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(gentle music)

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- Welcome to the 
"Volunteer Woodworker."

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I'm your host Charles Brock.

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Come with me as we 
drive the back roads,

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bringing you the story of 
America's finest woodworkers.

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(upbeat music)

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(upbeat music continues)

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We're going to Nashville, 
Tennessee to meet Dan Voight.

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Dan became interested in the 
mandolin at an early age.

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He not only wanted to play it.

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He wanted to build one

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that would perform 
to his high standard.

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Eventually, performance 
and The Art of Lutherie

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led him to the music city

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where his work is 
in constant demand.

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Hear his story.

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Let's meet Dan Voight.

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- [Narrator] "Volunteer 
Woodworker" is 
funded in part by...

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Since 1970, Whiteside Machine 
Company has been producing

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industrial grade router bits 
in Claremont, North Carolina.

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Whiteside makes carbide bits 
for edge forming, grooving,

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and CNC application.

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Learn more at 
whitesiderouterbits.com.

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Real Milk Paint Company makes 
VOC free non-toxic milk paint

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available in 56 colors.

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Milk paint creates 
a matte wood finish

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that can be distressed 
for an antique look.

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Good Wood Nashville 
designs custom furniture

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and is a supplier of 
vintage hardwoods.

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Keri Price with Keller Williams 
Realty has been assisting

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Middle Tennessee home buyers 
and sellers since 2013.

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Mayfield Hardwood Lumber,

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supplying Appalachian 
hardwoods worldwide.

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Anna's Creative Lens.

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- Wow!

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What a collection of mandolins.

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Did you make all these?

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- I did.

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- Wow, so they are like 
your grandchildren.

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They're your grand 
mandolins, and a guitar.

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- And a guitar, that's right.

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- Gosh, thank you guys.

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Have y'all heard 
the wood shop rag?

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It's the theme for the 
"Volunteer Woodworker."

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Could you play it for us?

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- We could probably 
get through that.

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- All right.

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A one and a two and a...

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(upbeat acoustic music)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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(upbeat acoustic 
music continues)

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We're gonna find out all 
about Dan, his story,

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and he'll even show you a 
little bit of what he does

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when he makes one of 
these great instruments.

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I'd like to thank all you 
guys for showing up today.

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Just such a beautiful 
job, the wood shop rag.

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Thank you very much.

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Well, Dan, you do 
some beautiful work.

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I just love your mandolins.

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They're past fancy,

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and you're a very 
well known lutherie.

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You do repairs and 
all kinds of stuff.

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You haven't always 
done this though.

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Tell us about young Dan Voight.

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- Well, before I got into 
playing mandolin and building

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and doing that sort of thing,

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I played guitar for a number 
of years as a young man.

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And it wasn't until I 
was around 16 years old

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where I saw someone 
building a kit,

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a mandolin kit where you order 
the parts and assemble them.

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And since I'd always kind of 
been the person to do things

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or wanna do things 
myself, you know,

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I like to get into things 
and see how it works myself,

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I thought, well, 
I could do that.

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Around that time,

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I was also interested 
in playing the mandolin,

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but looking into them and 
seeing how expensive they were,

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because on average they 
run a little bit more

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than a guitar would.

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So I had decent guitars, but 
the mandolin I was playing

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didn't sound quite like 
how I wanted it to.

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So I thought, well, maybe 
I can build a nice one

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for myself to play.

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And that had always 
been the drive

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to build a mandolin was 
not so much for a business

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or that kind of thing, but 
just to play a mandolin

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or to build a mandolin 
that I wanted to play.

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So that was the initial 
inspiration to start.

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- Have you accomplished it?

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- I have, I have built, I 
think my favorite mandolin

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that I've played is 
probably one that I've made.

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- That's a wonderful 
endorsement.

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- Yeah.

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It's easy to make 
music on an instrument

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that's not fighting 
you, you know,

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it kind of gets out of the way.

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You forget you're 
playing an instrument,

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you're just making music.

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- It becomes the perfect tool.

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- It does, yeah.

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- Yeah, that's great.

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Were you interested in art 
when you were a youngster?

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- I was, I think as a child,

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I always enjoyed 
drawing and painting

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and making things,

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but I would spend a lot of 
time really committed to that.

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I mean, I would spend, 
I remember maybe 
later middle school,

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early high school years,

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I would sit and draw 
10, 12 hours a day.

