranged from a couple of thegroups were just there with
information about their club,but some of the others had
active builds going on ordisplays or other handouts, and
they had clubs from Oregon andtwo from the Seattle area, IPMS

(07:45):
Seattle and the Northwest ScaleModelers.

Jim went to the show, did a report for the dojo,
and and he told me that hethought the club tables were a
real success.

Mike (07:57):
Well, good.
Maybe we'll catch on.
Yeah, I hope they do.
Well, he also mentions that youknow it was a partnership, and
he wanted to uh to recognizeIPMass Salem and the S the SABA
Automotive Club and the WestCoast Gundam Group.
They all provided great help inthe planning and on the floor
with the categories and theirclub tables, et cetera.
And uh they're looking to growthe Oregon Jamboree next year.

(08:20):
So good.
Doug, we're glad that workedout.
Hope we helped with that alittle bit.
Well, Dave, up next from theSan Francisco area is Bruce
Binkston again.
Okay.
He's got an interesting one.
He wants to propose thatfingernails are an important
modeling tool and are perhapsunder underappreciated.

I I agree with with that, and and my wife
always wants me to keep minetrimmed very closely, and I I'll
try to preserve one a littlelonger because I agree with him.
The fingernail is uh is a anunderappreciated modeling tool.

Mike (09:02):
Well, he was inspired to think about this a little bit
because he's been watchingseveral well-known YouTube
modelers with no fingernails.
Seems to be nail biting.
I'm a little guilty of thatmyself, nervous habit.

Yeah.

Mike (09:16):
He says these modelers are good and helpful with uh lots
of viewers, but he doesn't seehow they do a lot of things with
their fingernails bit into thequick.
He says they're free,renewable, adjustable, and can
be modified for special tasks.
Now I've never done that.

I've brought one out to a little bit of a point
before.
Yeah, I've done that.

Mike (09:35):
It wasn't for some other habit, was it?

Yeah, no, no, no, no.

Mike (09:40):
He says there are natural tape peeler offers, part picker
uppers, surface gauges, surfacescrapers, tweezers, and the
vertical part pinner downers onthe work surface.
Just a few of the uses.
Use your fingernails, folks.
That's what he's saying.

I agree with him 100%.

Mike (09:56):
Well, Mr.
Panzermeister 36 wrote in.
He must have felt sorry for us.
And uh before I get into this,uh, there's a lot going on in
Canada this weekend.

Yes.

Mike (10:08):
We have a Canadian homed uh World Series team.

Yeah.

Mike (10:13):
Losing to the Dodgers right now.
Last I looked.
And tonight, the night werecord this, Friday, October
24th, is his last day as asingle man.

Yes, it is.
Tomorrow's Evan's big day.
I was just messaging him, andour hearts go out to both Evan
and his lovely bride to beGabby.
And by the time you hear this,they will be married and on
their way to a full lifetogether, and I could not be
happier for both the both ofthem.

Mike (10:48):
Well, we've met her several times now in our
Wonderfest journeys, and guesswe'll see them again in March.

Yep.
Looking forward to it.

Mike (10:56):
Well, he's gonna gig you first, man.
That's okay.
Go ahead.
Says you got 15 Tomia zeros inthe stash, you've only built
three.
Yeah.

Yep.
But that ain't that that'sthree zeros I've built.
That's an accomplishment.
I'm I'm not gonna feel badabout that.

Mike (11:20):
Then you just go buy another one when you're done.
Yeah.

Well, if he thinks that's bad, Cincinnati
and Yeah, I saw it.
It yeah.
The the broke your walletsegment on the next episode we
do that is going to be mine too.
Long and distinguished.

Mike (11:40):
It will be.
So there's something to lookforward to for 51, folks.

There you go.

Mike (11:45):
Well, he had a lot to say about my blurred base thing with
the lifting body, maybe.

Yep.

Mike (11:52):
And he thinks the blurred bases are kind of the uh
antithesis of the mirror underthe aircraft.
He says the mirrors look greatin display, but they make for
terrible photography.

Yes, they do.

Mike (12:05):
And he thinks the blurred bases are the opposite.
Most of the time they don'tlook great in person, but they
look great in foot inphotographs.

A, I agree with that.
And B, his point about mirroredbases is especially true if
your model happens to be naturalmetal.
So yeah, a natural metallifting body on a mirror would
be almost impossible tophotograph.
Whereas on a blurred base,probably gonna look awesome in

(12:37):
photos.

Mike (12:38):
Well, and it gets into you know the viewing angle and
hiding the uh the basically thepost it's got to be mounted to
or whatever, however you pull itoff.
And he says it's kind of what Iwas thinking.
Maybe you need to angle thewhole scene.
Yeah.
Or or have a base that curvesup into a backdrop so you've got
this curved blur.
So looking at the plane, it'sit's almost like it's in a bank.

Yeah.

Mike (13:02):
So that's kind of what I was thinking.
And another way to control itwould just be build it in a box.

Yeah.
So like a forced perspectivediorama.

Mike (13:10):
Yeah, like in you know, shadow box.

You know, and this is from going to the
Chicago MMSI show for years, isI just love shadow boxes.
I just think a well pulled offshadow box is, you know,
something you can stare at for10 minutes.

Mike (13:30):
Forcing the viewing angle really lets you do a lot of cool
stuff.
Yes, it does.
And pull off a lot of neattricks.
Well, from Down Under Dave,Will Edwards has written in
again.
Okay.
From the law offices of smallparts and petty disputes.

The law offices of small parts and I love that.

Mike (13:48):
Attorneys at Miniature Law, 72nd Scale Chambers,
Australia.
Okay.
Again, in foghorn leghornvoice, folks.
Go for it.
No, you just got to imagine it.
Dated 12th of October, 2025.
Regarding notice of cessationof legal hostilities and
revocation of title, patronsaint of 172nd scale.

(14:11):
Dear Kentucky Dave, followingextensive negotiations, several
glasses of modeling fluid, andthe strong recommendation of all
parties, significant others, wehereby confirm that all legal
action concerning the great172nd scale World War I dispute
of 2025 has been formally andpermanently ceased.
The ceasefire shall remain ineffect unless you make

(14:33):
additional disparaging remarksregarding the most sacred of
modeling genres and scales.
However, it is the unanimousdecision of the scale modeling
tribunal sitting in the garagelast night that you, Kentucky
Dave, are henceforth stripped ofthe honorary title Patron Saint
of 72nd Scale.
Oh God.
However, you may retain thelesser but still distinguished

(14:55):
title of keeper of the decalsheets unapplied, subject to
good behavior and proper use oftweezers.
We trust that this settlementbrings peace, harmony, and
proper alignment of wings,struts to all concerned.
Should you wish to appeal,please direct correspondence to
the official appeals box, arepurposed model kit box labeled
bits and bobs.

(15:15):
With mock sincerity and fullcomedic authority, Sir Will Will
Edwards Esquire, Acting CounselSociety for Sensible Scale
Modeling.
Now, Dave, I think you have anout here.

I will work on the settlement paperwork because
as our correspondent wellknows, that no settlement
agreement is enforceable unlesswe draw up the paperwork and get
both parties to sign it.
So while I'm willing to acceptwhat they propose, I want to

(15:51):
make sure it's ironclad.
So I'm going to get to work onthat settlement paperwork, and
he can expect a copy in hisemail box for review and
editing.

Mike (16:06):
You're going to have to request some clarification or
file a dispute, Dave.
Why?
You're the barrister, but hearme out.
There's a little nuance herethat that has gone unnoticed by
the author of this document.
Which is the regards phase,notice of cessation of
hostilities and revocation oftitle, does not have a comma
after the word hostilities,which means that this is the

(16:29):
cessation of both the legalhostilities and cessation of the
revocation of title.

I like that.
I like that uh nitpick.
That was very good, but theproblem is you probably just got
his paralegal beaten.

Mike (16:43):
Okay.

Because no attorney will ever take
responsibility for a typo intheir own document.
They're always going to blameit on their paralegal.
And and Lord knows the poorparalegal is probably going, as
soon as this is broadcast, isprobably going to be punished
severely.

(17:05):
And down in Australia, they'vegot a lot of spiders and snakes
to punish people with.

Mike (17:12):
Okay.
Well, maybe we need to cut themsome slack and uh we can mail
them a comma.

Yeah.
Well, may I tell you what, withwhen I send them the paperwork,
I'll send them a spare commasomewhere in the settlement
agreement, and he'll just haveto dig for it and can can then
use it.

Mike (17:31):
Well, I'm glad that's uh coming to some fruition for you,
Dave.
You know.

I'm loving this.

Mike (17:37):
Only one international incident a year.

There you go.
I promise you.

Mike (17:41):
This one, next one's interesting because it it it
happens to be a regarding uh ashow.

It doesn't declare war on either of us?

Mike (17:49):
No, not us.
Okay.
Charles Rice from uh SouthCarolina.
Yeah.
He's going to a show coming upthere in the Southeast.

Mm-hmm.

Mike (17:59):
And uh this show happened to have a a fee of twenty
dollars for the first fivemodels and five dollars for each
additional.
Sound sound familiar?

Yes.

Mike (18:10):
So this is the uh the regional show coming up in in
Charlotte, I'm pretty sure.
Yep.
And he thinks it'll show showuh greatly slow the the show's
turnout or impact the show'sturnout.
And he knows some folks aroundhis club area that this might be
a deliberate move to keep thekeep the amount of models down,

(18:32):
given that it's a regional show,maybe?
I don't know.
So his his direct his directquestion is have we ever been
turned away from a smaller showbecause of higher registration
fees?
One.
And two, do you guys think thatany organization in their sane
minds would keep the price of ashow high to keep the amount of
judging efforts lower?

The answer to those questions are no.
Given the amount of money Ispend on models, an entry fee at
the show at a show has neverbeen high enough for for it to
be of concern to me.
Now, I don't know that it wouldbe necessarily to keep the
judging effort down.

(19:11):
I could see if you have aninvitational contest by a club
and they have limited space orlimited number of tables, I can
see them using a price structureto try and prevent the guy who
shows up with his entire builtcollection over the last 10

(19:34):
years, you know, where he enters54 models across 28 categories,
and or the guy who builds30-second scale aircraft models
coming in with 10 30-secondscale aircraft models and eating
up a table and a half.
So I wouldn't, I didn'timmediately think of it as a an

(19:59):
attempt to keep judging easier.
I thought that maybe it was anattempt to limit the number of
models because there might havebeen limited space.

Mike (20:11):
Could be.
I don't know.
I guess I'm a little conflictedon this.
And I don't I don't want tooffer criticism for the the club
because it's a show planningexercise for sure.
And let's be honest, Dave.
How often have we walked into ashow and and needed to pay
additional for models broughtversus however many you get for
the front front level admission?

Right.
Yeah.
That's not a thing that affectsyou or I.
You're right.

Mike (20:36):
You know, it's I have to take an empathetic position, I
guess, because it's it's it'snot something uh I've ever had
to deal with, even, even in mymost productive years.

But the other thing that I that you have to
think about is that depending onthe location, the local club
may be paying a significantamount for the rental of the
hall.
And, you know, because in somelocations there's not as much
choice and prices are highersome places than others.

(21:10):
It may also be an attempt torecoup their the the rental of
the hall cost.
So I don't know.
I I'm sure it's somethingthat's not done lightly.
I wouldn't think so.
No, every club when they'rewhen they're putting together
their contest, you know, theycome up with a number for the

(21:31):
vendor table and they come upwith the numbers for raffle and
and for entry fees, etc.
And usually those are wellbalanced to try and make sure
the club doesn't lose money.
Which there are very few clubsthat are trying to make bank on
putting on a show, but they justdon't want to lose money

(21:53):
because that can, I mean, thatcan be devastating to a smaller
club.
I trust the clubs to pricetheir their shows correctly for
their needs.

Mike (22:03):
And I guess my recommendation, Daisy, would be
to attend if you're planning onattending, and if if if you
don't want to go beyond and getinto the five dollars per range,
then you're just gonna have tolimit yourself this time.
Yep.
Well, Dave, the final email tome via the email address is from

(22:24):
another guest from our modelshow spotlight, Mike Mikowski
from the folks out in Phoenix.
And he's got a new YouTubechannel.

Oh, wow.

Mike (22:34):
And we'll put the link in the in the show notes, but it's
uh Space City Mike, and there'sa whole YouTube address for
that.
They're mostly build videos ofreal space topics, so that's
gonna interest a few people.

