This exact area I was told was part of the Canyon Unit of Butte Creek Ecological Unit, so it was public land. Granted, that was quite a few years ago now. If it is private, post a No Trespassing sign if that is what you want. The rest of California has no problem doing that! If people want to verify your information, call (916) 358-2900, the North Central Region Rancho Cordova office for more information. I have not been in the USA for a number of years now, but my last understanding was "hands and pans" were ok. When I left the US, highbanking was ok, provided you had water restriction, and were not letting your flow directly back into the stream. If you did use a sluice box (I bet that is not allowed in Butte now) it could only be placed directly on bedrock, because of salmon egg deposition in active gravels. But again, if you wish to go here, call the number above for accurate and up to date information. Yes, for sure, I see on a BLM site, as of July 2024, Forks would be ok for panning. Thanks for your comment, Malcolm!

Oh, this video is 20 years old. I posted it maybe 10 years ago now. At the time those permits were not needed. At this point, I would not even walk in the state of CA, as much as I love it. Thanks for letting my audience know! Yea, they left more gold than they took. But, the easy stuff is gone . . . I hope you gave that warden a nugget for his lead! Thanks.

It has to do with the imperfect weight distribution of the palate (upper part of the press). With my press, I found that it performs perfectly if the print is not centered in the very middle of the press, but placed about 4" down--still centered laterally. (Works well for up to 11x14 prints. I don't know beyond that). Since then I have never once had a problem. And, I am super, super picky. There is a turn where you can also adjust the pressure the upper palate puts on the lower, but that does not seem to make any difference. The heating element seems to be consistent all the way around (every once in awhile I spot check the heat with a laser temperature reader), so that makes life a lot easier. For years I used a high end photographic press (Classic Seal), but the heating element finally gave out, and I could not find a replacement. Meanwhile, the price of photographic presses has gone through the roof (+$1K). While the brand new press I have now ran $200.00 (with shipping). My results are: now that I place the print down somewhat, the handling and net result between this press and a photographic are no different. Also, make sure you are using a high quality mounting adhesive. For years I used ColorMount. But it is no longer made. Now I use DryTac Trimount as it is archival by definition of it's chemical makeup and base paper (museums will not define it as "archival" because once it is set, it can not be separated from the print), and it seals at a VERY LOW temperature. I have used it for a number of years, and never once had any problem with it. It certainly handles as well as ColorMount). One other important point: DON"T use release paper!!!! Use Bristol Board, which is 100% cotton fiber, and acid free. But you won't get any wrinkles with Bristol Board--no matter how many times you use the same board. The more you reuse release paper, the more wrinkles you will get on the prints. Ask more questions if you need. Good luck!

There is one other thing that might help you--without making or buying more stuff. That is, immediately position your front standard in the middle of it's rise. Not keep it at the bottom with no rise at all. When you keep your front standard towards the middle with some rise, you are liberating the most flexible portion of your bellows, and you will find that you have a little more ability to tilt, or get slightly closer between the front and back standards. To get optimum closeness between the two standards, look at your bellows from the side. You want to avoid as much sag as you can, and get your bellows straight in line with itself, so there is as much free belows on top as there is free bellows below. This will require front rise. Try that out, if you have not done this before . . . Anyway, thanks for the comment!

Always, as I maintain my own claims, also. In this case, the video is about 3 years old, and things could have changed. The ledger maps are kept in the city hall of Fallon. But, in order to keep your claim valid from year to year, it also needs to be marked properly in the field. That is, with 4 corner boundaries, and a monument more towards the middle--many times by a prominent land feature. And, there is nothing like that anywhere in this area. Keep in mind, even if you are paying your yearly fees, if the claim is not properly marked, then it is not considered valid.

TerryG, isn't it great to know it is all still there . . .

So, the answer is, this will work great for mounting. BUT, read my comments on exactly how to use them. (The print is not centered--in the middle--of the machine. You place the print about 25% below being centered in the vertical axis, and dead centered in the horizontal. And your print will come out 100% flat on the first try).

Great. Now get out there and find some gold! It really is out there if you know what you are doing. And, it would be nice if you picked up a few pieces of trash, too (hopefully not yours! haha).

