November 17, 2007
Askewed Chin Rests on a Shakuhachi
Hi All, I love doing little tweaks on old flutes. Especially one like this one I did on a shakuhachi chin rest today.
This one came from a friend I do a lot of work with. As you can see. It's a beautiful old flute. Maybe around 60 years old. It is a wide bore flute with a voluptuos, mellow and fat tone that is consistent throughout the entire two octaves. There are finger marks around the holes to show that the flute has been played.
The chin rest was a little askewed as you can see at the top left. The owner said it wasn't noticeable until he played a long piece like Takiochi.
You can just see a small bump at the reflection.
After the work. It may still look a little askewed in the photo. If it does, it's because the top opening into the bore is not exactly centered. You can "rest" assured that the back top is symmetrical.
These old flutes polish up really well because there's a lot of rubbed in oils from the the face through many years of playing.
There's usually not much to debate over with this type of repair, unlike ones dealing tuning. We can easily see what the problem here, but when it comes to tuning everyone plays the flute differently.
I'll be posting a blog on two old flutes I recently re tuned.
Is your chin rest askewed?
Namaste, Perry
Posted by Perry Yung at 06:25 AM | Comments (1)
August 31, 2007
Red Urushi on a Giant Bore Jinashi Shakuhachi
This super fat Hocchiku came in recently for a lacquer job. There was a tiny bit of the original red urushi on the root opening and at the top behind the utaguchi. The bore was natural - without urushi. I've never seen a flute like this before - old and super fat. I guess at some point, the owner decided to paint urushi on just the ends.
The front of the utaguchi plane and the top of the flute was painted black. Much of it wore off at the top so it was a challenge trying to blend the new urushi with the worn wabi sabi look. I was able to match the red spot on. I let a bit of the original red urushi show through at the top edge because I didn't want to disturb this wonderful aged look
You can see tiny little dots of the original urushi on the top left.
The finger holes were a bit jagged. Nothing like running the fingers over hand crafted work from 100 years ago.
The tricky part of this job was that the red pigment in the urushi extended the polymerization it. It took longer to cure. It turns out that it dries faster when not thinned. This one has three coats but because the first two was super thin, they took longer to cure. Now on it's third coat and final coat. Its near dry.
Again, this flute is an anomaly. I've never seen such a fat old flute. The patina, style of utaguchi inlay and lacquer over the front of the utaguchi tells me it's over 100 years old.
The flute is actually 1.87 in length. Here it is next to a standard sized 1.8 shakuhachi
It's not often a flute like this shows up at my door. Let's take a listen: Giant Bore Tamuke
Playing this flute was a wonderful awakening. At first, I found that lots of things about this flute didn't work for me as a shakuhachi musician. Mainly, Hi Go was not accessible for me. I wasn't able to find any fingering to make the note. But, after playing it for a half an hour or so I decided to find a piece of music I could play. Turns out, Tamuke doesn't use Hi Go. I was pleasantly reminded that flutes display their personality when applied to a piece of music as opposed to just trying to see if all the notes work. This reminded me of why I play music when tuning and checking my flutes (that's why it's very important for me to study shakuhachi music). Usually, When I play music on a shakuhachi, I feel a collaboration with the flute. It's a give and take relationship. Many fine flutes are very giving. And many do not give much. At least not while you're playing. I found this shakuhachi a little selfish at first. It made me play Tamuke in the way it wanted to be played. I realized that I couldn't, or it wouldn't let me do things I would normally do with this piece. Afterwards, it felt kind've good to succumb to the flute. I realized while playing that the flute was saying, "Listen to me, don't try to force me to do what you want. In the end, we'll both be happy".
The realization was quite elucidating and timely. It's a lesson I'm presently learning from my children, who are now at the ages of two and four years.
Namaste, Perry
Posted by Perry Yung at 05:45 AM | Comments (2)
March 22, 2006
Nail in the flute
I had a not so average repair today. Usually, it's binding a crack or replacing an utaguchi. Sometimes I'll refurbish cracked Ji inside a bore or adjust some tuning like moving a finger hole.
This repair started out like any other crack repair. The owner of this flute, who happens to hold the largest collection of shakuhachi in the USA, identified the leak below this rattan inlay.