Absolutely.

Mike (22:46):
And each build runs, you know, six to twelve episodes so
people can viewers can see himprogress through a project.

Mm-hmm.

Mike (22:55):
You know, a lot of his models are.

I'm not sure what that I don't know what that's
like.

Mike (23:01):
So they can see all his scratch building and
modifications and all that.
And uh he also has a tour ofhis uh hobby room on his landing
page.
So uh we'll direct folks there,Mike, and uh they can check it
out.
Now I'll remind him that he'salso the publisher of space and
miniature reference books forfor modelers.
And this this YouTube channelis just uh just an extension of
that.
So we'll put the we'll put theuh the link to his website in

(23:24):
there as well.
We we've Yeah, that's goodstuff.
It's it's been a long timesince Mike was actually a guest
on the show.
That was probably our first orsecond year that he was on.
Yep.
It's quite a ways back now.
So good to help him out alittle bit more.
Yep.
Well, Dave, that is all thatcame through the email address.
What else is going on in thelistener mail?

Well, on the DM side, first frequent DMer Ben
Pluth is going through somestuff with family issues uh
related to aging parents, andand our our hearts go out to him
as he faces those challenges.
Ben was supposed to be at theCincinnati show.

(24:02):
He had a table, in fact, atable right next to where we
were gonna be reserved, but hewasn't able to make it due to
those issues.
And just want him to know hisfriends in the modeling
community are thinking of himand sending him our best
thoughts.
Next is a DM from our favoriteguy, Agent 003, who had two

(24:30):
things.
One, he wanted to report thatthe next winter blitz, Rick
Lawler from AK, is going to comedown and be at the show and I
believe do a presentation.
And uh Mr.
Jacobs was absolutely stokedabout that.
And I understand why.

(24:50):
I'm sure it's gonna be afantastic presentation.
We're always happy to see Rickat a show.
In addition, he continues tobuy these collections and part
them out.
And one of the things he'sdiscovering is he'll buy a
collection and then he has to gothrough all the boxes because

(25:15):
in many boxes he finds thingsother than just the kit.
Do you remember the company'ssmall small shop?

Mike (25:26):
Yeah.

Okay.
And you remember they gotstarted with photo etch benders,
and then they they branchedout, but he got a collection and
it had a whole bunch of smallshop items in in a box in it.
And he was like, What the heckare these?

(25:47):
Because he doesn't have thefamiliarity with the with with
uh the deep deep ancientmodeling history.
So he he DM'd me a photo and hewas like, Do you know what the
heck this is?
I think it's come from acompany called Small Shop.
And so I was able to tell him alittle bit of the history and

(26:08):
what the things were and thatgenerally they were very popular
among armor modelers, althoughuseful in a number of modeling
genres.
But it was just it was justinteresting that these
collections, it's not justmodels, modelers squirrel away

(26:29):
either aftermarket or decalsheets or all sorts of stuff in
their model boxes.
And then when when theinevitable happens, you know,
it's it's like going throughCracker Jack and finding the
little toy prizes in the littlein the little toys.

Mike (26:49):
Well, I saw on one of the model clearinghouse Facebook
groups pages, somebody wastrying to sell it their similar
business, but their business wastaking all these incomplete
kits and parting out thecomplete sprues and the loose
parts as replacements to folks.
And uh so Brandon, if youlisten, you want to you want to

(27:12):
expand your your enterprise.
I don't know, man.

That's a lot of work.
Particularly if he gets kitsthat aren't complete kits.
There are there is a a fairbusiness, and this shocked me,
but I know we've hadconversations with Evan, among
others, where there is athriving business with people
who are selling individualsprues from model kits rather

(27:41):
than selling complete kits.

Mike (27:43):
Oh, yeah.
I've bought a few.

Yeah.

Mike (27:46):
It's really helpful for some of these Asian companies
that you just absolutely cannotget replacement sprues for.

Now, in our last show spotlight, one of the shows
we did was Bob Bear's localshow.
And I want to thank Bob for hishelp in hooking us up to be
able to do that as a showspotlight.
Bob's been a great friend ofthe show, and we appreciate it
very much.
And what he did was he wentback through his old records and

(28:16):
he found a flyer for he saidtheir first show or one of their
first shows back in the 80s andsent me a picture of it.
And the funny thing is, I havea flyer that looks so similar,
you know, hand-drawn artworktype the faces type uh typed

(28:41):
from the first MMCL show in1982, and it looks exactly the
same.
And it was just kind of a neat,neat nostalgia throwback.
Our friend Ethan Eidenmill hasbeen DMing us.
He's been he's been on a streakof enjoying some top quality

(29:02):
modeling fluids.
And he has been on a streak ofsharing those with us as he sits
down to his bench.
And I've got to tell you, Ireally enjoy that.
It's really neat to see whatother people are drinking
because, you know, no matter howwide our reach is and all, we

(29:25):
go to the nationals and peoplebring us stuff, and it happens
at local shows too.
But, you know, there's only somuch modeling fluid you and I
are ever able to really see andsample.
So it's really kind of neat tosee what's out there that is
maybe beyond our knowledge orreach, and just see what some of

(29:50):
the trends are.
And I I like it, and I'llencourage not only Ethan to keep
it up, but others, either inthe dojo or through.
DMs, let us know of the of theregional modeling fluid that
you're sampling as you sit downto the bench.
And finally, from the DM side,Jason Campbell, who reaches out

(30:16):
to tell us two things.
One, he's working on a 48-scaleF4F and it's coming along
really well.
And two, to remind you thathe's from Knoxville.
You apparently keep trying toplace him in Middle Tennessee.

Mike (30:32):
I know, I do that.
I don't know how that happened.
I think I apologize to him.

Well, considering you're from East Tennessee, you
should remember he's from EastTennessee.

Mike (30:41):
Well, I think when he first when he first started
writing in the show, he wastalking about the Middle
Tennessee show, I think.
And some somehow that got thatcable got plugged in the wrong
socket.

Gotcha.
Well, he wanted to gentlyremind you, and it was gently
and lovingly remind you thathe's located not far from where
you grew up.
He's located in Knoxville.
Where I went to school.
Yeah, well, that's true.
You did go to school.
I did.
I was in Knoxville for severalyears.
And your your baseball coachgot just got stolen by the San

(31:14):
Francisco Giants.

Mike (31:15):
Good for the Giants, not good for us.

So yeah, well, you and Wallace now have
something to bond over.

Mike (31:22):
Well, I'll be curious how the the F4 turns out from the
Gundam Gundam guy.

Yep.

Mike (31:29):
So glad to see it.
Diversify.
Me too.
Me too.
Anything else?
That's it.
Well, folks, we appreciate thelistener mail.
We say this is our favoritesegment with all sincerity every
every episode.
Yeah.
You can send us email toplasticmodelmojo at gmail.com if
you want to send it by email.
Or you can direct message it tous via the Facebook direct

(31:52):
messaging system, or in the shownotes of this episode, which
can be found atplasticmodelmojo.com, there's a
feedback web link on the on thewebsite, so uh or in the show
notes.
And you can do it that way aswell.
And we really appreciate it.

We appreciate feedback however you give it to
us.
We really do.

Mike (33:07):
Dave, we've talked a lot about downsizing collections and
making sure our significantothers don't have a mess to deal
with when we're gone.
And and then I even have aninstance about a month ago where
I had some scheduled free timewith nobody in the house and
ended up not knowing what to dowith myself after I thought I
was gonna have this bigmulti-evening modeling session.

(33:29):
And our guest tonight is uh Dr.
Paul Buzzick once again, andhe's been dealing with some, I
wouldn't say dissimilar lifesituations.
He's planning on retiring soonif he hasn't already.
Paul, how are you doingtonight?

Paul Budzik (33:42):
I'm doing great.
Yeah, I hope you guys are.

Mike (33:45):
What's the status on that?
Are you are you done yet?
Are you still working on uhgetting out the door?

End of the month, that's it.

Mike (33:52):
Oh wow.
So a few days away.

Yeah.
Another week, another anotherrest of this week and the end of
next week, Halloween, I'm out.

So no, how many years will you have been a prien
in practice?

Well, this is year 51 of practicing dentistry.
But I started my first socialsecurity check was, I don't
know, back in 65 or something.
And I was working in a dentallab when I was in, say, my last
year of junior high school.
You know, my dad would, hey, hewas a lab tech, and you're not
sitting on your ass all summer.

(34:28):
Get in the lab.
So he was working in a lab fora dentist that had a large
prosthetic practice, and therewere two lab guys.
And so I'd fill in during thesummer, and they insisted that I
had a he I was on the payroll,so he had to go down and get his
social kid going down.

(34:49):
His mom's got to drive him tothe Social Security office, you
know.

Mike (34:53):
I didn't start that early, but I I cleaned operatories at
my father's practice for anumber of years growing up.
So can relate a little bit, butyou were doing more fun things
than I was.

Well, you start out at the plaster bench and just
kind of working your way up.

After 51 years, you are at the end of this month
officially retired.
Now, I assume that you havealready sat down and planned out
all of the builds that you'regoing to accomplish now that you
all have you have all thisvoluminous free time.

Actually not.
And that's one of my points.

Mike (35:34):
Okay.
Well, I think, yeah, there'syou you've you've put out two
videos on your your channellately, the Hobby Logic one,
finding my essential modeler.
And then you did it, you did anupdate in August about cleaning
up your tools that were eithernon-functional or had been
modified, and et cetera.
So won't you take us throughkind of your thoughts on on both

(35:56):
those things?
Because I know your videos areare are not that long.
So I know there's more detailthere to be had.
So I know you're in this lifetransition.
We've we've got, you know, thisthis hobby does skew older.
It always has.
And we we just think there'sprobably other people out there
that are, if not in thissituation now, are close to it
enough to start thinking aboutit a little bit.

I had to come to grips with what is it I want to
get out of the hobby, really.
It it goes down to the thepoint is that I really it's just
about, I really just likebuilding and having a finished
model or whatever, it doesn't,it's not that important.
I just like the activity ofbuilding and constructing.
But what I started realizingwas every kit that I had around,

(36:42):
every time I would look around,I'd look at a stack of
something.
It was just one big obligation.
So, like when you said you hadfree time and nothing happened,
that's what I see go.
You okay, I'm gonna retire, andI got this laundry list of
stuff.
No, I had to say, wait aminute, it isn't gonna be like
that because I spent my lifework, and it's okay.

(37:07):
That's you can't startsomething and not finish it when
you start working with apatient.
You can't just say, okay,that's enough.
I've I'm not I've lostinterest.
That doesn't work.
But in a model, here's whathere's what I would say.
Think about it.
When you you're you go to thehobby shop as a kid or whatever,

(37:28):
or later on, even then, you'restill looking at the box art.
Oh man, that looks really cool.
Or maybe you've been looking atsomething else, or you watched
a drama or a documentary, andyou're hot on building
something.
You've got all these juicesflowing, and you're in this
energy of inspiration.
And the problem is with me thatI, you know, I got to go to

(37:49):
work, I got to do this, I got todo that, a lot of stuff bleeds
over, and that inspirationstarts to wane.
What I want to do, what Irealized is when I boiled it
down to what is the what'smaking it fun for me, what's
getting my, you know, what'sturning my crank, is to stay in

(38:10):
that inspired energy ofinspiration and ride that wave
as far as I can.
Now, this is an interestingthing that I I started thinking
about another concept about,because you know, the obligation
creeps in if you get down thatroad and somehow the inspiration
goes away and you're stuck withhearing your mother say,

(38:30):
Listen, you got to finish whatyou start.
And I'm going, why?
Not now.
I don't need that anymore.
If if I get to a point whereI've truly lost inspiration in
the thing, and I know I'm notgoing to come back, just check
it.
You got your money's worth outof it.
You got a lot of, I mean,there's a lot more stuff that

(38:51):
you can do.
Otherwise, you don't have towork on this thing and drudge it
out.
So that's off the table.
And I started looking around atall these things that were
started or things that I meantto do.
You know, I'm going to buildthis collection.
That's a bunch of crap.
I'm never going to do that.
It's not going to happen.
There's not, and there's notenough time, which is the

(39:13):
additional complication for mebecause I'm retiring later.
You know, I'm 75.
What?
I mean, my I know guys thatwork into in their 90s, but that
may not happen.
So there isn't that many moreyears.
I don't build that fast, atleast not with other stuff

(39:34):
that's going on.
So I had to be realistic and Istarted to go, what is it that I
really like building?
Well, and that's why I'm kindof sort of put airplanes out of
the picture, because I was usingthat as a subject to show
techniques and ideas.
But the problem was I had itbass Ackwards.