A very long ways away! This is due south (by about 20) miles of Quincy, CA on the Middle Fork of the Feather River. Up in this area the bedrock is much more rocky (has not seen all of the low elevation river wash) and tends to have more gold associated. Around Magalia: I would try to get yourself into Little Butte Creek. Years ago off of Skyway there were a few roads that turned into trails that would lead you down to the creek. But right off the side of the creek--almost creek level, there were many, many very old placer tunnels. If you found one that started on bedrock, I would widen the portal, and hopefully you would uncover a virgin bench. Warning: don't set your sluice on gravels. All of the creeks in this area (Big Chico, Butte Creek, etc) have multiple salmon runs, and they lay their eggs directly in these gravels. You should be placing your sluice only on bedrock. Also, I would highly imagine there are many claims--if they are allowed. It would be in your favor if they were not. You would need to check with BLM (use to be in Paradise, but is probably Chico now). Good luck!

The Sonoran desert of Mexico! Haha. But I lived in Magalia years ago--before the fire.

Hello. I am not quite sure of your desires. If you are after the original sheet music, you can download that free from this site: imslp.org/wiki/File:PMLP539469-Mahler-KnabenWunderhorn1892.pdf#file These are the Mahler songs as they originally came in 3 books. If you are looking for my work, I am working through the copyright issues with my publisher Universal Edition. But this is not sheet music, these are actual scores and performance parts. And I cannot submit as you seem to wish, in a completely formatted form, because for the moment this work is under consideration by Universal. But, what I can do, if it is actually a PDF copy of a score you wish, send you one song pre-engraved. The quality is exceptional, but not to the standards of Universal in terms of their formatting requirements. Is there a particular score you would desire? And, I would need your email address to send. There is no charge. Eventually the work should be published by Universal in package form for orchestral performance, and also in score study form--with the total score alone and no instrumental parts. (Which I assume is probably what you are after). But that should all be forthcoming, and is a slow process. On software, I use the academic standard for most publishers: Finale. But, Finale is horrible for generating parts, and so the music is converted to PDF form and the score and parts are more easily generated through Sibelius. The editing just takes much less time and there are no hidden parts as Finale uses. That seems to be the standard these days. The recordings are made through Ron at Ravel Virtual Studios, and yes, once you get past the editing stage (and you need to guide him through that), then the quality is exceptional. Thanks for your interest and kind words! Get back to me if you are so interested . . . Bruce

American and English made is always a dull grey (this is dry). I have never seen it white, or brown-red, and I have been using it now for about 45 years. But I only buy American (don't know that it is even made in the USA anymore) or English made. If it is oxidizing to a brown-red, that would tell me that the material is not reagent out of the box quality, so the material will not be as reactive as it should be. The place to buy if from in the states is ArtCraft Chemicals.

It's getting there . . . And, good luck with your own writing as well. Thanks much!

Have you tired cleaning your bowl with dishwashing soap? If there is an oil film on the gold--it will float away. When your machine comes from the manufacturer, oiled metal parts are used to make it, and so residual oil is usually found in the bowl. Clean your bucket below also, as any oil on it will transfer into your bowl. Also, put just a few drops of dishwashing soap in your water when you begin--every time. It acts as a surfactant, making sure that the water touches all surfaces of the gold. I never had your problem with the blue bowl, and used it on flat glacial gold. So, it can work. Remember, when you pan your gold you do not use the river pan technique. THere is a special technique you need to use, or gold will float out of your pan. Let me know if you continue to have issues . . .

@@callmeBe Thanks for answer! :) Yes, I washed it very well according to the instructions, there should be no oil inside. The gold is mine from the adventure scluice, then I put it in the blue bowl and try to clean, but at any speed, it all washes out. I even added the Dream Mate inside hoping it would help, but the effect is almost the same as without it. And there is a lot of gold in my spot, I once extracted 5 grams of gold from 2 kilograms of sand just by hand, but it is very long and tedious. I am trying to find a technology to clean my sand with fine gold, but so far I can't think of anything...

@@teolegrande304 It is going to be very difficult. Don't do mercury! I would still put a surfactant in your bowl, to insure total surface contact with water. Because the gold is so very fine, then the only other thing it could be, because the bowl is an absolute study in physics, and it can not fail if everything is right, is your mesh is not fine enough. You need the very smallest mesh you can find. If you are losing gold, the iron weighs more, or at least as much, and so you need to decrease the difference in weight. Therefor, no matter how fine your mesh is, you need something smaller and finer. I would not search gold mining stores. I would search industrial supply stores. Try Amazon with HYHMJ-Industrial Metal Mesh 6 Mesh - 20 Mesh - 80 Mesh. I will bet your mesh is not 80 mesh fine . . .