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And I think that time 
for one time by myself

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and being able to be by myself

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and focus on doing 
something really helped me

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see the fruits in doing things 
like making instruments.

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And it also trained my eye 
on things like symmetry

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and curve and form and shape

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and all these things that 
all have to come together

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when you're building 
an instrument,

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especially something 
with all the curves on it

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like these F-style 
mandolins have.

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- Well, music is kind of 
like art or a mandolin.

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Music is a bunch of 
things coming together.

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- Yeah.

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- And you were 
attracted to music also?

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- Yes, definitely.

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Like I said, I started 
playing guitar when I was 12.

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My parents both encouraged 
me to play to get into music,

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and I had guitars 
around the house,

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but I never got into 
it until this young man

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from school that I went to,

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he came over to 
my house one time

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and he played some actual music 
on this guitar that I had.

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And I was just like, wow.

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And that really inspired 
me to spend time

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and to really dig in and play.

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And around this time,

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it might've been year 2000, 
something around there

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where the internet was 
really starting to take off.

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And so there was so 
many resources online

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to learn how to play.

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And so that was another 
thing I took up for myself

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is to teach myself kind 
of how to play the guitar.

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- And you became noticed 
in your community

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or while you were maybe 
in school as a builder,

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as a player, tell us about that.

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- Well, after high school,

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I felt the need to study 
further, to go to college.

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And it just so happened 
that the local university

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had a guitar teacher who 
also taught mandolin.

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So I was able to do 
a mandolin degree

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at the University 
of Michigan Flint,

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much like you would 
do a guitar degree

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or any other instrument.

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And they adapted the 
program for mandolin.

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But while I was there, yeah, 
the local news did a story

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on my building 
and that was nice.

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- That's great.

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How did you end up in 
Nashville, Tennessee?

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- Well, I had gone to, I don't 
think they run this anymore.

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I don't think it exists anymore,

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but the mandolin symposium, 
which Mike Marshall,

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the mandolin player, 
he headed that up.

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And it was a week 
long of mandolin class

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and basically a full 
mandolin immersion

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out in Santa Cruz, California, 
University of San Jose.

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And I went there 
on a scholarship.

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I was able to get scholarship 
from my university,

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and I just enjoyed that so much.

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And I met some people there 
who lived here and they said,

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why don't you come down here?

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I mean, you're building 
mandolins, you're 
playing mandolins.

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Nashville was, you know, 
it made sense to come here

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and continue the craft 
and to meet people

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and to be able to be immersed 
in the music here as well.

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- Well, as a woodworker,

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there's a lot of 
woodworking in a mandolin.

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Tell us about some of 
the parts of a mandolin

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and how wood and wire 
kind of come together.

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- Sure, so a mandolin is made 
much like an archtop guitar

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where you have a body 
and then you have a neck,

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which the notes 
are selected here

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and strings running across.

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So the strings are 
connected to a tailpiece,

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like on an archtop guitar,

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and they run over the 
bridge and down the neck

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and to the tuning machines here

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where you can adjust the 
tension like a guitar.

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The main difference 
is obviously the size.

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The mandolins tune 
like a violin.

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And so the pitch is the same.

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So a lot of violin 
music you would play

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translates well on mandolin.

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And you have a top here

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which receives a 
vibration of the strings.

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- [Charles] So this 
is not glued down?

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- It's not.

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So that will come off, and 
sometimes it happens on accident

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and that's something I have 
to fix for people sometimes.

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But the sound is transferred 
through the top here

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and it vibrates

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and then comes back out 
through the sound holes.

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And the back also vibrates 
sympathetically with the top,

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so that has a lot to 
do with the sound.

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There are a few braces on 
the inside of the instrument

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that help support the sound

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and help create the 
tone as you hear it.

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- I heard tone woods.

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- Yes.

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00:13:29,900 --> 00:13:33,400
- And so what are the tone 
woods that are used here?

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- In this particular instrument,

217
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you have an 
Adirondack spruce top,

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which are really nice

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because you can carve 
them quite thin,

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but they still retain 
their strength,

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so they end up 
vibrating quite nicely.

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And they work well 
for instruments, 
especially the mandolin.

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- And the tops and sides

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or the bottoms and sides 
are different, right?

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- Right.

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00:14:02,566 --> 00:14:06,600
So this is some very nicely 
figured maple back inside.

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And largely, maple is used 
because it's structural

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just to hold the shape and 
the form of the instrument.

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The neck also is made of maple.