(39:57):
The things that made mytechniques and all the stuff
that I do interesting was I theywere created in that energy of
inspiration.
When I would start a projectand things would just flow.
And I don't know how I wouldcome up with solutions to
things, it would just happen.
So I uh here I am starting aproject and trying to weasel the

(40:22):
project around so that it showsthis thing, and all I'm doing
is getting further behind, andit's just a pain in the butt.
You know, you don't it's like,no, I I you and that's where you
get to that.
I don't want to do it.
So when you get free time andyou and you can't figure out
what you want to pick up, maybewhat that is is you're in the
energy of obligation, notinspiration.

(40:45):
I want to stay as far away fromthe obligation as possible.
And I started looking around atstuff that was sitting around
that hadn't been used, kits thatI know I I would never build.
I don't have, I mean, I don'thave time.
Pass them on, just give themaway.
There's been like fourdifferent groups of models.
Some of them, well, one of themwas ridiculously large.

(41:09):
And well, uh, it's the thestory was is that I handed, I
don't know, it was a couplehundred models to the one of the
guys in the club, and I said,here, find homes for them.
Well, they had a show coming upand they decided to raffle off
every one of those kits.
Well, the vendor that came gotvery angry because nobody wanted

(41:30):
to buy anything from himbecause they were all buying
raffle tickets.
Because there was all thisstuff that was on display that
they were raffling off.
But that's okay.
It went to someone who coulduse it, and and that's the way I
feel about it.
If I'm not going to use it,give it to someone who can use
it, get some use out of it.

What I find interesting about your what you
were just discussing is you didsomething that I don't think a
lot of people do, which is youthought about your hobby, what
you like about it, what youdon't like about it, and came up

(42:11):
with a plan to maximize yourhobby.
You know, we all do hobbiesbecause we want the enjoyment.
I mean, right.
No, no, nobody's hobby is doingsomething that's drudgery to
them.
But but it's really, I think90% of the modelers out there

(42:32):
don't ever stop and think, whydo I do this hobby?
What do I like about it?
What don't I like about it?
And is there a way to shed thethings that I don't like so that
I get more enjoyment out of thehobby?
People don't think that deeplyabout it.

(42:54):
And I think it's it's I thinkit's interesting that you
stopped and took the time to dothat and and had the the
presence of mind to do that.

I think that comes with the age.

Okay, I'll buy that.

Okay, and here's a little thing for you guys.
I know it's cute to say so manykids so little time, but to an
old dude like me, that isn't sofunny anymore.
Because there isn't much time.
Right.
And so I don't want to live.
Well, I tell you what, if Ilived in that, I would be

(43:33):
drinking.
That would be my modelingfluid, would be a lot of
alcohol.
Because I like I'm playing agame that I can't win.
Well, I'm gonna go findsomething else to do.
You have to boil it down andand and you start thinking about
different layers, you know.
Here's a an idea that I had.
When you're creating, whenyou're really creating and

(43:53):
you're in that energy ofinspiration, that thing that
you're creating is really areflection of you.
Now, if for whatever reason youtake a little break from that,
you set it aside for a week orso, but you're still inspired
about it, but when you come backand look at it, you're looking
at it with little differenteyes.
You pick up from there andyou're still in that energy

(44:15):
zone, but you're it's a littledifferent.
So if you had a vision at thebeginning, let's say you were
starting a model and you hadthis vision of just how you were
going to finish it, but itchanged over a period of time.
That's okay.
You don't have to stick withwhat you started out with.
And when it gets to the end,it's gonna be a reflection of

(44:37):
the journey, which is reallycool because it but it was
always in a positive energy, notI had to get it finished for a
show.
I had to get it finishedbecause I just gotta finish it.
Because my wife says I neverfinish anything.
You know, whatever it is,forget about it.
We were over at anothercouple's house, and they're both

(44:58):
very accomplished artists andjust a wide variety of different
media.
And I put out the question,when is your your piece
finished?
When do you consider itfinished?
And the the answers were kindof nebulous in a way.
It's like I don't you get to apoint and you just decide, and
one of them, the she paints inshe does water one of her

(45:21):
mediums is watercolors.
She had a beautiful one on thewall.
She says, you know, I've kindof looked at that and I think
maybe like she wanted to addsomething to it.
Like she'd take it out of theframe, and maybe she might add
something to it because itdidn't quite strike her as
right.
I found that kind ofinteresting.
You know, most of the time whenyou get to that stage and you

(45:42):
put it up, I would think theywould be finished.
But let's just say maybe yougot to the point where your
model's in primer, and you'veenjoyed the shape.
You just enjoy what you'vecreated.
You've finished.
You've finished with the funthat you're gonna get out of it.
You don't need to go anyfurther.
It's okay.
Nobody's caring about this butyou.

(46:04):
I mean, really.

Right.

Unless you're gonna complain about it on social
media or something, which is notdoing you any good.

Yes, a whole lot less of that uh in all of our
lives would be better.

So I just think part of it has to do with uh a
lot of it changes yourperspective when you get older
and you realize it doesn'treally set in till it really
sets in, till you're reallyfacing it, that it's only gonna
be so much longer.
And that's just nature.
I mean, you know, nobody comesinto this world with a
guarantee.
I used to tell I when I wasyounger, and I was kind of an

(46:42):
earnest young lad, and my dadwould say, you know, what's the
hurry?
What's the hurry?
I'd say, Well, I'm not gonnalive past 40.
Well, 15 years old, and I'malready thinking about that.
And he goes, Jesus, Paul, youcan't do that.
If you're gonna sit aroundthinking about that stuff all
the time, you're not gonna beable to get up and eat your

(47:02):
Wheaties in the morning.
It's gonna happen to everybody.
Just it's a fact of life.
This can't be the your primaryfocus.
And and that, and that's prettymuch how I I mean that cured
it.
And I always kind of laugh atthat, that I I I want to be able
to eat my Wheaties, so I don'twant to worry about.
So when it happens, you know,it's gonna happen.

(47:24):
And that's just the way it is.
But I want to go down havingfun.
I look around and I see, oh,there's more stuff here.
I need more space.
I bring in some stuff home fromthe office that I want to I
need to keep.
And I've got, oh no, come on,don't give yourself a break.
You're never gonna build that,really, honestly.
And I've got more stuff now, Iknow.

(47:46):
There's no way I'm gonna buildit between now and whenever I
can't build anymore, plusscratch built projects that I'd
like to do.
So we'll just see what happens,but that's what it is.
I just feel like what retiringis going to afford me to do is
to stay in that focus zone ofhaving inspiration of what I'm

(48:09):
doing and keeping that as thefocus rather than you know, and
and that's why I say I'm lookingforward to having solutions
just happen.
And and so it's going to beeasier to present those things.
I set up a little permanentsound booth for myself so I can
do things more on the spur ofthe moment.

(48:31):
So it isn't such a big deal to,you know, set stuff up and get
good audio.
Yeah.
So I can just come in, dothings more on a kind of an
update, and keep things flowingthat way.
And that's what I hope tocontribute to the Patreon
channel.
My channel is really devoted tosolving problems and developing

(48:55):
what I consider skills, andthat broaches something else
that isn't quite rub some peoplethe wrong way.

Mike (49:04):
Let me go back and ask this.
We've talked about it on theshow, and I think it's true for
most modelers, except those withthe most logic and discipline
in their lives, that we all tendto accumulate beyond our
capacity.
And to some regard, at least upuntil a point where you

(49:25):
realize, oh crap, and you'retrying to solve do I have too
much stuff or not enough spaceproblem.
It's it's kind of part of thehobby for a lot of us to just do
it that way.
So when you're shedding thisstuff off, how'd that make you
feel?
And then what kind ofmethodology did you use to pick
and choose and and how'd thatgo?

I'm telling you, I would lug out a stack of stuff
because I'd parted out some ofit, but the thing was mostly
intact, but I knew if I handedit off to someone, it it they're
not going to be happy becauseit's gonna be missing some stuff
or whatever.

Mike (50:00):
I think I probably have that problem too.

So I it would just get chucked in a bin.
I mean, I would fill therecycle thing up to the top, and
every time I brought somethingout, it just felt like a
loadoff.
A loadoff.
And it got to be habit forming.
What else can I throw away?
What else is I'm really notgoing to use?
Like I say, with the tools,it's like either fix the thing

(50:24):
and use it or or pass it on.
You know, I had a couple ofairbrushes that now it's they're
they're very fashionable, but Idon't like them.
They don't fit me.
And so I passed them off to afriend of mine down in LA.
Here, I I he likes it, I don'tuse it.
And so you take it, you know,or a or a machine or a tool that

(50:47):
I know I'm not gonna use, giveit away, you know, let somebody
else get use out of it, and itjust feels like a loadoff.

That's really interesting that that as you're
reducing your your stash andyou're getting you're shedding
things either you know you'renot gonna build, or you've
already used the parts you needout of them, and and it's just
sitting around collecting dust,or it's a tool that you know

(51:19):
somebody else could use, butyou're not gonna use it.
The fact that getting rid ofthose things, giving them away
or throwing them away, isunburdening.
I think most people would thinkin their mind before they did
it that it was going to be a sadthing to throw something away

(51:42):
or to give it away.
And it turns out that it's justthe opposite of that.
It gives you more energy.

Yeah, I was surprised that when I started
doing it, like I say, itactually got habit for me.
And and I might start outsitting down at the bench and
working on something, and then Iwould start rummaging through
things to look and I went, whatit what is this stuff you're
rummaging through?
You you rummage through thisthis the same crap every time

(52:12):
you open the drawer, then younever use it.
You know, you're just movingthese tools aside to get to the
ones that you used, gather themup, get rid of them, give them
on to someone else, or like likeI say, I I got hooked on well,
that airbrush thing that I putup about the pache the V.

(52:34):
Right, the VL.
VL.
I always had my paintingroutine was I could run out, my
I do my painting and always beenin like in a garage area or
where I have really goodventilation because I'm always
using solvents.
So I never would ever thinkabout doing it in the house.

(52:54):
Spray booth, no spray booth,forget it.
It's going outside.
So I always had kind of ajunker or airbrushes.
They were fine, they wereplenty serviceable, but I didn't
care about them that much.
They weren't they weren't mySunday go-to-meat and
airbrushes.
So I I could go outside, grabthe airbrush, shoot some color
on because I'm at a certainstage.

(53:15):
And that's the other thingabout having the time.
I don't want to have to gatherup a bunch of stuff just so I
can paint all the same color atone time.
I can't keep that straight.
I don't work that way.
I work in a linear fashion.
I'm building this.

I'm like that too.

This has to be finished, and I'll go on to the
next thing.
And if it means I dirty anairbrush, okay, so the answer to
that is to be able to clean itup and to be able to have the
paint mixed up easy.
And the way it worked out was II always had no problem using a
siphon feed.
That was fine.
I I mean I got contest winners,best of shows, they're all

(53:52):
painted with siphon feet.
I never did like the balance ofgravity feed.
And think about it, all thelittle Greebels in there that
clog your airbrush, they sink tothe bottom with gravity, right?
Well, if it's an unsiphon feed,they're sitting at the bottom
with gravity, and the siphontube is up above that.
So you're probably getting Inever had clog problems before,

(54:15):
but when I go to gravity feed,occasionally I'll get something
that'll stuff up the needle, andit's like, no, I don't need
that.
I want to go out, snap on, I Ican put the put it in a jar, or
up I've got a huge col a hugesupply of old film canisters.

Yes, I love that on the video.

Yeah, well, I had a friend that was in photo
finishing, and so he used tosave me all these.
I mean, I have boxes of them.
I can make my mixes because Inever use I very rarely use a
stock color out of a bottle.
I always mix something that's alittle different, so the OD is
always a little different orwhatever.
And I can mix it up and it canstay in that film canister for

(55:02):
the life of the project, andthen I can just chuck it.
Because it's thinned and it'sprobably not it's probably would
contaminate the regular bottleof paint.
I can just snap on the thesiphon feed one that I've
converted.
I can just snap that one on,shoot the color, put the lid
back on, and I could just runsome thinner through it.