@@callmeBe I have different classifiers and 80 mash too. I'm always sorting all the material. I get two kinds of sand with gold in it. The first is a little bigger, with 0.5-2 mm gold, and the second material contains all the gold less than 0.5 mm. The blue bowl flushes both. I think my material has a lot of sand in it and that's why the blue bowl doesn't work as it should. But I have a very hard time flushing sand by hand, a lot gets lost :) I will experiment, because it's a shame, so much gold nearby, but I can't get it :) Thanks for the tips!

@@teolegrande304 I understand, but that is what I was saying before. You don't pan your kind of gold like river gold. You need a specific pan, a surfactant, and a different technique--where you swirl very little if any, and the process is technique sensitive. Let me get you a link. Yea, the less material you have to seperate, the better recovery you will have. You want to follow Keith from KZbin's "Hard Rock University." He is a great guy, has a tremendous amount of experience, and is an excellent teacher (also was a friend--old geezers stick together--but I have not talked with him in years). Don't expect classy videos. I see where here is using 300-500 mesh. 80 is way too big. (I don't have that much experience with microgold). watch this: kzbin.info/www/bejne/f4Gohn2HnpxggsU If you write him, he always answers quickly with reasonable content. But I think your problems is basic: probably mesh related, and you need to always use a surfactant. (which he covers in this film).

Nifty??!! That's fricken' expensive! Haha. Not so much these days, but when the picture was taken (20 years ago), that monitor was really expensive. Yea, I need to put the entire work to video with a score. In the next few months it will go to my new engraver, and then to Universal Editions. Thanks for your kind comments, John!

Well thank-you John, you are too kind! Actually, my great grandparents lived in a sod house in the Minnesota prairie farming corn (I have a picture of my great grandma wearing a burlap bag as a kid--with holes cut out the side for legs and arms), so your analogy tugs my heart. Again, thanks!

@@callmeBe Isn't that amazing. Well, it really delivers the feeling.

Not in my pans, Cody. But when that happens there is oil in the pan and you just need to clean stuff out with a surfactant (dishwashing soap works fine). This is especially true with gold that is particularly flat and heavily worn.

No, Tom. Every person there speaks both English and Spanish. Todos hente habla ambos Ingles y Expanol. No problems for you. Just go. No problamos por usted. Simple ir.

To my knowledge, there is no placer gold in this area. So interesting observation, but probably not much more. The placer deposits for this general area, as I know of them, are past Como (almost nothing left now) on the eastern side of Dayton going straight up the mountain. THere was quite a bit of placer mining in that general area in the 1860's. As you cross the Carson River to access, there used to be quite a bit of nice sized gold in the Carson--right in the bedrock, but they don't want you panning in the park. And, the outlying areas are all private. I'm about ready to do a video on this very subject, but just because you find black sands does not mean there is gold in the area. Thanks for your observation!

Hey John. I'm pretty old, and don't have a huge amount of energy left, so if I have a template to begin with, I can follow it through if the fit is right. At the same time I am really giving a new face to a lot of these works (this tune by Alma for example), which I think offers a lot more to their value. (Not so much a few of the Gustav Mahler songs--they were pretty darn good to begin with). But, for instance, this work is a completely new version, with a lot of added character/attitude the original never had. And, I really enjoy doing that type of work. At the same time, John, I have written quite a bit of my own stuff. Quite a bit. But none of it fits into this Romantic style. I do have 7 of my own songs being virtually recorded right now "Songs about Death"--hey I am that age), were all of the music is completely original. Will be here in a month or two (at least parts). And you John? I don't know you. Will you introduce me to your music?? Thanks, Bruce

@@callmeBe Well, online I never know anybody's age off the bat, and I'm often wrong. Your pieces are certainly compelling...and they aren't lacking in energy of gusto...I imagine most of your work is in score form...though music software has been around for decades. I did send a link to one of my pieces some days ago--in our discussion of your excellent Oration. I'm not sure how I would describe my style. I self-describe as neotonal. Often a finely held balance between consonance and dissonance...not averse to using a pantonal approach when it suits, but not interested in serialism...and follow a highly organic process that favors developmental progress...often using motifs, which have a habit of morphing into melodic forms and back again...harmonic richness over sparseness....contrapuntal textures feature prominently...but as the listener you will decide for yourself.

