I always try to remind myself that thick keylines aren’t as noticeable when theyre lit. Good motivation to keep them going up and up and up. Plus. Any playfield that goes through your hands is better than what it looked like before.

Those amps RULE. I had one for a while that I got from the original owner. Great piece of gear. I know quite a few pinsiders who are into high end audio.

I've had a lot of nice amps and preamps, but I always tend to lean towards the simplicity of a nice 70s silver face receiver. Currently running a Nikko NR-1019 into a pair of Ohm Walsh 2s, but definitely looking for a nice clean Yamaha CR-1020. I think being a craigslist fiend for audio gear is kind of what got me into pinball in one way or another...

If you're going to give someone a good slam, at least block quote them.

That hidden dick in Quicksilver always makes me laugh.
Seeing your final products is always inspiring!

Ron, this brings up a point about this whole progress that I've really been thinking about. I'm about to go down the long haul path of my own first playfield restorations, and I've read over and over and over again that you have to lay down a few light coats of clear before you start doing paint work. The theory being that if you're painting down onto the bare playfield, the colors will slowly over time change color as it blends into the wood/paint in a way that it won't blend into clear. But I REALLY believe that you'd see the layering of clear and paint, clear, paint, clear, paint, so on and so forth.

So I'm seeing here that you don't advise don't that or am I reading you wrong?

Absolutely stunning. That’s a repro or an original?

If you're interested in some more wild stuff, Frederick Wiseman's filmography (or at least all of his seminal works) are on Kanopy now (a streaming service that is free with your local library card, check it out. Tons of good international and stateside public based works). Fred is a long time Boston based observational documentary filmmaker who broke through with the film Titicut Follies (1967) that was for a long time the only banned film in the US for a reason other than obscenity. Takes a long hard look at some of the really horrifically primitive practices/conditions in the state mental institutions in Bridgewater MA. He also just finished up a new film called City Hall which is a rare inside look on all the ins and outs of Mayor Marty Walsh's office in Boston. Supposedly my ex girlfriend is in it for a second so that's a fun treat. That's free on PBS right now.

I've personally be revisiting Errol Morris's more popular works. Thin Blue Line (1998), Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (1999) and also trying to get through all of Ken Burns's Country Music which is fantastically good so far.

I feel strongly that Kanopy has docs that are worth a damn, and Netflix has a lot of docs that kind of suck. Pretty much anything Netflix produced when they were early in the production game (2013-2017) sucked shit. But now they have lots of okay but completely uninventive true crime docs if that's your thing. Also HBO has a surprisingly good backlog of films. Highly recommend Paradise Lost if you haven't seen it already.

Unsure if you like classic movies or not, but there are good docs and a WIDE array of worthwhile films on the Criterion Channel. I would highly recommend at least trying a free trail of that. They do great curated selections of films by certain actors, directors, screenwriters, ect as well as a good standard base of films that are worth a damn and LOTS of stuff you've likely never seen before unless you're a real head.

The third one is Whodunnit?