(55:23):
I'm I pull the needle, but Idon't need to I would do that,
but that's as far as it wouldgo.
They never collected paint.
And what I was using in thebeginning was the one that I
chide people about is the pashAH.
That is so convenient, and youcan clean that in two seconds.
So I was using that as myjunker just to get on color in

(55:44):
like a cockpit or inside of acowling or someplace where it
doesn't really matter.
And I would use that fast,clean it up, back in.
Sometimes it would be threetimes in a night because,
especially like when I'm doingone of those engine projects
like on the 12-scale cars, Icould only go so far in a
mock-up stage, stuff had to beassembled to fit the next part.

(56:08):
And the only way it could beassembled was to paint it and
actually put it on.
So it had to be painted, thencome back, and then, oh, wait a
minute, I need to paint thisthing.
And so in a linear fashion, Ihave to go out and paint it.
Well, I got to the point whereI could do things at about 15,
20 minutes, go out, paint it,come, clean it up, and get back
in.
And and here's the other partof that.

(56:30):
If you're in that stage ofinspiration where the juices are
flowing, things that would seeminconvenient, problems that
let's say something doesn't workquite right, it's just you take
it in stride.
You don't even think about, oh,I got to go out and paint
something and I'm gonna clean itup.
If you're in that state ofobligation, you go, oh man, I

(56:53):
don't want to go out there andpaint anything.
I got to clean the airbrush, Igotta mount it.

That is a really good point.
That if you are inspired byyour project, nothing about what
you're doing is a burden or adrudgery.
And if you're not inspired bythe project, no matter what
you're doing, it's going to be aburden or a drudgery because

(57:20):
you really don't want to do it.

And it won't come out as well.

Yes.

You know what I found this this is kind of
interesting because a lot ofwhat I do is sculpt, I mean, I
spend a lot of time sculptingwax, setting teeth, sculpting
wax.
It's all technique sensitive.
If the wax, you're in a hotenvironment and the wax isn't
cooling and a thing doesn'tcarve right and it's sticky and
it's it can be a mess, or maybeyou get little flecks of acrylic

(57:49):
dust in the in the pick pickedup in the wax or something when
you go to flame it, it it isn'tas smooth as you'd like it.
Once I made the decision it wastime to go and this wasn't fun
anymore, nothing worked.
I'm going, this isn't working.
Everything that would justhappen just without even
thinking about it, always workedand always looked great.

(58:12):
All of a sudden this materialisn't working right.
This isn't working right.
It's probably not that, it'sprobably me.
And I didn't want to be doingit.
So everything just isn't right.

Mike (58:25):
Yeah.

Use that as your indicator that you're probably
on the wrong track.
Put the model aside, and ifyou're not gonna and if you see
it and you and time goes by,it's like leftovers in the
fridge, you know you're notgonna eat it, just get rid of
it.
And go on to something and staywith it.
And one way to stay with theproject, and I learned this back

(58:48):
when I was doing street rods, Ihad a guy in my office that was
a he nobody really knew him.
He had had a number of magazinecovers with rods that he'd
built.
Guys like George Barris and EdRoss would stop by his shop.
He had a a kind of a it was insome place in like, I don't know
where it was, in a smallersuburb in Colorado.

(59:11):
And his idea was parts ofparts.
He'd take anything and he'dbuild up street rod, you know,
it was no big deal.
But he said, Look, even if youdon't knock if you're not gonna
do anything for real on the carthat day, go out and sit with it
for 20 minutes, half an hour.
Just go sit with it.
You don't have to do anything,but stay connected.

(59:34):
And he said, You'll get itdone.
Over a period of time, the carwill get done.
It'll be something you want todo, but don't lose the
connection.
And I think that's a goodmethod, even for our hobby, is
to just I mean, you sit down inthe shop and pretty next thing
you know you've picked upsomething and you're whittling
on it.

Exactly.
I think that's a great insight.
Even when you're not in.
Inspired to do anythingparticular, go down, sit at the
bench, and you may find it cometo you.

Paul Budzik (01:00:09):
Well, if you're thinking about the finish all
the time, then you're notenjoying the step that you're
on.
If you're going, I got all thisto do and this to do and this
to no, this is just way toomuch.
Better that you just pick upthe thing and go, well, let's
see, what do I got to do to makethis part fit a little bit
better?
Or maybe I need to grab somestyrene rod or I need to do wait

(01:00:33):
a minute, you know, and youkinker around with something,
and by the time you're through,an hour and a half have gone by,
you've got something reallynice that you created, but it it
doesn't, it's not it's not gotyou that much further down the
line, but you had the fun.
And that's what I'm after isstaying in that zone the whole

(01:00:54):
as much as possible withoutgetting distracted, and learn
how to do it because uh again,because at one point I would
seem like I was able to do it,but I don't know, life does what
it does, and you kind of lose alittle bit of that.
So I'm like I say, I'm happy toget back to the siphon feed.
I've solved my problem, gettingI can get in and out of my

(01:01:16):
paint area really fast.
And so I rebuilt a number ofthose VLs.
They're just so simple, they'rebuilt like a tank, and I I
learned a lot about what makesthose things work.

Kentucky Dave (01:01:31):
Let me ask you a quick airbrush question about
that.
Do you think that part becauseI've got a theory on this?
Do you think part of the reasonyou like the VL is you've used
the VL so much that the fit ofit in your hand and your ability

(01:01:52):
to do things with it is just aresult of hours and hours of
doing?
Because I've got a theory thatif you have one main airbrush
and you use it 95% of the time,you're gonna be a better

(01:02:14):
airbrusher than if you areconstantly switching back and
forth between three br three orfour brushes.

I've never used a VL.
This whole exercise is thefirst time I've ever really used
it.
Really.
I've never I have never reliedon a VL to paint anything.
I bought a couple, I bought apair of them, I don't know, ten
years ago, and I thought I woulduse them for what I'm using
them for now.
It had the same sloppy machinework that I'm sorry.

(01:02:45):
Pashe's an American company.
I grew up with an F and then anH.
But their machine stuff is justnot very precise.
It's pretty old school.
And I looked and I go, okay, itworks, but I don't I don't
actually like self-centeringnozzles.
I hate them.
They always have seal problems.

(01:03:07):
I was surprised that DavidCoast Airbrush, when he was
talking about how to service aneclipse, he said you all he
always puts something on thereto seal it.
The compression fit never, andit doesn't.
It's just enough to not quiteseal and things sputter and you
know it so you gotta putsomething on it.
What I like about it is it'sreally durable and they're

(01:03:31):
cheap.
I get them off, I'm using theold ones, I got them off of
eBay.
I got a flock of them now, anduh it was fun to modify them to
get a spray pattern that Iwanted.
And so I, you know, it was kindof a fun exercise, and I I
never had any experience withthem, but I'm gonna use the heck

(01:03:52):
out of them because I've gotthem all working like a gem, and
I've got them, they're all acouple of different nozzle
sizes, a couple patterns thatI've created that I like, and
and it gets me to the point ofeither if I need something
finer, I'll grab one of my otherairbrushes, or if I got
something that's bigger and Ireally want great atomization,

(01:04:15):
I'm gonna grab one of my mini,one of my LPH guns, you know, or
maybe the RG3, depending on ifit's lacquer that needs a little
bit more air pressure toatomize.
The LPH is kind of tricky thatway.

Well, it sounds like you found some modeling
from some hobby joy just in theprocess of taking those VLs and
and playing with them and tuningthem and getting them the way
you want.
It sounds like that's notbuilding a model, but it sounds
like you got some real enjoymentout of that.

Oh, yeah, I love modifying.
My dad used to gripe aboutthat.
He can make things work, graba, you know, like an instrument
or whatever, because he'sworking in the lab.
He goes, You did this, didn'tyou?
And he'd look at something thatI modified the tool.
And I went, Yeah, I did that.
I like it better this way.
So I have no problem modifyingstuff.

(01:05:15):
If it doesn't work just the wayI want it to, I I don't know, I
like re-engineering it.
You know, it's okay.

Mike (01:05:22):
Well, that's like our machine is to work.
I was helping him one time, andhe's like, hand me what like a
pair of pliers out of thisdrawer in his in his tool
locker, and he's like, No, notthose.
Those have been modified.
Look at the jaws.
And he'd taken, you know, atarm's length, they look like a
standard pair of pliers ofwhatever kind of variety.
But they've got some crazy slotmachined in the in the jaws to

(01:05:47):
hold this one thing he was doingthis one time because that was
the way he was going to do it.
But uh, yeah, that's that'spretty interesting that
modifying these airbrushes.
You've you've pared down thecollection, you've pared down
the tools, you've got rid ofstuff, fixed the stuff that
wasn't working, etc.
Projects going forward, whatestablished what made the cut,

(01:06:08):
and what's the plan for kind ofproject uh management going
forward?

Well, right now I'm gonna be focusing on ships.
I'm I'm going back.
It was either model railroadingor ships, was generally what I
preferred to do.
And I got into the Grand Prixcars because I wanted I wanted
to get access to the actualGrand Prix, which I I managed to
accomplish that.
But the aircraft came about, Imean, they were always just like

(01:06:38):
something to build kind ofquick and hang up, which is in
the process of hanging up allthis old stuff that had been
hanging up in the lab andeverything, I realized how badly
some of these were built, youknow.
And and that's what the purposewas.
They were basically throwntogether just because I was kind
of taking a little bit of abreak and I wanted to paint

(01:06:59):
something.
And I don't quite have thaturge to paint anymore.
It's not the mystery ofthrowing on color is gone.
Now it's a lot more it's justpart of the building process,
and it's not all that much fun alot of the time to paint
something.
But it used to be great.
I loved masking and pulling themasking off and seeing what I

(01:07:20):
could create, but you lovepulling the masking off when it
worked.
Well, it the thing is, is italways worked, you know, because
I I but you're practicing itall the time, you know, you're
always trying something.
It's kind of like what you weresaying, you if you do a lot of
it, and so they would just besomething to to practice

(01:07:42):
finishing on so that when youdid your Magnum Opus project,
you had a a kit bag full oftools that would work that you
know you could employ to get a anice finish.
But there's something about inreal life, and I and I don't
have never had any space to havea layout, so that unfortunately
was a bucket list thing that'snever gonna happen.

(01:08:03):
But and I've never been afraidto fly.
But standing on a ship or beingout at sea scares the crap out
of me sometimes.
If you've ever been on a flightdeck of an aircraft carrier,
you're not gonna get me close tothe edge of that deck for
nothing.
It's like how many storiesdown, and I can't believe that

(01:08:25):
you'd be working on that deck inrolling seas, aircraft coming
in and all this other activity.
I there's no way.
I don't know, there's justsomething that's so it's not a
tr it it's just so interestingto me that I I I just like sea.
I just like the ocean.
That's why I built amphibiansor the seaplanes.

(01:08:49):
There's something about the airand the water together that's
very looks very aesthetic.
So I'm just gonna startbuilding some ships and see
where it goes.
And I'm I may get tired of it,but right now I've got a I've
had a laundry list, I'vecollected a number of kits over
the years.
They're just sitting there, andit's like, when are you gonna
get to these?
Be honest with yourself.

(01:09:09):
You want to do them.
You're just like waiting,waiting, waiting for what?
It's time to get rid of therest of the stuff.
Grab some of these things.
I spent yesterday, I shouldhave been down at the office
throwing more stuff away andbringing home that I'm supposed
to be doing.
And I spent yesterday creatingthe I like to do all my ships on

(01:09:32):
a on keel blocks.

Mike (01:09:34):
Right.

