Door Cards

Today I will be picking up where I left off regarding the doors. As I described in my last post, the front doors now open, close and lock like a real car. No slamming, not funny jiggling of the handle, etc. Just open, close and lock. Well, the passenger door lock is different from the driver, but I'll swap that out once I find all my parts. Anyway, since I had to remove the cards to fix the doors, I thought I would take the opportunity to improve them.

Door Cards As-Was

foamed card installed

With operational doors, I got to thinking about how to get the door cards to hold to their respective doors. The Arizona gentleman who ran the business creating and selling these ABS door cards was looking to sell off the business a couple of years ago, so I imagine that has happened by now. He had a mixture of molly-based fasteners delivered with the cards. Either the fastener was a screw that dug into the molly which was pushed through the card into the original mounting hole or it was a push-to-hold plastic bit. Regardless, the molly's did not hold in all of the original mounting holes on my bus (YMMV). This could have been poor implementation on my part, something particular about Hapy or just less-than-ideal engineering on the fasteners. It doesn't really matter; for Hapy, they did not work. When combined with the slamming doors, the door cards would rattle and Hapy had a very junky vibe. Now that the doors no longer need to slam shut, improving the cards adherence to the doors will help un-jalopy Hapy that little bit more.

Door Cards, Mounting Upgrade

broken M4 riv-nut bit

To remedy the floppy door cards, I tried a more permanent solution: Riv-nuts and bolts. The plan: into each original mounting hole in the door, I attach a riv-nut (it's a nut that is applied with a rivet gun, basically), and then send a bolt through a washer and then the card, into the riv-nut. Such a simple plan, and while a little time-consuming, it was easy to do. Of course, I found that not all of the original holes were the same size. To fix, I used some as large as an M6 or as small as an M4. I think this is why the supplied molly-based fasteners did not work as well: the M6-sized holes were simply too big for the molly and they fell out. As shown in the picture here, too much pressure with the riveting tool and you can break it. Once I had all of the riv-nuts set, I shifted to the cards themselves.

Noise Abatement Revisit

setting riv-nut

While I had the door cards out of the bus for repairs, I applied a thin noise-absorbing closed-cell foam to the 3 cards. This material was among the things I got a few years ago when I did the sound deadening effort, and it's application to the door cards was part of that plan. At the time, the research I did (See Hapy Noises - Part 2) indicated that multiple attack vectors would bring the best result: Constrained Layered Dampener, an open cell sound deadener like Jute Thermal and then Mass Loaded Vinyl. These all really address reducing the impact of external (and mechanical) noises transferring into the cabin. Any noises or sound that make it into the cabin which are not absorbed by the seats are prone to bouncing around. I placed some larger acoustic panels (these) under the upper bunk, in the slot where the original sunroof used to go. I believe they are helping absorb some ambient sound. I also covered the ceiling with Mega Zorbe to address the sound reflection and ambient sound absorption. In the picture on the right, here, you can see the MegaZorbe applied to the inside of the outer door skin. 

Based on the tests I did at the end of the effort, the only real gains as-measured were in the "around town" (under 40mph) zone. Decibels at idle or on the highway appeared about the same. In practice, however, using a less complex "measure" like how loud we have to run the stereo to hear it on the highway, it is definitely quieter. An even less precise indicator is how loud we need to speak to each other to have a conversation: barely louder than we talk at home, which is quiet (no yelling house) where we used to have to almost yell without the stereo on. So, I am setting aside the scientific evidence and embracing the anecdotal: this implementation of the sound abatement absolutely and significantly improved our road tripping experience. I may take more readings because the numbers I took before continue to bother me.

Door Cards, Reflective Sound Absorption Added

applying the foam

So, with all that context, I decided to press forward on my original plan to apply the thin foam sheets to the hard plastic cards. I started with the cards along the sleeping deck, running from the rear hatch forward along both sides under the windows to the rear of the rock-n-roll bed (1 foot tall by about 4 feet long). I started here for 2 reasons: it was very easy and the plastic cards were jarring-cold when bare skin pressed against them while sleeping. The foam definitely improved that.

