Can I cold shrink/hammer high spots in after I have started with filler?

A

aviator8

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Rather than have to build around a higher than expected spot can I hammer down the spot while I am in filler and continue to sand down to have less fill, or am I asking for trouble doing this? Second pic shows a trunk area that was pretty beat up. I have got it sanded down to ready to do primer again. as you can see I have several higher spots. If I can knock them down before priming again and keep sanding till I have taken more filler down I can have a bit less work to do to finesse things after the epoxy primer recoat. Ok to do?

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What you need is a small shot bag to hold underneath the highs and the lightly tap them down with an appropriate body hammer. That's the most effective way. Alternatively you can tap them down without one but it's easier to have the bag backing things up. The little bag will actually allow you to shrink a little bit. Tapping with a hammer alone just moves the metal.

This little bag is a good one.
www.toolshackweb.com

Alc Keysco 55115 Shot Dolly - Shop Alc Keysco Online

SHOT DOLLY
www.toolshackweb.com
 
I have diving weight bags that will work like this, but dollies too. would your recommend I use a shrinking hammer, over the bag or a flat or crowned hammer? Its a vw beetle so all the panels have a crown with few exceptions
 
aviator8 said:
I have diving weight bags that will work like this, but dollies too. would your recommend I use a shrinking hammer, over the bag or a flat or crowned hammer? Its a vw beetle so all the panels have a crown with few exceptions
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Use a regular faced body hammer. Shrinking hammers don't work.
 
Stud gun with a very slight tap on the trigger is good for this, but most of the time there isn't enough bare metal for the ground ring, so this is the one purpose I would use a pick hammer. I have blunted the sharp point some what, and hold it by the hammer head, so I can control the location of each hit and tap the hammer very lightly with a rubber mallet while moving it around the little high spot. It doesn't take much and it will surprise you how quickly it moves metal--exactly where you want it, and without disturbing the surround metal.
 
I have a microphone bag from my sound guy years filled with sand as a shot bag. I put that behind the panel and tap high spot with pick hammer.

When you’re a professional front yard hack like me you get high spots like this all the time.
 
Lizer said:
I have a microphone bag from my sound guy years filled with sand as a shot bag. I put that behind the panel and tap high spot with pick hammer.

When you’re a professional front yard hack like me you get high spots like this all the time.
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Another sound guy. Awesome! Nothing like the challenge of running live sound, well. The team appreciated that I rotated between playing and running sound, I knew what they needed.
 
Yeah,They can Make or Kill your show. We hired a local company for a large venue gig,Saturday night after a Razorback in town football game win,place packed,you know, halfway through the 2nd set,
The complete PA quit.........
The crowd wasn't up for an 'instrumental set' either. They got the system back up in time for the 3rd set but it was something I'd rather like to forget.
Then there was the 'glass room' gig. Whole back of the resort on the river was all glass,which we were facing.....
I just raise he'll at my house now,entertainment waiting for paint to dry.

I know some don't care for the shrinking disk 'thing,but they are really good for problems of this sort. Mainly what I use them for. Any 'tool' takes a learning curve for It's purpose in Your life.
 

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Rbm said:
Had no idea so many sound people here..35 years in the business myself
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I'm behind the Bass now days vs. behind the board, but I maintain the sound system and train the people who run it.
Awesome to have a "regular gig" every Sunday.
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OP, sorry about hijacking your thread :rolleyes:
 
I was live sound manager and professional front of house engineer for a regional soundco for 8 years. Mixed everything from coliseums to small outdoor weddings, national acts to a terrible guy solo on his acoustic.

At the same time was a house guy for two clubs in Ames on the side on Tuesday and Thursday nights, and then also used the small gear to dj weddings on the side as well. On Wednesday nights I mixed the college kids worship event at a Megachurch in Ames.

Longest show I ever worked was for a large country act. We left the warehouse with truck at 6 am Saturday and got back to warehouse with truck 5 am on Sunday, worked 23 hr straight through.

That’s why I don’t miss the sound business anymore.

This was my Yamaha PM3000 console, one of my favorite analog consoles. The entire console with case and power supplies weighed about 700 pounds. I had an EZ tilt stand so one guy can set it up himself.

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Lizer said:
I was live sound manager and professional front of house engineer for a regional soundco for 8 years. Mixed everything from coliseums to small outdoor weddings, national acts to a terrible guy solo on his acoustic.

At the same time was a house guy for two clubs in Ames on the side on Tuesday and Thursday nights, and then also used the small gear to dj weddings on the side as well. On Wednesday nights I mixed the college kids worship event at a Megachurch in Ames.

Longest show I ever worked was for a large country act. We left the warehouse with truck at 6 am Saturday and got back to warehouse with truck 5 am on Sunday, worked 23 hr straight through.

That’s why I don’t miss the sound business anymore.

This was my Yamaha PM3000 console, one of my favorite analog consoles. The entire console with case and power supplies weighed about 700 pounds. I had an EZ tilt stand so one guy can set it up himself.

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Spent several nights behind that one..mostly only used 20-25 channels..used half for opening acts..good boards and always met the rider..
 
Rbm said:
Spent several nights behind that one..mostly only used 20-25 channels..used half for opening acts..good boards and always met the rider..
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Yep exactly. Had enough channels that I could usually have a dozen or so for the opener and the rest for the headliner, which meant I only had to do one soundcheck pre-show and not during changeover. Has plenty of busses and aux sends though we ran a separate monitor board so was usually never an issue.

As you said very rider friendly board. Kind of the SM58 of soundboards.
 
I learned sound on a big analog board like that and then made the change to digital. Ugh. I'm a big fan of "one knob, one function."
Digital features are great but I want analog channels.
 
Had a friend drag me out of retirement to mix this 5 band 4 hour show...several hours on this simple soundcraft to learn the basics before doors...I don't miss it
 

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