@@callmeBe kzbin.info/www/bejne/iWHGlXeth8mfm9E

@@johnpcomposer Sorry, I don't see any message. But I did listen to a number of your works, and again sorry, they are just beyond my knowledge and what I generally listen to. Out of all that I listened, I thought your "Andantino for String Quartet" was by far the most convincing. But for my limitations, maybe because the style is a bit more familiar to my ears? But nice, facile writing for the strings with some good motivic ideas. But what you do with this is just beyond my experience, so I can't comment. Your brass music I would really like to hear performed by the real instruments; the sound card you call simply can't begin to mirror real brass sounds. The other thing is, real brass can have a tremendous resonance (decay), and as you are writing you need to take that into account. A lot of times tempi is forced to become slower, and more spacing between the instruments needs to be allowed because the decay overlaps and affects other things as they begin to go on.. A performance would settle that concern immediately. (Yes, I am a frustrated trumpet player). And, it is not just a matter of reverberation; there is a thickness to brass instruments you don't have with the other instrument families, so spacing between the notes (especially in the bones and tubas and lower F horns) that looks good on a piano, or that would sound fine in the strings, becomes too thick and rich in the brass. I hope you have a chance to hear some of these works played by real groups? How is that all going for you??

@@callmeBe Thank you for those insightful comments. Very good tips on the brass performance. Yes, I do plan on getting some better brass sounds for playback, that would help. And there actually is a brass quintet I've had in mind to contact about that. Would like to hear more about your work on trumpet. Do you write for brass too? I am on the go now, but will talk again.

It was a very fun and flexible work to handle, and lent itself to a lot of expansion. Some works will do that, others not. I was lucky this song did. Thanks, Shadmium!

God, I hope so. Not really his style, but possibly he would have grown into it, had he lived longer. Of course, he substantially revised everyone else's music: even Beethoven's (I suppose so it would better fit the ecoustics and personnel of his orchestra/concert hall). Kind words, Shadmium, thanks!

@@callmeBe oh yes i have heard of mahler's arrangement of beethoven's 9th symphony. i enjoy it very much. this composition too, i hope to listen to more of your music

@@shadmium3471 Oh, I have not (heard Mahler's Beethoven version). I will search here on KZbin and give it a listen. Thanks, Shadmium!

Appreciate your comment, John.

@@callmeBe It's particularly challenging to maintain a flow of ideas when the tonality becomes tenuous as it does here...so no small task keeping this beast on track! Well, done.

@@johnpcomposer well thanks, but I think otherwise. In fact, I think the overall momentum becomes easier the less tonality there is. That is because the composer can put more emphasis on sheir motivic development rather than development limited by where harmonies fit, and where those harmonies tend to drive the music forward. So your emphasis changes and other considerations rather than tonality (for instance, texture, rhythm, motive) drive your phrasing. Schoenberg thought the same, and that was one of his guiding principles in his search for purity in his 12 tone pantonality (atonality). This work is still highly, highly tonal; just not so as a driving force to help guide phrasing, or landmark large tonal centers. But I think music can be at it's ultimate expression (ie: "Expressionism") when the individual chords are basically tonal, yet the overarching ideas lack tonal focus. I hope what I am saying makes sense! If not, ask questions. I am always here and ready to help. And, if you are so inclined, leave me a link for something you have written, and I will take a listen. John, thanks for your kind thoughts!

@@callmeBe I see your point, but it can be argued both ways. I agree with what you said about the presence of tonal chords and this is one of the things that holds Oration together...motivic music by nature works just as effectively at creating a sense of direction and force in any tonal context, e.g. Robert Simpson is one of the best examples of how effective tonality is at generating large scale movements out of small motivic cells...tonal but without being confined to traditional keys... In any case you do it very effectively. I enjoyed it very much.

@@johnpcomposer Well again, thank-you very much. I do not know of Robert Simpson, I will check him out.

It seems you have had a lot of that lately (rain)!

Друг, некоторые вещи вне времени!

Speedstrips are made to fit within a range of calibers, they are not meant for an exacting specific like speed loaders. If you get something like a 32 cal. Smith and Weston (in other words, revolver and not semi auto) , and no larger than 38 special you will be fine.