For the slider and front doors, I simply traced the door shape on the peel-off paper side of the peel-n-stick foam and cut along the line with scissors. I aligned the cut along the card and peel-stuck them down, working from one corner, down along one side and then across. I will be applying carpet later, but felt that the foam might help reduce the reflected sound while also providing a cushion under the carpet.

With the foam applied to the cards, I considered the game of "which bolt fits" for each mounting point. I could have just started trying bolts, but that felt like an exercise in frustration. So, instead, I grabbed some painters tape and marked to the outside of each hole (where the card would not cover) which bolt size to use. I set the front door cards in place using the door pull to hold the card in the right spot. Then, I simply sent bolts through a black vinyl washer and then the card into the door. Once mounted, I removed the tape. Easy-peasy. If you do this, I suggest that you do the corners first, and only threaded enough to hold. Then, skip around the card, and have all of them like that before you start tightening. Then, again, start with the corners and pay close attention to the bottom edge near the vent. These ABS cards fit perfectly, but the one hole near the bottom align the trailing edge of the door did not line up for me and I had to skip it. YMMV, of course.

slider door foamed

The door card kit included panels for the wall under the driver-side jealous window and for the partitions behind the front seats. I have yet to do those cards, but I am holding off on doing those until I am ready to fast-follow with carpet. The foam is not as scratch-resilient as the hard plastic, and those cards take the brunt of the abuse when camping or music gear is loaded, unloaded and in-motion. So, I will apply the foam and the carpet at the same time. All of that will happen at some point in the future. As it is right now, there is that little bit less noise reflection happening and when bare skin touches the side of the sleeping area, it no longer triggers a shuddering wake up. We are taking the win.

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That's it for today. Thanks, as always, for following along-

The Doors

Yeah.. not the band, but I really like Ray Manzarak's keyboard. It has been a very busy year, and I have not been playing with cars much until very recently. Zed, the 1979 Datsun 280ZX remains covered and completely unchanged since we moved into the farmhouse. Oliver, the 1978 MGB, on the other hand, has received some of my focus. I'll start there, and then get after the original topic. 

MGB Carb Dis-Assembled

carb tear down

I arrived at the conclusion that a participating reason for Oliver running so badly (and getting worse) could be that the carb was a little gunky when I bought him, and he has gotten little use, making it worse. So, I removed the carb, took it apart and ran it thru a sonic dip / cleaner. I ordered a comprehensive rebuilding kit from Japan, and will re-assemble the carb with those bits and gaskets. I hope this will resolve his issues so we can drive him around this summer.

Door-Slamma-Slamma

Over the course of the last few years, all 3 of the regularly used doors (driver, passenger and slider) on Hapy, the 1972 VW Bus, have become harder to open and/or close. Each had their own unique issues. Starting with the slider, it suddenly refused to close outside a venue after unloading gear for a show. It would slide as far as about an inch from being actually closed and then bang on something. I couldn't tell if it was the front edge or the trailing edge, but did not have time to really resolve. I forced it closed by pushing with steady pressure against it straight towards the bus (not pushing towards the front). Fortunately, it opened and shut with similar assistance until I fixed it.

foaming doors

The driver-side door would not close consistently. I would have to bang-bang-bang it shut until it finally latched. The lock was another issue; once locked, it would not easily become unlocked, especially if anyone touched the door handle when the door was locked. This condition only worsened to the point where the lock started to fail entirely and banging the door was not holding the door shut well enough. I had the door fly open while taking a right turn and the swinging door almost hit another car.

Of the 3 doors, the passenger door was the easiest to solve, but it was the last. That door would not shut easily because the seal in the front lower corner was tweaked. This put pressure on the door handle, which also was hard to depress, so opening the door took a firm grip. The inner door cards were not holding in-place as well as they had when I installed them, so I decided to tackle the door operation and the cards as one effort.