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- But there's so much art here.

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All of this little, 
is this binding?

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- It's binding, yes.

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- And this all applied 
and cut by hand.

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- It is. 
- Glued on.

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- It is. 
- Yeah.

236
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- So this binding 
is nitrocellulose,

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same stuff as ping pong balls.

238
00:14:43,333 --> 00:14:44,166
- Really?

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00:14:44,166 --> 00:14:45,066
Wow, didn't know that.

240
00:14:46,533 --> 00:14:50,800
- But basically we mandolin 
makers will cut a channel

241
00:14:50,800 --> 00:14:52,833
or a ledge into the 
side of the instrument,

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00:14:52,833 --> 00:14:55,566
and then this binding is bent

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00:14:55,566 --> 00:14:58,866
and glued into that channel.

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- Well, you've got a shop here.

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- I do.

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- Can you take us down 
and show us how you do it?

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- Let's go.

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- All right.

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00:15:07,433 --> 00:15:10,833
(upbeat acoustic music)

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00:15:16,833 --> 00:15:20,966
(upbeat acoustic 
music continues)

251
00:15:25,800 --> 00:15:29,933
(upbeat acoustic 
music continues)

252
00:15:34,600 --> 00:15:38,733
(upbeat acoustic 
music continues)

253
00:15:45,266 --> 00:15:46,566
These are tone woods.

254
00:15:46,566 --> 00:15:48,233
Is this where it all starts?

255
00:15:48,233 --> 00:15:51,100
- It is, so what we have here

256
00:15:52,533 --> 00:15:57,466
is one very highly figured 
maple back for a mandolin.

257
00:15:58,733 --> 00:16:02,200
Two piece came out of 
the tree like this,

258
00:16:02,200 --> 00:16:05,500
and we're gonna glue 
it together like this

259
00:16:05,500 --> 00:16:08,466
and we'll carve it

260
00:16:08,466 --> 00:16:11,566
and this will will be the 
backside of a mandolin.

261
00:16:11,566 --> 00:16:13,700
- Now, that is 
beautifully figured.

262
00:16:15,300 --> 00:16:17,100
It just shimmers.

263
00:16:17,100 --> 00:16:18,933
- [Dan] You would 
be hard pressed

264
00:16:18,933 --> 00:16:22,633
to find a figured maple 
more figured than this.

265
00:16:22,633 --> 00:16:25,333
This is really outstanding.

266
00:16:25,333 --> 00:16:27,066
- So, that's the back.

267
00:16:27,066 --> 00:16:30,300
And then there there's 
material for the sides.

268
00:16:30,300 --> 00:16:31,100
- That's right.

269
00:16:32,333 --> 00:16:37,300
So here we have some 
mandolin side stock

270
00:16:38,233 --> 00:16:40,233
that I've sanded to thickness.

271
00:16:40,233 --> 00:16:45,233
And we will steam bend 
this to get the shape

272
00:16:46,400 --> 00:16:48,033
for the perimeter 
of the instrument.

273
00:16:48,033 --> 00:16:49,866
- And it's figured also to match

274
00:16:49,866 --> 00:16:50,666
- [Dan] It is.

275
00:16:50,666 --> 00:16:52,166
- And that's very nice.

276
00:16:52,166 --> 00:16:55,533
Yeah, very thin, 
but you'll steam it.

277
00:16:55,533 --> 00:16:57,066
- [Dan] That's right.

278
00:16:57,066 --> 00:17:00,133
- [Charles] So you can make 
those beautiful graceful curves

279
00:17:00,133 --> 00:17:02,066
that the mandolin is known for.

280
00:17:02,066 --> 00:17:03,333
- That's right.

281
00:17:03,333 --> 00:17:07,733
- And then for the 
top, what have we got?

282
00:17:07,733 --> 00:17:12,000
- So for the top, 
we have a two piece,

283
00:17:12,000 --> 00:17:14,733
much like the back, but 
it's a different wood.

284
00:17:14,733 --> 00:17:19,000
Instead of maple, we'll 
use Adirondack spruce.

285
00:17:19,000 --> 00:17:22,833
And structurally, it's 
sufficient for the top,

286
00:17:22,833 --> 00:17:27,733
but much lighter in 
weight and tone wood also,

287
00:17:27,733 --> 00:17:29,666
because it rings.

288
00:17:29,666 --> 00:17:31,233
- Let's see.