I don't I don't like the pedestals, they look
like toys to me.
I would prefer to have themsitting on something, and keel
blocks to me have always lookedmore attractive.
But you need the base to gluethe blocks to.
So I I had created this moldingthat I this particular shape
that I like that I used on thePT boat, and it it's a matter of

(01:09:56):
using some cutter, uh a cutteron the on the router table, and
then a lot of it's how youmanipulate the piece and use a
saw on a table saw.
You don't do woodwork with amicrometer, but I'm using my
digital calipers to try torecreate the same shape that I

(01:10:16):
did around the base on thisother thing.
So I spent I wound up spendingall day to create four bases for
that, because I'm gonna bedoing I want to right now I want
to do some cruisers.
And so they're all gonna besimilar shape sizes, ones are a
little shorter than the others.
I'll set the the bases, they'llget they can go in the kits,

(01:10:37):
and the one that I'm gonna startworking on as soon as I retire,
that base stays out, and I'llput the keel blocks on that and
I'll work on that way up.
But it's such a mess, sawdustgoing everywhere and chips
flying and everything.
I don't it's like clean it upone time.
And once you've got the tableset and you're gonna run one,

(01:10:58):
you might as well run a fewmore.
If I stay with doing that,that's probably gonna be how
many years worth of work?
So I'm good for a while, youknow, unless I get the bug to
build a bigger capital ship orsomething.
But I forgot who it was.
I think it may have beensomeone on your show, or maybe I

(01:11:18):
heard it somewhere else.
I've been working in 48thscale.
I have to get back to 350th.
I have to live in that worldfor a while.
I don't know what's exactlypossible, and I don't really
care.
I'm not going to be using any3D aftermarket parts and stuff.
I don't want to offend anyone,but I'm sorry.
350th scale to me is nothingbut an oversized identification

(01:11:41):
model.
I mean, it's a little bitbetter than 1700, but railing
and all that other stuff isoversized.
You can make it as fine as youwant, but when you take a
picture of a ship, you don't seeany of the railing.
As far as you can, there'snothing there.
And so I know it lookswonderful, you've got all this

(01:12:02):
other stuff on there.
I don't need it.
I don't like doing it, I'm notgonna do it.
And that's part of my do what Ilike to do.
I'd like to be able to set onecruiser next to the other and
say, look, this you can see inthe profile, this is this way,
this arrangement of stuff isthis way, this is what was
developed.

(01:12:23):
You can see the evolution, thatsort of thing, the general
shapes of it.
And I would just as soon talkabout the geopolitics of how
some of this stuff was used andthe thinking behind creating
this thing this particular way,the treaty that was like said,
no, you can't do this becauseyou're gonna be oversized.
Stuff like that to me is justas interesting, all the history

(01:12:46):
behind it.
And so I get immersed in allthat while I'm doing something,
and I don't need to be fussingover how am I going to create a
40 millimeter barrel in 350 ascale.
That I don't care about.
If you you can look atoversized models in a museum, I
mean what a fellow that I knewsent me a bunch of pictures of

(01:13:09):
an enterprise model.
The the barrels on the f on thefive-inch guns were nothing but
almost like a dow.
But it was so big, you know,and it it did its job.
It showed and the aircraft thatwere on the deck were nicely
done, but nothing about it saidsuper refined, everything
machined perfectly, and it didits job.

(01:13:32):
It looked impressive.
So I'm gonna be doing that.
I'm gonna have fun with it andget used to the 350th scale.
The first thing I'm gonna buildis basically a kit, and may
I've got another kit or so thatI want to do, and then I'm gonna
I got some stuff that's gonnabe modified.
I'll know I'll have a good feelfor what it's like living in

(01:13:52):
that 350th scale world.
And then all of a sudden,things become a little bit more
possible because you're used toworking small.
Right now it's like, oh, comeon, man, nobody can see this.
Some guy made a comment why heswitched from one seven
hundredth to three fiftiethscale when he was in college.
He put the model up on thewindow in his dorm room and the

(01:14:16):
wind blew it off.
And he said, I'm not working ona scale so small that when I
fart, the thing falls off theyou know.
So he decided to go bigger.
But I'm still 350th is, youknow, it's honestly it's not
very big, right?

Mm-hmm.

Mike (01:14:36):
Uh yeah.
Well, I've got some ships inthe in the the plan somewhere,
but they're all 70 secondsscale, but they're all small
boats.

So looking forward to at least that that's it, you
know, that's just basically alittle bit bigger than HO scale,
and you can do a lot in H Oyeah.

Yeah, so what okay, just just so we all get a
window.
What is the first 350thproject?

This is all part of the historical research.
I was originally going to justbuild the trumpeter San
Francisco.

Gotcha.

But I am at a loss.
See, I think about this kind ofstuff.
In government, they do thingslike co-optation, where they you
make a mistake and they elevateit to a positive and they give
you an award.
And the San Francisco was ascrew up at Guadalcanal.

(01:15:29):
It virtually sank the Atlantaby itself.
At Tasaferengo, it makes thewrong turn and takes everybody
in the wrong direction exceptthe lead ship, which did San
Francisco missed the turn, ledit into a disaster.
Not only did they kill a bunchof people on the Atlanta and

(01:15:50):
virtually sink the cruiser, thenthey turn around and and and I
don't know whether it's aCallahan or that was on the
bridge on the San Francisco andhe's killed and they just have
to destroy the ship.
I said, okay, I get it.
They gave it all these battlestars.
They should have given themJapanese battle stars for what

(01:16:13):
happened at Guadalcanal.
If you really be honest aboutit, they were it was not an
asset.
In fact, I there's a veryinteresting thing.
I don't know what it's called,some kind of history channel.
They've done all thesehistorical things.
It's anyway, they did they diduh if you put it all together,
it's a two-hour presentation ofeach individual battle of the uh

(01:16:36):
Solomon campaign, you know,Guadalcanal.
And it said San Francisco hadproblems.
It was one of the problemships.
And so I it's like, okay, maybethey got it straightened out
later, but I don't that historydoesn't fascinate me so much.
Now the Minneapolis wound upwith the same number of battle

(01:16:59):
stars, and the only thing thatat Guadalcanal, thanks to the
mistakes of San Francisco, theygot their bows shot off.
Now I don't know if that wouldhave happened if the initial
plan of how they were gonna gointo battle would have been
executed, but things went awrywhen San Francisco made the turn
wrong.
Minneapolis always seemed to doits job, and it served out the

(01:17:22):
rest of the war being there allthe time, doing what's supposed
to be done.
So I thought there they lookvirtually the same.
Both were rebuilt at MayorIsland, and the Minneapolis was
there sooner because of the bowproblems, and San Francisco got
there a month later, but they itlooks like they virtually used

(01:17:44):
the same blueprint to restorethe ship.
And I'm looking at the 44 SanFrancisco kit and the 43 uh late
43 Minneapolis kit, and for allintents and purposes, they look
virtually the same.
So I can put the name on it ofsomething that I like better,
and I'll just stick basicallywith doing the kit without not

(01:18:07):
much modification.
Then after that, I'm probablygonna do I'm gonna do the San
Diego.
What it's gonna be interestingto me is I want to try one of
these newer kits, and I want tosee what this verifier stuff is,
because the I I've startedtrumpeter kits before, and
they've been like I was Istarted to do a lot of work on

(01:18:30):
the on the on the Washingtonyears ago, and there was nothing
on that kit that was in theright place.
The deck heights, I mean, thelevel heights were wrong, the
turrets were in the wrong place,the stacks were crazy small.
There was nothing in there thatyou didn't have to rebuild.
And that's part to me is anexample of trumpeters sometimes

(01:18:53):
not even getting close to whatthey're supposed to be.

Mike (01:18:55):
Yep.

I want to see if the verifier's better, and if
that's something that just goestogether easier, I don't know.
But I kind of want to get usedto the what what's supposed to
be considered a more up-to-dateexecution.
In my eye, the Atlanta classcruisers are probably one of the
most beautiful cruisers that weever built.

(01:19:16):
There's now talk aboutsymmetry, and I I just think
they're uh it's a reallygorgeous looking ship.
And the Atlanta was just like Isay, it was cremated by the San
Francisco at Guava Canal.
But the San Diego went on, itwas one of those ships that you
don't see photographed verymuch.
It was just always there.

(01:19:37):
It just always did what it wassupposed to do, and it was at
sea so much that you don't see alot of photographs of it.
And so I'm gonna do the SanDiego, and Fairy Fire actually
did the San Diego because Ithink there's I don't I think
they there's a f difference inwhere they mounted some 40
millimeters or something.

(01:19:57):
I don't know.
But they I think theyincorporated the changes, and so
I would build that one straightout of the box, and then I'm
probably gonna do Portland, andthat means modifying the Academy
kit, not super significantly,but there's quite a bit
different between the Portlandand Salt Lake.
No, not Salt Lake, but oh,Indianapolis.

(01:20:20):
Indianapolis w had a differentthe structure of the um uh four.
Things were narrower.
I mean they were wideractually, because I think it was
designed as more of a flagship,and Portland wasn't, so things
were a little narrower in spots.
And so if if I want to be moreaccurate, I've I've kind of

(01:20:40):
rebuilt the forward structure.
And then other there's beenother changes and stuff.
And I I so I thought I would doPortland.
And then I'm gonna do if mythings go to plan, kind of when
I'm looking out ahead, if Iagain if I don't get distracted,
because if I get inspired bysomething else, but I'm kind of
looking that way, I want to dothe very fire Cleveland and do

(01:21:05):
that as the Santa Fe, whichdoesn't require much difference.
But then I want to do I neverliked the look of them, but the
St.
Louis was one of those cruisersthat had the three forward
six-inch turrets, you know, withthe the third the third aft one
faces the structure where itreally isn't that functional.

(01:21:29):
But the St.
Louis was very successfulduring World War II and had such
a to me it's kind of a goofydesign, but the Japanese had
them.
I I don't know if the Englishhave.
But I thought that would be aninteresting thing to do.
And really what it amounts tois just eliminating that the
forward 40 millimeter and makingroom to put that other turret

(01:21:50):
in there.
And so it it looks like a majorchange, and it changes the
profile significantly, but it'snot that much of a change.
So I could be sidetracked and Ipromise hopefully he's not
listening, but I promise someonea ship model.
I'm not gonna say who and I'mnot gonna say what it is.
And that I I kind of want todo, and so I gotta work that in

(01:22:16):
sometime before you know the bigkahuna.

Well, it sounds like you've been planning ahead.

Right, but again, it's like if I don't I it's I
already know I've been throughit, maybe it's gonna happen,
maybe it's not, but I'm justgonna enjoy staying in the one
project at a time.
And I may get back to grabbingone of either the A20 or the A26

(01:22:44):
and painting them, but for nowthey're placed in an area where
they're not gonna get dusty andI don't have to look at them.
And I may just pick it up anddecide, yeah, let's gonna finish
it.
I'm gonna do so, I'm gonnacheck something out because both
those things are scribed in thepaint.
This is just to throw somethingout if anybody's listening and
they want to try it.

(01:23:04):
I'm gonna order some and tryit.
One of the things I get onFacebook that shows up is shorts
from Dave Coast Airbrush.
He's always demonstrating somenew product.
And I just saw a demo on FBScalled Guide Tape.
And what this stuff is, is it'sgot a thick edge to it.
I don't know if it's just theedge or the tape itself is

(01:23:27):
thicker.
But you you can reuse it.
He says, like this strip oftape, he said we've used it 30
times.
It's got an adhesive that justlets you keep putting it down.
And you could and he says, thistape is thick enough to where
you can run your fingernail upagainst the edge so that it
would help you do your penstriping.
I just thought about it lateron in the afternoon after I

(01:23:50):
said, I wonder what it'd be liketo scribe against.
I wonder if it's solid enoughto where you could put a scribe
against it and it didn't give.
Because what would be whatcould be easier than having
something that you could reuseover and over again that has a
thick edge that you could scribeagainst?
I think that'd be prettyconvenient.
So I'm kind of wanting to givethat a try.

(01:24:12):
Anyb listening that maybe wantsto look it up, that um I I
don't know if this is true.
He says the FBS is standing forfind better solutions.
I don't know if that's reallywhat the FBS stands for, but but
they handle FBS, so I'm I thinkI'm gonna order some and give
it a try.

I'm looking forward to your video on that.

Mike (01:24:34):
That's a good segue, Dave, and and kind of we can wrap
this up.
But with all this streamlinedkit stash and workshop and plans
for your next build, what whatis the plan for incorporating
this work into your channel?
And you do you hope to see kindof the same solution-based
videos coming out of theseprojects?