Slider Door Adjustment

None of these issues were stuck-on-the-side-of-the-road level, but they were all annoying and reducing the joy. I started with the slider since I had to have that door open consistently for gigs. I first considered the leading edge latch mechanism. I shot Kroil into the latch, but discovered very quickly that the leading edge latch was not the issue. After shooting Kroil into and around the trailing latch, I concluded that this also was not the issue. Still, this lubrication was long overdue. I could tell that the upper hard-bar, that applies the trailing latch was misaligned (too loose). I tightened it and that seemed to resolve the closing issue, allowing the door to close consistently. Opening the door was still inconsistent. I started looking at the lower sheathed-wire that opens the trailing latch. That sheathed-wire is similar to a bike handbrake cable with an adjustment collar near the leading edge latch. This wire was dangly-loose so I tightened it until it was taught and adjusted from there until the door would easily open from working the handle.

Driver Door Fix

'74-'79 left front door latch

Repairing the driver door operation was next most important. Once the door lock was un-unlockable from the outside, the only way into the bus was through the rear hatch. So, if the bus was loaded with gear, it was an army crawl over stuff and under the headbanger to get to the front door or even the slider. Following the instructions in the Bentley manual to remove the door latch mechanism (remove outer handle, disconnect activation bar, remove inner handle, remove lower bolt in window guide, remove bolts holding latch, wiggle free), I spent a few minutes orienting to it and figuring out how it works. Since it was not working correctly, it was not easy to determine neither what was preventing it from working correctly nor how it was supposed to work. The image to the right, here, is for a later bay bus (the early bay latch does look a little different, especially in the area of greatest interest), but it should work well enough to illustrate. For orientation purposes, the side facing away in the image faces rearward when installed in the door so what we can see are the inner guts usually hidden inside the door. Consider the part furthest to the left; that is the lock/latch mechanism which connects to the activation bar. There are 2 circled springs: one larger spiral facing up (marked 1) and a smaller one partially hidden by a tab (marked 2). On the early Bay, spring #1 is not a spiral, it looks more like a "C", but on Hapy that spring was missing. Spring #2, however, was there, and it was kinda mangled.

I attempted to un-mangle spring #2, and instead it launched from the latch into my yard. Distressed, I cleaned the latch with brake cleaner while trying to arrive at a solution. Once clean, I shot the moving parts with Kroil and worked the latch. I started to come to the conclusion that without those 2 springs, the latch and lock actually worked much better. In fact, they worked great. Curious, I re-installed the latch by literally reversing the steps. I found positioning the latch inside the door and then getting the window guide in place were the challenges. I lowered the window and started testing the latch: open, close, open close, lock, try the latch, unlock, etc. It worked like any other car door latch. I can close the door with very little effort, and it stays latched. I can lock it, it stays locked and will unlock by pulling the lock tab inside the or from the key on the outside. Attempting to open the door when locked no longer fouls the lock. I mean, I can try the handle and then immediately unlock it. Even unlocking it no longer requires moving the key like I was locking it first (which I had to do even if no one tried the handle).

Passenger Door Fix

This was the easiest fix of the 3. The Passenger door resisted closing and the handle needed Herculean grip. I repeated what I did on the driver side first: remove the latch, clean and Kroil it. Then, I re-installed. This resolved the Herculean grip issue. The door resistance stemmed from the door seal not being correctly place in the forward lower corner of the door. It was hanging on the inside edge of the door. I still intend to paint Hapy this summer, so I applied a little carpenter glue on the seal rather than the super-strong black seal adhesive. I held it in place by hand until it seemed to hold and then shut the door to really hold it in place while the glue dried. This totally fixed the close resistance.

I started on the door cards, but didn't complete that. I will post about the door card improvement once they are back in Hapy.