289
00:17:31,233 --> 00:17:32,733
(wood thuds)

290
00:17:32,733 --> 00:17:34,033
You have to hang it like this.

291
00:17:34,033 --> 00:17:34,833
- That's right.

292
00:17:36,633 --> 00:17:38,566
There's a node here

293
00:17:38,566 --> 00:17:42,533
somewhere around three, four 
inches from that corner.

294
00:17:42,533 --> 00:17:44,100
(wood dinging)

295
00:17:44,100 --> 00:17:45,366
You can get it to sing.

296
00:17:45,366 --> 00:17:47,233
(wood tapping)

297
00:17:47,233 --> 00:17:49,933
- Oh, yours sings 
better than mine.

298
00:17:49,933 --> 00:17:51,166
That's great.

299
00:17:51,166 --> 00:17:53,366
Well, there's also 
a neck and so forth.

300
00:17:53,366 --> 00:17:55,733
Can you show us those pieces?

301
00:17:55,733 --> 00:17:59,466
- So here we have a mandolin 
neck in its early stages.

302
00:18:00,800 --> 00:18:04,766
You can see here how it 
was one piece, this width,

303
00:18:04,766 --> 00:18:08,100
but we've glued on some 
ears to make it big enough

304
00:18:08,100 --> 00:18:11,100
for the headstock 
pattern to fit.

305
00:18:11,100 --> 00:18:13,866
Also, we've routed a channel

306
00:18:13,866 --> 00:18:16,200
and put a truss rod in here,

307
00:18:16,200 --> 00:18:18,166
and the truss rod 
helps to counteract

308
00:18:18,166 --> 00:18:21,633
the tension of the strings 
to keep the neck straight.

309
00:18:21,633 --> 00:18:23,033
- And that's important I guess,

310
00:18:23,033 --> 00:18:25,366
so it keeps it from 
having a bow, or...

311
00:18:25,366 --> 00:18:26,200
- That's right.

312
00:18:26,200 --> 00:18:27,666
- Yeah, wonderful.

313
00:18:29,066 --> 00:18:31,866
So there's a bit of 
engineering that goes on here.

314
00:18:31,866 --> 00:18:35,200
- There is, just equalizing 
the tension of the strings,

315
00:18:35,200 --> 00:18:37,766
keeping the neck straight 
allows the instrument

316
00:18:37,766 --> 00:18:39,233
to play as easy as possible.

317
00:18:39,233 --> 00:18:43,833
- Well, I've seen different 
styles of mandolins.

318
00:18:43,833 --> 00:18:47,533
In the United States, 
there's an an A-model.

319
00:18:47,533 --> 00:18:48,800
- That's right.

320
00:18:48,800 --> 00:18:52,633
- And this is an F-5, is 
that what it's known as?

321
00:18:52,633 --> 00:18:54,066
- Yes, the F-model,

322
00:18:54,066 --> 00:18:58,966
which it's known for its 
extra curves and appointments.

323
00:19:00,233 --> 00:19:02,366
- Yeah, who designed 
this type of mandolin?

324
00:19:02,366 --> 00:19:06,033
- Yes, so actually in 
the early 20th century,

325
00:19:06,033 --> 00:19:10,800
Gibson came out with the 
first F-model mandolins

326
00:19:10,800 --> 00:19:13,800
or the mandolins with 
a scroll on them.

327
00:19:13,800 --> 00:19:18,766
And Lloyd Loar has popularized 
these F-style mandolins,

328
00:19:20,033 --> 00:19:21,800
and they have become 
sort of the foundation

329
00:19:21,800 --> 00:19:26,366
on which your modern F 
mandolin is built on today,

330
00:19:26,366 --> 00:19:27,966
that fundamental design.

331
00:19:27,966 --> 00:19:30,333
- And so usually like 
with bluegrass music

332
00:19:30,333 --> 00:19:35,300
or old time music, it 
might be an F-model,

333
00:19:36,533 --> 00:19:39,300
but it could also be 
an old A-model too.

334
00:19:39,300 --> 00:19:40,700
- Sure, yeah.

335
00:19:40,700 --> 00:19:43,433
And A-model, they're built 
much in the same way,

336
00:19:43,433 --> 00:19:48,400
carved top, carved back, and 
they sound also quite the same.

337
00:19:52,366 --> 00:19:55,300
I would say F-model gets 
a little more attention

338
00:19:55,300 --> 00:19:58,633
because of the flare 
it has in the design.