Yeah, I I hope that as I'm working through these
things, if there's some littlejig that I make or some way that
I can put something togethermore accurately or maybe modify
something, that I can just do ashort on that.
It's easy for me.
Trying to make production alittle easier, put that stuff
up, and I want to put more timeinto actually creating a better

(01:25:18):
textural supplement on mywebsite to make sure that's more
complete, that actually offerssome more research stuff or
whatever.
Tighten that connection up alittle bit so that it's a it
becomes more of a whole package.
And I do want to say this.
Now I'm gonna step on sometoes, but it's what I do on my

(01:25:41):
channel.
And I don't want to get into anargument about this because
there's pros and cons and I haveno I have no animosity bit
between someone wants to modelusing a different tool.
But there is a difference inskill versus knowledge.
If I'm working in a CAD programand I don't know how to do

(01:26:04):
something, I can watch a YouTubevideo on it.
And I will know how to do it,and I can do it.
If you're watching one of myvideos and you see how I handle
a blade, like I had the way Ihandle a blade when I'm masking
a canopy is to push and followthe tip of the blade so I know
where I'm going.
I had a surgeon write me andask that he could use my video

(01:26:28):
to demonstrate this for hisresident students because he'd
never seen anybody use a bladethat way, and it worked in
surgery.
And I said, Help yourself,that's what it's there for.
Use it all you want.
It's like I've seen this guy onsay, well, you can't mask that
way, you can't you because he'spulling on the blade.

(01:26:49):
And all that's going to showyou is where you've been.
But if you take the blade andyou angle it, like I've shown it
in one of my videos, so that itjust makes contact just in back
of the tip, you can guide thatblade just perfectly along where
you want it to go.
Now, I can tell you how to doit, you can watch me how to do

(01:27:09):
it, watch me do it, but youcan't do it till you practice
it.
And that's the skill part ofwhat I want to stress is that
there's an element of fun andaccomplishment in that, and a
link to what you're doingmanually with your hands, that I
think, for me anyway, gets lostin a in sitting at a computer.

(01:27:31):
And it doesn't work foreveryone.
And those are going to be thepeople that are going to be
attracted to my channel becausethat's what I want to stress.
I want to stress how do youlook at something?
How do you reason it out?
So I get people that send meemails.
Paul, how do I solve thisproblem?
Oh, gee, yeah, I got lots oftime.
Let me think about this.

(01:27:52):
You know, and they send me thisgrainy old crappy photograph
that you can't see anything init that I need to create this
detail.
How do you it's not my job totell you how to do it, it's my
job to teach you how to think sothat you can solve it.
If you learn how to think andanalyze, go back from what the

(01:28:13):
objective is and work back.
I don't know who it was.
Some he's a a physician, buthe's a modeler.
I think he's in in theNetherlands.
He said, you know, you've comeup with these solutions.
I usually overthink and I getthere, but it's a lot more
complicated.
And you keep well, that'sbecause it doesn't happen right
away.
Us I'll back off and I'll Igotta do this and I'll think

(01:28:36):
about it for a couple days andI'll go, oh wait a minute.
You could easily do it thisway, and you don't need all
this, but if you go at it headon, you think you need to make
all this and this and this andthis and it's gotta go.
Then you go, wait a minute.
No, the objective is this.
You could do it much simpler.
And that thought process iswhat I'd like to encourage

(01:28:57):
people.
I had a I I'd gone back toschool when I things looked like
they were going south in in thehealth professions, I thought
I'd learn accounting.
So I went back and got a degreein accounting.
And I had a tax instructor whowas also a JD, and I took I took
individual and corporate taxfrom him, and he would run it

(01:29:19):
like uh Dave, you would know.
He ran it like paper chase.
He he had a he had a seatingchart and he would go down the
list.
And if you were a Dunson, youcouldn't answer the question, he
would just move on to the nextperson, and you'd look like a
fool.
And I don't know if you'd makea demarabile or whatever.

The two worst classes I took in law school
were corporate tax andindividual tax.

He always said that he called it the blue topic
approach.
He said, You have to learn thisand be able to explain it to
your relatives at a party whenthey ask you a tax question.
You need to be able to explainif you can't explain it to me,
then you don't understand it.
Well, his tax.
Teaching method was so good, Istopped by later on when he

(01:30:03):
became head of the department.
This was years later.
And it's funny how some ofthese teachers well, I was
older, so we used to once in awhile uh walk around
bullshitting or something.
And I told him, I said, youknow, your yours was the most I
learned the most from yourclass.
I thanked him because, youknow, instructors don't have to

(01:30:27):
be that way.
They can just be sliding onthrough.
But he really worked at it andI appreciated it.
And he said, you know, you weredifferent.
You always thought aboutthings.
And I I didn't really I didn'tthink about that too much till
later, and I went, wait aminute.
Isn't that what being atuniversity is about?
Learning how to think?
And why should that bedifferent?

(01:30:49):
Uh you could go throughaccounting by just cookbooking,
but why he would say you weredifferent, you thought about
stuff.
And so I wanna I want to kindof convey that to other people
and have people think, createsolutions, and have that be the
enjoyment.
Part of the creativity is tojust be able to think of

(01:31:11):
solutions to things and have itmove on through.
Have the magic just happen andstay in that inspiration space
all the time.
That's the energy that I wantto create with my channel.
I think if I'm working on aproject that lets me concoct
those sorts of solutions that Ican share, demonstrating well,

(01:31:32):
Mike, you fell into this onetime when you said about that
article about the McLaren.
It wasn't just about the model,it was how I solved the
problems, creating the parts forit.

Mike (01:31:42):
Yeah.

That's where the meat, that's where the meat of
the article was.
And a lot of people don't dothat.
They just look at the finishedmodel.
And and that's the reason thatI I usually pick a subject, you
know, or I I might picksomething up and just show you
how to solve a problem and neverhave any intention of finishing
the model.
And people will go, well, whenare you going to finish the
project?
I didn't do it.

(01:32:03):
I picked the thing out just todemonstrate this, to show you.
And uh luckily I had theresources I could do that and
just throw it away.
But there's only so much ofthat because you're always
thinking of the technique thatyou want to use rather than
letting the technique happen inthe space of inspiration and
then demonstrating that, andthen maybe in the process also

(01:32:26):
conveying some of that energy.
I don't know how it's going tohappen.
It's kind of nebulous the wayI'm expressing it.
I'm just hoping that with thetime, extra time, that I can do
that.
And, you know, the people thatare interested will subscribe,
and the and the and the peoplethat doesn't speak to, that's
okay.
So skin off my notes.
Everybody's got something thatturns their crank, and that's

(01:32:49):
that's the space I live in.

So Paul, I'm gonna ask you a silly question
to end up, but it's one thatinterests me.
In your hobby logic video, isthe intro and outro music the
Vince Giraldi trio?
Or who is the okay, who is it?
Because it's really great oldschool jazz type music.

It uh it's actually just piano.
And I I I don't want to getdinged for copyright or
whatever.
But I don't know if there's anyalbum that has it on there.
When uh a movie that I reallylike is the Fabulous Baker Boys.

I gotcha.

Uh the if that scene where they've had the New
Year's celebration, and he'ssitting there with the dog is at
the piano, and he's he's he'sdoing that Bill Evans imitation
with his head down, you know,he's into the sounds, and he's
playing that tune, and she walksin and she goes, Well, I had to

(01:33:55):
I had to cut out the part whereshe says that's nice or
whatever.
I forgot what she says, but Imanaged to kind of get most of
that out.
That was difficult.
So it made a longer segmentthat I could use for the intro.
But that's where that comesfrom.

Okay, because it man, it's really nice.

Yeah, thanks.
There's been a few people thathave recognized that.
I was surprised, you know, thatI didn't I didn't think it was
that popular of a movie, but oh,I think it was Dave Grusom that
plays the piano part for that.
I think there's parts of thatwhere Jeff Bridges is actually
playing the piano, but I don'tthink that's one.
I think I think the credit goesto Dave Grusom.

(01:34:35):
See, now I went and rambled onabout a bunch of stuff.

Well, the night nice thing is we get to do this
again.
See, if you leave stuff on thetable, it gives us an excuse to
come back and do a whole nothersession with you.

Yeah, I know, but it's like, how long can you
listen to a guy bang on aboutwhat what questions have I left
unanswered?
You can you can piece thistogether, Mike.
You're a great editor.

Mike (01:35:07):
Thank you.
It it's it's always fun, italways works out.
Congratulations on theretirement and the successful
career.
Um it's been interesting towatch you scale back and get
some new direction and just wishyou the best and uh be looking
forward to whatever videos comeout of this because uh Yes, I'm
I am.
I've been following you sincethe fine scale days, and it was
it was absolutely all about notthe model that was being

(01:35:30):
finished, but how you weregetting there and what you were
doing to solve your problems.
That was always things thatthat uh tickled my innards if
you take that expression andkept me kept me coming back for
more.
So I'm really glad uh to seeyou continue to do that sort of
thing.

Yeah, and I I'm hoping to provide that on the
like I say on the channel.
That that would that would be avery rewarding to me if I could
convey that.
And you know, and and I'll justsee how successful it will be
when I can put more time intothat.
And if it catches on, ifthere's enough people that that
feel like that's a value tothem, then as long as it kind of

(01:36:06):
pays the for itself.

Mike (01:36:09):
Yeah, understand.
All right, we'll let you go andget back to your uh California
life there, Dr.
Paul.
Yep.
Thanks for thanks for joiningus again.

Yeah, thank you so much.

Mike (01:36:20):
We appreciate you taking the time.
You're very welcome.
Well, I wish him the best inretirement.

Yeah, every time we talk with him, you know, the
listeners just listen to the tothe interview, but I mean, we
could go on for a couple ofhours, endlessly fascinating
discussions, and it flows fromtopic to topic, and I just love
it every time we have him on,and we shouldn't wait quite so

(01:36:52):
long until we get him on again.

Mike (01:36:54):
My interest in what he has had to say goes all the way
back to the 80s in fine skillmodeling.
It's just been a joy to get toknow him and uh have me part of
our show.

Yes, absolutely.

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Mike (01:37:53):
Well, folks, it's the Bench Top Halftime Reports.
Hopefully I mushed up a fewthings to talk about, but we're
gonna start we're gonna startwith you, Dave.

Well, as I mentioned at the top of the
show, I've been going through alittle bit of um a modeling funk
where I just I don't know.
In fact, I'd love to hear fromthe listeners.
Do you ever have a phase whereyou go to the bench two or three
times straight, and each timeit's like you've lost modeling

(01:38:22):
skill?
I mean, to the point where Icouldn't put two parts together
correctly, and it was superfrustrating.
And I don't know why ithappened, it just happened to me
all of a sudden.
I had a couple of modelingsessions over a week where I
could not get anything to workright, and it was very

(01:38:45):
frustrating.
And luckily, I've got some goodmodeling friends, Jim Bates,
Steve Eustad, who worked to talkme through the problem.
And what really seems to havefixed it for me was an attitude
adjustment in my own attitude.

(01:39:05):
Don't don't put pressure onyourself to model, and don't put
your pre don't put pressure onyourself when modeling, combined
with a trip to the Cincinnatishow where I got to hang out
with good modeling friends.
I got to see some incrediblemodels, got to talk with a lot

(01:39:28):
of listeners and a lot offriends, and I got fired up.
And with my attitude adjustedand some mojo juice in the tank,
I was able to come back andstart modeling again and not
feel like I was all thumbs.

(01:39:49):
And so I've been makingprogress on the F6F, which was
supposed to be done when my wifeand daughter were out of town.
There's a story behind all thatthat I will post at some point
on the dojo, but it's comingalong.
You did pretty good though.
I did, I did, and it's not, Imean, it's gonna get there and

(01:40:10):
get there soon.
It's gonna be a this yearcompletion.
In addition, I've started backwith work on the SAM, which is
95% done.
I'm in the oil weatheringstage, and even then, I'm on the
oil weathering stage on thebottom of the aircraft.
Then it's a matter of someother things, some chipping and

(01:40:33):
stuff like that, and then thatwill be done.

Mike (01:40:36):
You got to get it done because you've talked about that
like the last three Benz Tophalftime reports.

Yeah, I know, I know.

Mike (01:40:42):
I also on the pot calling the kettle black, though.

Yeah.
Uh uh a guy know printed upSoviet kilometer posts and
started doing them in 70 secondscale.
And he was kind enough to giveme one, and I painted it up so
that I can put it with my BT7kit when I finish it.
And man, I'm telling you what,I think I like it better in 70

(01:41:10):
second scale than 35th.
It's because you can use it.
It look well, that too, but itlooks really good.
It ru it really looks good.
So I'll post a picture on thedojo, and then that's that's
gonna be part of my impetus toget the the BT7 done.

Mike (01:41:29):
Well, you're you're getting out of your funk kind of
gets back to our interview.
Yes.
One of his main themes of whathe's doing is shedding
obligations because it it's ajoy killer.