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That's it for today. There have been many adventures and experiments over the last few months. I'll get to posting them as time makes itself available. Thanks, as always, for following along-

4Peaks 2024 - Music Report

I mentioned in the 4Peaks 2024 Road and Festival Report that I would post about the bands. This year we were able to see or at least very clearly hear every band. So, this is fairly exhaustive. I will follow a similar pattern to what I did in 2021 (See 4Peaks 2021 Music Report).

Stages

TEB closing Friday

4Peaks has always had at least 2 stages. Some years, there was a third stage in Kidlandia for quieter acoustic singer-songwriter sets. This stage was not there in 2021 (no Kidlandia either) nor this year. Perhaps, that stage was an experiment that will return. The main stage appeared to be the same stage that has been used in prior years. It featured large Ryan Kerrigan side tapestries and a large sheer fabric across the back of the stage with a big floating 4Peaks logo in the center. Across the top, of course, was "4Peaks Music Festival", there were many speakers suspended on either side and across the front, lights, fog machine, etc.

The smaller (Lava Rock) stage was not an enclosed tent as had been prior years, nor was it the small platform used in 2021. Instead, the house space looked like an inverted taco and felt like a large concert shell, creating a shaded, but open space. Boo and I really liked the open air. The lack of sides allowed breezes to pass through and allowed the music to flow out more clearly out into the larger event space. We hope they repeat this set up in future years. The stage itself was nearly as wide as the usable part of the main stage, but lower to the ground (but not by much) so the artists who appeared on this stage felt closer, more intimate. Unlike prior years, the shorter Thursday evening of bands played on the main stage. This was by design from the outset, but it was not clear why. Sunday was as-usual with the 2 bands playing this (Lava Rock  / smaller) stage. The morning yoga classes were also held at the Lava Rock stage.

Music

In the past, I would describe the band's sound and then explain whether I would go see them again. This usually takes the form of "I would stay at my bar if they showed up" or something like that. Copying what I did in 2021, I will shorten those statements into a number 1-5:

1 - if (artist) arrived to perform at a place I was all set up for the night, I would leave

2 - if (artist) showed up to play, I would pay my bill and prepare to leave but look for improvement

3 - if (artist) showed up, that's fine, but I'm not looking for them

4 - I will pay attention to when they are playing in town and go if I can

5 - I will look for this artist, add them to my instagram and jambase feeds, etc

Magnolia Boulevard

Overall, the bands were good. It seems like we are finally out of the "Age of the Banjo" and entering the "Age of the Keyboard". Years ago, when Mumford and Sons were all over the radio, it seemed like every new band with more than 2 people in it had a banjo and too many of their songs featured banjo solos. I called it "Death by Banjo". More like a slow death, as it was making me leery of festivals. As years passed, banjo solos diminished and in their place bands had bridged that gap with guitar solos. Now, it feels like we are seeing more keyboards, and with them the considerable variety of sounds produced. From organ to electric piano to some crazy (or dirty) Moog synth, I absolutely welcome the re-emergence of the keyboard. Few sounds with snap your spine quite like some funky keyboard.

Thursday

Billy and the Box-Kid: (2) bluesy, but pitchy kinda rock-ish 5-piece with 2 electric guitars, 1 acoustic guitar, a bass and a cajon (plus noisemakers like cymbals, etc). Fun local Bend band.

The Pickpockets: (3) 5-piece bluegrass with really nice intertwining instrumentals. Good vocals.

TEB: (4) These guys are kinda new-age jazz meets jam / prog-rock band. Very skilled, super clean tone. 6-piece including a guest additional lead guitarist with absolutely slammin keys. With 3 lead instruments, they tossed the solos back and forth, from keys to guest (on a LesPaul) to lead singer (on a Strat/Telecaster). The grooves were super fun and these guys were very dance-able bringing different rhythms from song to song. Overall they are a really good band, but the bass player, a fellow lefty, was visually (and sometimes musically) distracting.