I am the wrong person to ask Gene. Can't tell you. I have read of a number of people interchanging cylinders and firing H&R type 32 magnum through it. And, with a 4.5" barrel, the ballistics would be strong. But even as is, with Russian bullets from the mid 1970's used in Afghanistan, it is highly accurate up to about 50 yards and carries moderate punch (about like a 380 P+). Myself, I sold the gun and bought a model 10 S&W with a 4" barrel. If you shoot the Underwood mini 357 flat nose loads (is a type of 38P+ round), you will get low 357 ballistics with a 158 grain bullet, and is totally safe on any SW Model 10. Is only 6 rounds, but the reload is super fast with a speed loader. If you practice, it is almost as fast a reload as a semiautomatic. But I really did like my Nagant. But I like the S&W Model 10's more.

how aboit firing something like a 460 S&W magnum with a compensator/ muzzle brake.

@@genestrong7737 I don't think that would be comparative to a S&W or a Nagant. Haha

looking for a way to gascheck a modern revolver to shoot heavy magums such as the S&W 460...

@@genestrong7737 Gene, talk to a gunsmith who has done more than a few KZbins and online courses. You will need someone who can fabricate completely new parts. I would imagine you would have a very difficult time at this--no one is going to want to assume such liability.

Well, watch the video all the way through. There is a very large portal and tailings pictured at 6:05. I have not been this far down he road (it is about 2 miles from the highway entrance--and you cannot see this area because the view is blocked by a ridge. But the mine was obviously quite large. I don't know if if the portal is blocked. This would all be on private lands, but I have seen quite a few people visit this general area, and a land developer bought up all of the property within miles of here in preparation for future housing development.

@@callmeBe I did see that I'm definitely intrigued going to go see if there is still a number see if it's OK to poke around and explore at all.

@@nevadaexplorer8399 If you want to go, way better now than later as so much development is suppose to go on in the area. I think most of the deposits there were fairly low grade, so if you are metal detecting and looking for minerals, I would look elsewhere.

Wow, a big huge blast from the past! Mia, I never . . . Write me on facebook. I am interested to see how you are doing! Meanwhile Patty told me she left. Sorry about that one, she was a very nice lady. Kind of like YOU!

A very kind comment. I don't know about the soon part, but yes, it is all coming together. Stay tuned! Thanks again.

Glad you found color! On a good day you can even do better. Of course the idea is, the gold is not being carried to this region by the river. The gold is originating from glacial alluvial fans on the upper portion of the hill, and being washed into place before it gets to the river. So the first area you can come to where bedrock has been exposed on the hill--higher up than the floor of the river, you should be able to find gold. Warning: I don't quite understand why, but the length of the gold bearing area is maybe 200 yards or so, and no more. It is not long. Keep in mind there is absolutely NO color on the other side of the river in this area. So, don't bother trying to cross. Another idea, though. That is, continue down the road further and drive into the park. Pass the ranger station on the left, and then shortly after, pass over the bridge. You'll pass a paved road to the left that goes to some houses. Drive just a bit past that road (staying on the main road). There will be a large gravel bar--a lot of people pick nick on the upper portion during summer. The road will run 20 feet above the river in this spot. There is a reasonable amount of gold right along the river there. No real walking involved. What you are looking for: there is very little bedrock, so don't consider that. You are lookin for root systems interacting like a sluice that run through the bar. Way better if you can find a spot where those roots run into clay. The clay will serve as your bedrock in this area. The closer you can find roots to the main portion of the river, the more gold you will find. So, for all of this you don't need to cross the river---and, in fact, it can get pretty deep anyway. So consider this also. Make sure to keep Fish and Game happy; don't pan directly into the river to create silt, dig a little pool next to where you are instead working, and, make sure any silt you expose from your digging also does not run into the river. Good luck, and glad you are spending this kind of quality time with your grandson!

That is a Falcon metal detector. I spot for deposits of black sand, and clean them out hoping for gold also. It has a iron discriminator so you can go just for gold, but finding gold alone would be a rarity. I have many videos on how to operate a Falcon if you are interested.

Well, other than purity, gold is basically gold. So as long as it is in a mesh form, it will recover using this system. The limiting factor will always be that you finely mesh ALL your material. If you screw stuff up--run the water too fast, don't properly mesh, than you can always process again. Nothing is ever lost until you throw it away. One thing to consider, if your finds include micro gold, this system would probably not fully work, because the gold will be lighter than your sands--as your sands have relative thickness, whereas the gold would not--yet both having the same relative size.