Yes.
Yep.
So yeah, you don't want yourmodeling to turn into an
obligation, and that that reallycan be a joy.
I do think that he had twopoints that I really liked.
One, completion of the modelfor him, not necessary for him
to get the joy out of what hewas doing.

(01:42:05):
And I think that's a greatattitude.
And B, taking those models thatare sitting around that are
half-built, that you know thatyou're not going to get back to,
or you've done what you wantedto do with it and get rid of it,
I do think that lifts a burdenoff of Marbler, because the
shelf of doom can become aburden.

(01:42:27):
And I like both of thoseattitudes that that he
mentioned.
You've got a bench.

Mike (01:42:34):
I do.
Still back there.

And there are things on it, aren't there?
Yeah, they ain't gone anywhere.
Okay.
Hey, I'm not gonna give you toomuch crap.
Listen, I understand life.
We we all have hands, not onlydo we have jobs, we have
families, and sometimes thosefamilies have needs, and those
needs come first.

(01:42:57):
Keep it all in perspective,guys.
Out there, don't beat yourselfup because you're devoting time
to what you need to devote tobefore you engage in your hobby.

Mike (01:43:10):
Well, we'll start with the musaru.
Okay.
I'd been working through thechassis of that car kit, and I
didn't get much further becauseI was at a paint phase.
And I get over there, even hadpaint diluted, and I look over
at the tank pressure gauge on myCO2 cylinder.
Oh, and it's like 50 PSI.

(01:43:33):
Yeah, that's about when I justvent it off and go get a new one
because, right, that's when itcan just crap out right in the
middle of something.
So I failed to get that donethis week.
So I gotta remember to do that.
I need to disconnect it and gocarry it up to the garage so I
can take it over to the weldingplace and get it filled up.

And this is the one downside of a tank.
There are many upsides to atank: cost, convenience.
I mean, I I understand, youknow, no need for a water trap
and stuff like that.
But the one downside is I knowwhen I go over and switch my
compressor on, at least for thenext 20 years, it's gonna kick

(01:44:16):
on, fill the tank, and I'm gonnahave air.
And it always seems inevitablethat you're you're you're all
prep prepped up for a spraysession, and you look down and
the tank is is dry.

Mike (01:44:31):
Well, I'm kind of in a dilemma because the value
proposition is is not it's notas uh attractive as it used to
be.

Really?
The costs have gone up?

Mike (01:44:40):
Yeah, just because all the environmental stuff, it's uh a
20-pound CO2 refill right now atour place is it's north of
$100.
Wow.
So if I don't do somethingstupid and leave it the valve
open overnight, right, whichhappened about four months ago,
as long as it stays above 500psi, you can't really tell how

(01:45:02):
much was vented off, but it getsto a point where it's it comes
down really quick after that,the gauge on the tank pressure
gauge.
Somewhere between five and sixrefills on that sucker.
And you bought a silent Air 28.
You bought one of the finest uhsilent compressors you can get
for your little workshop space.
Yep.
And if I was kicking out, youknow, a half dozen models a year

(01:45:27):
and was refilling that thingmore than once every couple,
three years, yeah, I'd be ano-brainer just buy the
compressor.

But but right now I don't know.
Considering that you are goingto increase your model output by
a factor of three over thiscoming year, uh you may want to
consider that.

Mike (01:45:51):
I'm probably gonna I'm probably gonna refill it one
more time because I'm I'm nottoo keen on going and dropping
six bills on a silent air nextweek.
So maybe maybe Santa will bringyou something special for
Christmas.
Probably not, but maybe 2026 isthe year I actually switched my
air supply.

Hey, air supply.
There's a musical reference.

Mike (01:46:13):
Yes, not a very good one.

I know.

Mike (01:46:17):
The KV-85 is creeping along still.
I have made a little progresson it.
Last time I'd put all thosefuel cell cleats back on the
front edges of the fenders.
Right.
Well, now I'm actually workingon the bracketry because I
actually ordered from who makesthem PanzerArt resin cast fuel

(01:46:39):
cells with the and the handlesor photo edge that go on the
ends.
So they're they're they're notbad.
There's some funkiness on theend caps on the ends that are
gonna have to be cleaned up.

unknown (01:46:52):
Yeah.

Mike (01:46:53):
This was a little disappointing.
Kind of about 50-50 withPanzerArt.

You know, there are a number of manufacturers
like that who who seem to be hitor miss.
And this is true of majormanufacturers putting out
injection kits all the way downto the little small cottage
industries.
You know, there's somemanufacturers that you know you
can order from, and everything'sgonna be the same level of

(01:47:20):
quality.
And then there are thosemanufacturers where sometimes
it's really good and sometimesit's not bad, but not to the
same level.
And you kind of wonder aboutthat.

Mike (01:47:35):
Yeah, I think the the the first thing that was amiss was
uh it was easy to fix, but the Iused their mantlet resin
casting and the aluminum barrelfor the KV85.
Well, the the vertical edgessides of that mantlet are torch
cut.
Yeah, they got all the striatedlines on the sides.
Well, it's completely missingon one side.

(01:47:57):
It was beautifully textured andcast, but it was completely
missing on the other side.
They didn't put it in themaster.

Right.
You you wonder why, well, waita minute, you guys did it on one
side, so you know it's there.
Did did somebody just have abrain fart?

Mike (01:48:12):
Yeah.
Probably.

And that's probably the answer.
And then once they cast it,they're like, oh, and they
decide it's not worth going backand fixing.

Mike (01:48:23):
Now these these fuel cells, the issue with them is
the the end caps, the end plateson the ends, the round discs on
the ends.
It's like whatever they madethat with cracked.
So there's it's not a flatdisc, it's a disc with a split
in it.
It's got an offset, it's got astep in it now.

Oh.
And that's hard to that's in ahard spot to sand out, too.

Mike (01:48:44):
So it's hard to sand out because there's a little tiny
lip because it's recessed in theend of the fuel cell just a
little bit.
So, you know, it's those, it'sthose things that maybe maybe
these should have been easierthan building up the plastic
ones, or certainly easier thanforming up photo eshed ones.
And they're just, they're justthey have work to do still yet
on them.

Is this another job for the Mike Basket
prosciutto plastic?

Mike (01:49:12):
Probably it's probably too thin for this, but yeah, okay.
That's a thought.

Because I don't know if you saw it.
Our friend Paul Gloster gaveyou credit in the Doge.
I saw that.
Where he has used some of thaton his recent IBG Spitfire
build.

Mike (01:49:31):
I'm still trying to find a source for that stuff.

Yes, and I want you to find it because I want I
want some more.
I mean, not that I mind goingout and buying prosciutto all
the time, but still.
Yeah, I'll find it eventually.

Mike (01:49:44):
And I'll probably have to buy eight miles of it on a roll.

That that's okay.

Mike (01:49:48):
I think that's the way it is.
Well, other than that, I'vebeen doing a little research on
uh possibly starting thatvintage air fix 17-pound
anti-tank gun I bought at theNationals.
There's a photograph from aNijmegan bridge of one of those
guns firing across the river.

So oh, and it's a great photo.

Mike (01:50:07):
It is a great photo, and there's a bicycle and sidewalk
sign, road sign, and uh I got alittle help with that on the
dojo.
I think we got that sorted out.
So the folks who helped me outthere appreciate it very much.

I want to point out how times have changed.
When I knew younger MikeBasquette, younger Mike Basquet
was all about the latest andgreatest.
In fact, he got the nicknameMr.
Goons because of the fact thathe was pursuing those
cutting-edge Gunsanio kit armorkits.

(01:50:42):
And now here we are many yearslater, and you're turned on by
nostalgia builds of old kits andturning them into beautiful,
beautiful models.
But one to my credit so far.
Well, but you're you'll work.
I I have no doubt that you'lldo that, and it'll be gorgeous.

(01:51:04):
But it's funny how thingschange in in that regard.

Mike (01:51:10):
Well, that's that's what's up on my bench.
Hopefully we make a little moreprogress over the weekend.
I I got uh not a lot else aheadof me for the weekend, so I
think I can do it, man.
Well, that's good.
So watch the dojo, folks.
We'll we'll put something up.

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Squadron adding to the stashsince 1968.

This is a faves and yawns episode, and there's a
lot to choose from.
I'll tell you what I'm gonna,since I have a number of them,
I'm gonna start.

Mike (01:51:55):
Okay.

Tomia has finally announced that they are
downscaling their beautiful F-14kit, and that we are going to
get a 72nd scale Tomia F14D, andI can't wait to see it.
When Tomia came out with their48 scale kit, everybody wanted

(01:52:20):
them to scale it down, and foryears and years and years they
didn't, and I have no idea whynow is the time they've decided
to do it, but they have.

Mike (01:52:42):
Okay, did I not see in one of the photographs you sent
from Cincinnati a Fine Mold 70second scale F 14?

Yes, you did.
Now that was an A model.
Okay.
That just checking.
That that I paid that is agreat kit.
Don't get me wrong.
Those kits are are fairly newthemselves.
And yes, when we get to whatbroke your wallet in some future
episode, that will get amention.

Mike (01:53:08):
Just checking.
All right.
This one is of interest.
They're not all faves, they'renot yawns either, but some
modern armor folk folks willprobably like this one.
Umby Japan and 35th scale.
So it's one of the newerplastic kit companies.
Well, it's the SwedishStridzwagen 103, the S Tank.

The S Tank.

Mike (01:53:29):
So they're doing, I think, a C model.
I don't know the differences inthe models.

Right.

Mike (01:53:35):
But maybe they're doing more than one.
Interesting because theTrumpeter did one, but when I
look back when this kit came outto see what was out there, that
I think that's a really earlyTrumpeter 35th skill.

Yes, I my my recollection is that it is one
of the earlier, less successfultrumpeter productions.
And so I I would suspect, andwe would have to talk to the
fans of the of the Swedish STank to know, but I suspect that
this will be a welcome edition.

Mike (01:54:10):
What you got next?

Okay, I don't have a particular kit.
I want to point out aphenomenon on scalemates and a
related and some related stuffabout that.
On scalemates, a brand new,well, a new company to
scalemates dumped out an entirecatalog listing figures, kits,

(01:54:39):
accessories, architecturalpieces, all in 72nd scale,
although I suspect they also aredoing them in other scales
because it's 3D print.
The companies called EMP 3D.
There must have been a hundredplus listings on Scalemates all

(01:55:01):
over the course of a day or two.
And this is exactly what makesme anxious about new 3D print
companies.
They burst on the scene with ahuge catalog.
Nobody's ever seen the stuffbefore.
So this is why I'm begging ourdojo members when you buy

(01:55:29):
something from a 3D printcompany, please post photos of
it along with your commentary onthe dojo so that the rest of us
know, hey, this company'sgreat, you can buy with
confidence.
Or I bought from this companyand their stuff looks good in

(01:55:50):
the 3D scans, but it in what youget, it's not great or not
worth it.
And and this is really broughthome to me when a company
suddenly bursts on the scenewith 200 different items.

Mike (01:56:06):
Well, my next one, I think it's probably a 3D print.
Okay.
I didn't verify.
It's from a company called FourStar Miniatures.

Okay.

Mike (01:56:16):
And they are doing, I think, currently in 72nd scale
and 48th scale, I believe, theFat Man atomic bomb and the
carriage.
Yes, I saw that.
And the carriage.
So if you want to do a B-29diorama of the Enola Gay or
Boxcar, well, you gotta do EnolaGay.

Right.
Black Dog does that in resin aswell.
Okay.
In fact, they do both of them,little boy and fat man.

Mike (01:56:43):
So it's not it's not unique in the market.

No, no.
There they there have been 72ndscale atom bombs before.
But yes, I think that's 3D.

Mike (01:56:54):
With the carriage?

Yes, with the carriage.

Mike (01:56:58):
What's your next one?

Because what would you do if you didn't have
the carriage?
It would kind of roll around onthe table.

Mike (01:57:04):
What's your next one, Dave?

My next one is from our friends at AirFix.
A couple of years ago, AirFixreleased the mosquito, and I
think it was the B the Mark B20,which was a very in-demand
mosquito because of the factthat it had the later two-stage

(01:57:28):
Merlin engines.
And there's a whole family ofmosquitoes, the later
mosquitoes, and Lord knows therewere, I forget, like four 45 or
50 different marks of mosquito.
There are really a bunch ofthem, and they all have very
devoted fans.