339
00:19:58,633 --> 00:19:59,833
But mandolin has been around

340
00:19:59,833 --> 00:20:01,866
a long time before 
that, actually.

341
00:20:01,866 --> 00:20:05,266
Mandolins used to have a 
flat top with a bowl back,

342
00:20:05,266 --> 00:20:08,000
which is a totally 
different construction.

343
00:20:08,000 --> 00:20:12,966
And they all originate from 
the lute family instruments.

344
00:20:14,366 --> 00:20:16,866
So there's all kinds of 
shapes and sizes of mandolin.

345
00:20:16,866 --> 00:20:19,600
- How do you put all 
the parts together?

346
00:20:19,600 --> 00:20:21,933
- So I had stock before here.

347
00:20:21,933 --> 00:20:24,600
And we said we were gonna 
bend this into this shape,

348
00:20:24,600 --> 00:20:26,166
so that's what we have here.

349
00:20:27,133 --> 00:20:30,500
And all the side 
pieces are glued

350
00:20:30,500 --> 00:20:35,500
onto these mahogany blocks 
here and they retain,

351
00:20:36,766 --> 00:20:38,233
or they hold the shape 
of the instrument

352
00:20:38,233 --> 00:20:41,266
and give some structural points.

353
00:20:41,266 --> 00:20:43,500
Also, we have some lining

354
00:20:43,500 --> 00:20:47,100
or curved lining 
with small cuts here

355
00:20:47,100 --> 00:20:51,500
to allow you to bend and 
glue this piece there.

356
00:20:51,500 --> 00:20:54,733
And that gives you a 
ledge to glue your top

357
00:20:54,733 --> 00:20:56,733
and your back onto 
the instrument.

358
00:20:56,733 --> 00:20:59,100
So that's essentially 
the gluing surface there.

359
00:21:00,000 --> 00:21:01,233
- Wow.

360
00:21:01,233 --> 00:21:06,100
Now, to to curve the 
top and the back,

361
00:21:07,700 --> 00:21:11,533
it takes some special 
tools and a special eye.

362
00:21:11,533 --> 00:21:16,000
I think the specifications 
are very specific.

363
00:21:16,000 --> 00:21:19,933
- Yes, it's very important 
actually how thin the top is,

364
00:21:19,933 --> 00:21:22,600
how high or how 
low the arching is

365
00:21:22,600 --> 00:21:26,833
all plays a role 
into how it moves,

366
00:21:26,833 --> 00:21:30,000
the flexibility of it and 
how it ultimately sounds.

367
00:21:30,000 --> 00:21:31,133
- Will you show 
us how you do it?

368
00:21:31,133 --> 00:21:32,033
- Sure, let's see.

369
00:21:33,400 --> 00:21:37,033
- So I see that this 
is an F-style top

370
00:21:37,033 --> 00:21:39,900
and it's arched.

371
00:21:39,900 --> 00:21:44,900
In fact, it kind of 
recurves out this way

372
00:21:45,700 --> 00:21:47,233
all the way around.

373
00:21:47,233 --> 00:21:51,733
It takes some special skills 
to be able to shape this.

374
00:21:53,000 --> 00:21:55,033
Tell us about the 
tools and the skills.

375
00:21:55,033 --> 00:21:57,733
- Sure, so we have 
to remove everything

376
00:21:57,733 --> 00:21:59,633
that's not a mandolin.

377
00:21:59,633 --> 00:22:02,633
This has a couple 
elements to it.

378
00:22:02,633 --> 00:22:04,300
It's got a peak arch here.

379
00:22:04,300 --> 00:22:06,400
And like you were saying, 
it's got a recurve

380
00:22:06,400 --> 00:22:09,833
or a low point kind 
of around this area.

381
00:22:09,833 --> 00:22:11,433
And then it's got a scroll.

382
00:22:11,433 --> 00:22:14,533
So basically we just have to 
make all this come together

383
00:22:14,533 --> 00:22:15,900
and blend it all in

384
00:22:15,900 --> 00:22:19,466
and finalize our exterior 
shape of the top.

385
00:22:19,466 --> 00:22:24,233
To do that, what I do is I'm 
gonna turn off all the lights

386
00:22:24,233 --> 00:22:25,900
and we'll just 
use this lamp here

387
00:22:25,900 --> 00:22:28,600
to cast shadows on the top.