Friday

Wolfchild: (2) I was really not excited about Wolfchild and would only check him out at a coffee shop or similar where I can tuck in for a full show of slow story-based singer-songwriter material. He was way too low key for a festival, especially one geared towards grooving jams and/or power vocals. Wolfchild would probably fit better into a folk festival.

GreenNeck DareDevils: (2) Good instrumentalists; tight band with strong solos and decent backup vocals. So why a 2? The vocalist tries too hard, over-singing the melodies. Between every song he hit us with "Let's go" crap like, seriously, the whole time, every time. Not to over-grind it, but he had a professional announcer voice (like a DJ or voice-overs for advertisements) that made all of it feel less sincere. If not for the band around him, it would be a 1. Yeah, I know that's harsh. My blog, my thoughts.

Miko Marks: (5) Holy crap. I mean, like, wow. Miko's vocals are amazing, pulling tones like early Tina Turner, Mavis Staples or Aretha with a full-on hard-bangin band. Soul, Gospel, R&B, this 4-piece started playing to a crowd of maybe 50 of us and by the time they were done there were well over 200 people, pulled from their respective camps. Guitarist also played harmonica that killed. Keyboards were clean electric piano toned (coulda been louder in the mix, mr soundman) and the bass player was arguably the best fit-for-style of the whole festival. He created a pocket and we all danced in it. Definitely the most solid dancing bass of the festival. Miko Marks are legit, we will definitely see them again.

Ural Thomas and the Pain: (3) Chicago blues / MoTown. Baritone sax, multiple percussionists, keys. Very professional outfit, but lacked the special something that inspires. The musicians around Ural had periods when they looked bored so the energy from the stage was not very powerful. Perhaps, they suffered from following Miko Marks' so their perceived disinterest was really just because Miko Marks had just thrown down so hard.

ALO: (3) Jerry Garcia electric guitar tone, noodle band. ALO has appeared at this festival a few times, and we left the concert area during Ural Thomas, so we heard ALO from the campground. Their rating might have suffered from Ural Thomas, so let's call it 3.5.

Daniel Donato's Cosmic Country: (5) These guys could play a straight Nashville country set, a bluegrass set or go full jam-band. They do all 3 styles incredibly well. Take those three things and throw them in a blender and that's how their set went: show us some country... show us some bluegrass... maybe a little jam.. and then start moving from one to the other. Shazam. Mind blown. For such a big stage and overflowing crowd, it felt very intimate with Daniel somehow bridging to the crowd such that we felt like he was playing to and for us, and not just putting on a show. Such a great vibe, and a fun band. They are an incredibly skilled 4-piece (guitar/singer, keys, drums, upright/electric bass), with perhaps the most complex electric bass work of the festival.

Broken Compass Bluegrass: we mostly missed them (they started at 10PM), but knew they would be on the big stage on Saturday. Great female vocal and they sounded like a lot of strings, but there were only 4 members and one of them was a bass, so that left a mandolin, violin/fiddle and a guitar. They made those sound like way more than 3 people. I mean that in a good way.

Saturday

Hasbens: (2) These guys had amateurish lyrics / vocals / stage banter like they were not really playing to a festival. More like they were playing around with some of their friends in their backyard. Cool they can get so comfortable, but their good jams were diminished by that professionalism gap. We were not at the stage, so maybe there was like a group of, like, 10 people so it felt to them like it was a backyard bbq. The mains were so strong, though, that the bands could be heard clearly over 500 feet away, sending it 100 meters into the camping zone, reaching lots of folks.

Bon Bon Vivant: (3) New Orleans horns, speakeasy-jazz with female vocals. They were really good at what they do, but it's not really my thing. Rating suffers accordingly.

Broken Compass Bluegrass: (3) Solid bluegrass 4-piece. Great lead and backup vocals. Just as good as the night before, but the day mix by the sound guy was even fuller/better. They played a knockout "Jack Straw" with multi-part harmonies.