(01:57:48):
Well, AirFix released this BMark 20 or Mark 20B or whatever
a couple of years ago, andthey've taken advantage of the
fact that they have those molds,and they've released a Airfix
Mosquito B35.
Now, I don't know exactly allthe differences between the B20

(01:58:12):
and the B35, but it's a niceexample of a company who has a
basic mold and it has thepossibilities to do additional
versions and them takingadvantage of that and doing it.
And this was not everannounced.

(01:58:33):
They just suddenly came out andsaid, Hey, we've got this out
of the blue.
And it was nice to see, and Ithink it probably gives fans of
the mosquito hope that they'regoing to get many more versions
of the mosquito in the future.

Mike (01:58:52):
Dave, my next one's from Blast Models out of France.
Okay.
They've just come out with uhan H39 interior and a separate
engine kit for the TamiyaHoskiss H39.

Oh, that would be cool.
You can do a lot with that.

Mike (01:59:07):
Yeah, that's pretty cool.
And because of the big rearturret hatch and the the front
hatch, and then you could reallyopen one up if you wanted to.

Yeah, yeah.
And and given that it's such asmall tank, I mean, you could
make it amazingly open.

Mike (01:59:24):
You know, I've got some of their other French armor
things.
They're usually pretty good.

Oh, yeah, there's some quality, they do quality
stuff.
You got another one?
Yes, I do, and this is not atall a new kit.
This came out quite a number ofyears ago, but I'm gonna
mention it anyway.
Great Wall Hobbies did a MiG 29series, and I recently picked

(01:59:51):
up their MiG 29 SMT, also knownas the model 9.19 or 9.17.
And I'd never seen one before.
I've got other Great Wall hobbykits.
They're very nice.
I'd never seen one of thesebefore, but I ordered it kind of

(02:00:11):
on a whim.
And I got it.
And I will tell you, no bull,this is the most beautiful kit
in the box, I think I've everseen.
Just absolutely beautiful.
Now I'm gonna have to build it.
Hopefully, things fit togetheras good as they look together,

(02:00:35):
but oh my lord, this thing isengineered to within an inch of
its life.
It's all done with very complexslide molds.
It's it's just superimpressive.
And I can tell you that one ofthe things it's gonna make me do
is go out and get their otherMiG-29 kits, which I need I need

(02:00:59):
like I need a hole in the head.

Mike (02:01:02):
That's it for me.
This one is a fave, and I'vegot I won't call it a yawn, but
it's a it's a caveat folks needto be aware of.
The one I like is from Lanmomodels.
So they're they came out with athe Soviet BA64 armored car.
Oh, I love that vehicle.
A while back.
And when when they firstannounced it, I was assuming
they were gonna pick up theplastic from the Vision Models

(02:01:24):
kit, but it's not.
So I'm curious.
Lanmo is coming out with theSDKFZ 222, the little
four-wheeled reconnaissance car.
They're doing one as the firstproduction series version, and
they're doing one that I don'tknow if it's unique to the
export, but it's a Chinese one.
Oh from the early part of well,it's really pre-war World War

(02:01:50):
II.
Yeah, but it's got some smalldifferences, but I, you know,
are they is this one gonna be uha new tooled 222 or are they
gonna pick up the old TriStarone and use it?
I don't know.
It's interesting.
Have to see when it comes out.

I love what they're doing with these small
armored cars because to me thoseare just really, really neat.

Mike (02:02:16):
Well, you know, they're they're taking the base plastic
and they're augmenting it with abunch of 3D printed engine and
interior stuff.
So it's pretty cool.
Yep.
Yep.
Now, my yawn, it's really not ayawn, but it's uh something
folks be aware of if they're notpaying attention.
It's a company called PigModels.
And they've done well onScalemates right now, there's

(02:02:37):
there's two releases.
There's a Soviet PT3 MineRoller.
You know, the ones that looklike a big cluster of I-beam
sections welded onto a wheel.
That one World War II one.

unknown (02:02:48):
Yeah.

Mike (02:02:49):
As a standalone thing, which is new for them, but also
not unique in the marketplace.
There's been others madevarious ways.
But they also kitted one T3476with this PT3 mine roller, also
listed as a new tool.
But that's not exactly true.

Okay.

Mike (02:03:08):
It's just like when they did the big disc mine roller
with the Sherman.
Yep.
The Sherman was the Asuka andhe was the company before them,
Tasca.
Tasca.
M4 Sherman.
Well, this is the an AcademyT34.

Gotcha.
So it's so basically what theymean by new is the mine roller
parts.

Mike (02:03:29):
But they but they sell that separately as new.

Right.

Mike (02:03:32):
So Scalemate has this combo kit listed as new tool as
well, which is it's a littlemisleading.
But now folks know.
It's on the fine print on thebox art, but it's not it's not
all new tool.
So folks folks be aware.

As the old ABC thing used to or NBC thing used
to say, the more you know.
That's right.

Mike (02:03:56):
Well, that's all I know for Faves and Yawns, Dave.

All right.
Plastic Model Mojo is broughtto you by Model Paint Solutions,
your source for hard-earnedsteam back airbrushes, David
Union power tools, andlaboratory grade mixing,
measuring, and storage tools foruse with all your model paints,
be they acrylic, enamels, orlacquerers.
Check them out atwww.modelpaint solutions.com.

Mike, uh, this is the point in the podcast where
we ask everybody who has islistening and hasn't rated the
podcast on whatever podcastlistening app that they're
listening on, please rate thepodcast, give it the highest
rating.
It helps drive uh listeners tous, it drives our visibility.

(02:04:49):
More importantly, if you have amodeling friend that isn't
listening to either modelingpodcasts at all or plastic model
mojo, please recommend it us tothem.
Um a recommendation from afriend is the best way for us to
grow the podcast.
And the podcast continues togrow.

(02:05:11):
I've got good news.
Mike and I watch those numbers,and we continue to grow, and we
are thrilled about that.
And it is up to you to help uscontinue to grow.

Mike (02:05:24):
And once you've rated the podcast, you can uh check out
the other podcasts out in themodel sphere by going to
www.modelpodcasts.com.
That's model podcastplural.
It's a consortium website setup by Stuart Clark of the Scale
Model Podcast, and he's up inCanada.
And there you can see all thebanner links to all the variety
of podcasts that are out therenow in the model sphere.

(02:05:45):
And Stu just posted a heads uprecently on Facebook and dealing
with his wife's health issues,and she's going to go back into
surgery, he said, and uh reversesome of the things they had to
do initially for her health.
So we wish Stu and his wife thebest, and hopefully he can get
back into modeling andpodcasting real soon.

Yeah.
And Stu has done a fantasticjob of stepping up and helping
his wife through this difficulttime.
And that's that's behavior youwant to see modeled from people
who are married.
You step up and you you helpyour spouse when they need that
help.

Mike (02:06:23):
And also check out all our blog and YouTube friends in the
model sphere.
We got Stephen Lee, Sprue Piewith Fretz, has got a great
blog.
Yeah, he's been doing some goodstuff lately.
Jeff Groves, the Inch High Guy,an Inch High Guy blog, 70
second scale stuff there, alwaysgood.

Got to spend a whole bunch of time with him at
Cincinnati, and man, it's it's ajoy.
And we've got a standinginvitation to go up to the Inch
High Manor.

Mike (02:06:50):
Chris Wallace, my airplaymaker, blog and YouTube
channel.
Keeps cranking out good stuff.
He does.
Evan McCallum, Panzermeister 36on YouTube.
Check him out when you get achance and send him some wedding
well wishes there as well ifyou if you're friends with him.

Yep.

Mike (02:07:08):
And finally, our guest tonight, Dr.
Paul Budzik, Scale ModelWorkshop.
And hopefully we're going tosee a lot more coming from Paul
after his retirement starts.

I was thrilled to hear as part of his revamp that
he set up a mini studio in apermanent spot where he can just
jump over and do a recording.
So that gives me hope thatwe're going to get to see more
videos out of him.
Finally, if you are not amember of the IPMS national

(02:07:37):
organization, IPMS USA, pleaseconsider joining.
This is my last tenure or mylast term of service as the
retention and recruitmentsecretary.
My goal is to get IPMS USA to6,000 members.
We're at about 5,200 now.

(02:07:58):
I would consider it a personalfavor if everyone listening to
me now, no matter where you arelocated, would join IPMS USA and
help me go out with a bang byhaving 6,000 members for us when

(02:08:19):
my term is up 18 months fromnow.
Also, if you're not a member ofthe Armor Modeling and
Preservation Society and you arean armor modeler or post-1900s
figure modeler, they are a greatorganization, great group of
guys who are dedicated to thecraft of armor modeling.

(02:08:41):
If you're not a member,consider joining AMPS.
I'll go first.
Hoffbrow House Hefeweizen,especially when purchased from

(02:09:06):
Hoffbrow House in the Growlerform, the beer is so fresh.
I can't emphasize to peopleenough what a difference the
freshness of beer makes.
That if you are getting it onsite, it makes all the
difference in the world as faras drinkability goes.
This stuff is fantastic.

(02:09:28):
I literally could drink itmorning, noon, and night every
day and never get tired of it.
No complaints whatsoever.
Well, mine's good too, Dave.

Mike (02:09:38):
The juicy IPA lives up to its name.
It's got a pretty good citruson it.

I love citrus IPAs.

Mike (02:09:47):
So Bill Moore, thanks for that.
It's it's pretty good.
6% out of Nashville, Tennessee.
I'd certainly drink more of it.
Maybe we can pick some up orMurphy's.

Maybe we can pick some up or down in Murphy's
Boro.
That's right.

Mike (02:09:59):
And it didn't kick off my allergies.
So uh whatever variety of hopsit is is doing that to me with
those beers.
It's it must not be in thatone, at least not in any
quantity.

We are now truly at the end of the show.
So do you have a shout out?

Mike (02:10:19):
Well, I want to shout out all the folks who have chosen to
support Plastic Model Mojo withtheir generosity.
Uh, we really appreciate that.
It helps us bring you theseepisodes and keeps us current
with our uh varioussubscriptions to keep this
going, and we appreciate it verymuch.
If you'd like to contribute toPlastic Model Mojo, we've set up
several avenues you can dothat.
You can do it through Patreon,PayPal, buy me a coffee.

(02:10:40):
Those are those are the mainavenues, and you can find those
at Plasticmodel Mojo.com or inthe links to the show notes.
You'll find links in bothplaces to get to those areas
that will specifically get tous.
So we appreciate it.
Thank you very much for all thesupport.

My shout out this episode.
I've got a shout out and a DaveRec Dave recommends.
My shout out is to the guys atCincy.
You all put on a heck of ashow.
Uh you have the plastic modelmojo seal of approval.
I highly recommend to anybodywho can get to the Cincinnati

(02:11:18):
show, go to it.
You know, it's not every daythat you park your car under the
wing of an HU16 albatross andunload directly into the hangar
from there.
It was way cool.
And I'm already looking forwardto next year.

Mike (02:11:34):
Well, hopefully I can make it next year.
Hopefully I can make it toMurfreesboro too.
I need to get your show again.

Yes, you do.

Mike (02:11:40):
Well, I think we're done.
Go ahead.

No, I've got my Dave's recommends.

Mike (02:11:44):
Oh, it's not the Cincy show.

No, the that's the my shout-out.
My Dave's recommends is I'vementioned on here before the
podcast We Have Ways of MakingYou Talk.
Al Murray and and JamesHolland, a couple of World War
II historians who do a podcast.
They recently did a six-partseries on the Battle of Britain

(02:12:08):
to coincide with the 85thanniversary of the Battle of
Britain.
And it was a reallywell-constructed,
well-thought-out overview of thebattle and the different
details and the things thatmattered.
And it was a pleasure to listento.

(02:12:29):
So if you're out there, onceyou're completely caught up on
plastic model mojo episodes andyou're looking for something
else to listen to, the We HaveWays episode, six parts on the
Battle of Britain is Daverecommended.

Mike (02:12:47):
All right.
Too bad your yard doesn't eatmuch mowing anymore.

Yeah, I know.
Well, I got to pick up someleaves.
I'm going to go out there thisweekend and go get start getting
the leaves up before they getbad.
All right, my friend.

Mike (02:13:00):
I think we're at the end.
I think we are.
As we always say.
So many kids.
So little time, Dave.
We'll catch you next time.

You take it easy, Mike.

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