388
00:22:28,600 --> 00:22:31,833
And you'll see how that 
will help cast shadows

389
00:22:31,833 --> 00:22:35,300
to exaggerate the 
imperfections in the surface

390
00:22:35,300 --> 00:22:37,066
and make it easier to shape.

391
00:22:37,066 --> 00:22:39,200
- All right, can't 
wait to do it.

392
00:22:39,200 --> 00:22:43,400
- [Dan] So a few tools 
I'd like to use here

393
00:22:43,400 --> 00:22:48,400
are a gouge or a chisel that 
has a little curve on it.

394
00:22:49,633 --> 00:22:52,700
And I like this because 
I can come in here

395
00:22:54,800 --> 00:22:59,033
and I can remove just 
small amounts of wood

396
00:22:59,033 --> 00:23:03,933
and sneak up to my line 
on the scroll like this.

397
00:23:03,933 --> 00:23:06,633
- [Charles] And grain wise, 
you're moving downhill.

398
00:23:06,633 --> 00:23:07,966
- [Dan] Always going downhill.

399
00:23:07,966 --> 00:23:09,166
That's right.

400
00:23:09,166 --> 00:23:10,833
So another tool we'll use

401
00:23:10,833 --> 00:23:15,033
is some sandpaper on 
a hard foam block.

402
00:23:15,033 --> 00:23:18,000
I'll actually bend 
this here with my hand

403
00:23:18,000 --> 00:23:19,600
to conform to this shape,

404
00:23:19,600 --> 00:23:21,866
and that way we can 
smooth everything out.

405
00:23:21,866 --> 00:23:24,666
(sandpaper scraping)

406
00:23:24,666 --> 00:23:27,233
But the more you do it, 
the more familiar you are

407
00:23:27,233 --> 00:23:30,400
with the shape of the 
instrument, the faster it goes.

408
00:23:31,833 --> 00:23:33,233
- [Charles] And the light 
really makes a difference

409
00:23:33,233 --> 00:23:35,633
cecause you could see all 
the little undulations

410
00:23:35,633 --> 00:23:38,366
and everything, the 
flats and the curves

411
00:23:38,366 --> 00:23:39,633
and how they come together.

412
00:23:39,633 --> 00:23:41,433
- It does, we can do 
a quick experiment.

413
00:23:41,433 --> 00:23:43,700
Let's say this light 
was directly overhead.

414
00:23:44,666 --> 00:23:46,866
Now everything looks flat.

415
00:23:46,866 --> 00:23:47,766
It looks done.

416
00:23:47,766 --> 00:23:48,700
- [Charles] Yeah.

417
00:23:48,700 --> 00:23:50,166
- [Dan] But when it's here,

418
00:23:50,166 --> 00:23:52,800
you can tell that we have 
a lot more shaping to do.

419
00:23:52,800 --> 00:23:53,600
- Right.

420
00:23:55,700 --> 00:23:58,966
(upbeat acoustic music)

421
00:24:04,733 --> 00:24:08,866
(upbeat acoustic 
music continues)

422
00:24:13,666 --> 00:24:17,800
(upbeat acoustic 
music continues)

423
00:24:22,633 --> 00:24:26,766
(upbeat acoustic 
music continues)

424
00:24:31,733 --> 00:24:35,866
(upbeat acoustic 
music continues)

425
00:24:38,166 --> 00:24:40,266
Dan, it was such a special day.

426
00:24:41,400 --> 00:24:44,166
You are such an artist 
in so many ways.

427
00:24:44,166 --> 00:24:48,500
And wood building such 
beautiful instruments

428
00:24:48,500 --> 00:24:52,933
and playing the Tennessee 
Waltz like no other.

429
00:24:52,933 --> 00:24:54,233
Can I come back?

430
00:24:54,233 --> 00:24:55,433
- Of course you can.

431
00:24:55,433 --> 00:24:56,933
- Thank you.

432
00:24:56,933 --> 00:24:58,533
I'm gonna be heading 
down the road

433
00:24:58,533 --> 00:25:01,933
to find a story of 
another great woodworker.

434
00:25:01,933 --> 00:25:05,100
See you next time on the 
"Volunteer Woodworker."

435
00:25:06,066 --> 00:25:09,366
(upbeat acoustic music)

436
00:25:14,866 --> 00:25:19,066
(upbeat acoustic 
music continues)

437
00:25:24,633 --> 00:25:28,133
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438
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460
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461
00:26:42,933 --> 00:26:45,333
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