Magnolia Boulevard: (4) Kentucky-based rockers with a strong female lead vocal. It seemed like the band was more supporting her, unlike Miko Marks' band which vibed more like a democratic band. Good jams on the keys, but lead guitar wasn't very inspired. Very generic solos from him, but he didn't take as many as the keyboardist. Maybe he was tired or something. The overall EQ of the band was too boomy, lacking punching clarity and the keys were buried in the mix which is too bad since they were the lead-instrument highlight.

Southern Avenue: (3) Very Portland Blues Festival. Strong female vocal with piano and a super clean guitar. They threw down a very clean, produced blues show with little raw or unexpected. As a jam-band fan, that is not a good thing; I would rather hear some edges, some risks even a mistake if it is in the interest of raising it up. On the other hand, this band would be a hit at the blues festival.

Diggin Dirt: (5) They had a Sly and the Family Stone or James Brown vibe meets mid-70's power. With a super strong male lead vocal and bangin horns backed by an early disco / 70's funk rhythm section these guys threw down HARD. They are out of northern California and we will definitely see them again. They threw down a Mississippi Queen that just crushed. Highlight of the day.

Neal Francis: (4) These guys are total pro's with great keys and a bumpin' rhythm. At the time, I described them to Boo as "walk like an ape music", like you just can't not dance. Your brain may say "but I'm in a crowd at a subway stop during morning rush hour" but your hips, listening through your headphones don't care. Must... Dance. Really great jams.

Pixie and the Partygrass Boys: (3) Bluegrass, of course. I suppose any band with the word "grass" in it must by definition be a bluegrass band? This group had played 2 days earlier at the Sawtooth Valley Gathering in Stanley Idaho, making the long trek to 4Peaks in between. That didn't appear to take any energy off their performance, though. Good fiddle work and mandolin, but, I think, simply comparing them to Broken Compass, bluegrass-to-bluegrass, I liked Broken Compass more.

Sunday

Hasbens plays Phish: (4) This was very unexpected. After an unimpressive opening on Saturday, they came out on Sunday and jammed Phish so hard. I don't know Phish tunes as well as some other artists, but they sounded amazing and the crowd ate it up. The few songs I recognized were done incredibly well. Sunday shows are generally not very well attended as folks pack up and leave in large numbers and very early. Still, they filled the shaded area of the bowl, and crushed. They have inspired both me and Boo to listen to more Phish. In fact, we created a new Pandora channel to facilitate.

Garcia Birthday Band: (2) They are a Grateful Dead cover band from Portland I've seen a few times. They are pretty much the same as they have been for years. Maybe I have unreasonable expectations of improvement, but this show wasn't the best I've seen from them. Regardless, they played an odd set, placing songs together in a kinda patch-quilt way that didn't fit together. But, it included a St Stephen and an Eleven (though the solo/jam part was in 4/4 not 11/8). The leads were okay, but just okay. Their vocals are pitchy with a not-so-great tone. In the end, there's a reason I (confessed DeadHead) don't go out to see these guys when they are basically the hometown Dead cover band and it's not just because my ex-wife goes to all their shows: they just really aren't that good.

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Well, that's the band run-down. Boo and I left during the Garcia Birthday Band's execution of the Eleven, knowing we had a 4+ hours long drive home. We had not yet tried to start Hapy, so we also knew there was a possibility that the starter would need and R&R before we could leave the camp zone. As I mentioned in the prior 4Peaks 2024 post, Hapy was a great runner this trip, and started right up. As to the bands, we look forward to seeing Miko Marks, Diggin Dirt, Magnolia Boulevard, Neal Francis and Cosmic Country again. That's 5 new gotta-see-them-agains from one 4Peaks. That might be a 4Peaks best. Thanks again Stacey and your team.

That's it for today. Thanks, as always, for following along-