I thought it would be a simple refurbishing - take the old one out, clean it up, reglue, rebind and wrap the inlay. But upon removing the rattan, I discovered something else.
I'm always careful when removing the rattan because I need to take note of what is happening when starting the work. You never know what you might find, or, what may happen during the repair. Some of you may have followed my Inoue Shigemi repair a while back (that flute was like a time bomb that was set to go off as soon as it came into my hand). The fact that there was no visible crack on the surface of the bamboo near this binding made me suspect something.
I save a lot of old rattan in case I ever have to match rattan.
The thread below the cracked Ji was visible. Not a good sign.
The Ji was in typical shape on this kind of repair, crumbly. My custom made file (from a stack of hack saw blades) hardly moved and the dust began to fall.
To my surprise, I saw a nail. Then I knew exactly what I stumbled upon - a joinery job that came apart.
This kind of joinery is done when makers need to adjust the length of the bamboo.
I applied CA glue to the joint and applied pressure from both ends with a theaded rod.
Then I drilled two pilot holes for a new U nail. You risk cracking the flute if you don't use pilot holes.
After I drove it in flush, I sealed the joint with CA glue and bamboo dust along the perimeter to ensure a good seal.
I have a tin of sifted bamboo dust for situations like this.
Once the glue dried, I filed it down flush.
But before I put on the binding, I needed to make sure there was no leakage so I assembled the flute to see if Ro sang. Here's my favorite joint grease.
A nice gigantic Ro filled the room so I proceeded with the repair by binding it in smoked color 20lbs monofilament line.
After I smeared the entire thing in CA glue and allowed time to dry, I filled the recessed channel with 5 minute epoxy. I'm pretty sure this will last longer than Ji. It's supposed to hold 2,5000 pounds per square inch.
I start with a light file on the top just to remove the bumps.
Next, I use sand paper with both hands to bring it down evenly.
Everything has to be smooth and uniform, Bumps and uneveness will show up once the rattan goes on.
The rattan wrap.
Here's where the old rattan comes in handy.
It broke when I was removing it so it's a shorter piece. But joining it togther in the wrap is quite easy.
Just a little steel wool to clean it up.
Can you see where it was joined?
A beautiful flute once again.
Time for a good night sleep.
Namaste, Perry
Posted by Perry Yung at 01:09 AM | Comments (6)
January 15, 2006
Inserting an Ikigaeshi
I had an interesting repair for the past month with this old Myoan shakuhachi by the master maker, Shozan. You can see a photo if you search my archives below. It had 13 rattan inlays done to repair a long crack down the front.
The original opening at the top where the utaguchi is was too wide. I found that I could not play anything that required rigorous emboucher work because the air stream was dissipating around the utaguchi. Adding an ikigaeshi helped direct the jet stream. Afterwards, it played with a much more focused sound.
Previous to the ikigaeshi insert, I couldn't get a strong, flexible tone on any of the notes. Each note require a bit of searching for it's own emboucher shape and when the notes sounded, they lacked "room". After the insert was done, the flute revealed a "center". It showed me how it liked to be played. I was suprised at the beautiful and subtle voice it had through out. It also revealed two weak notes - Ro Kan and Tsu Otsu. I discussed with the owner that at the minimum, Ro kan needed work in order for the flute to have balance. I don't normally like to mess around with the bores of old flutes since I, a modern man, have no idea where Shozan's head was at when he made this flute ( or, what kind of music he made the flute to play). Messing with an old master made flute would be like painting over a Van Gogh painting just because someone felt his reds were not red enough. However, there were signs that this flute had had some bore work done to it failry recently, probably four years. How did we know? It smelled of cashew. That burnt oil smell you smell on wooden flutes. The owner had it for four years and he said it smelled like that when he got it. This gave me the green light to make this a "better shakuhachi".
Now, back to the repair. While poking around to fix Ro Kan, I found the spot to make Tsu Ostu better. It was very close to the Ro Kan spot. I adjusted them both simply and it didn't change the voice of the flute. Now, I can get it to do what I want with minimal effort.
I could sit for hours with this flute ;)
Good night all,
Perry
Posted by Perry Yung at 03:58 PM | Comments (0)
January 04, 2006
Inlaid Rattan bindings on the Shakuhachi
Just got back from Hong Kong and had two shakuhachi with long cracks to repair.
This old Myoan shakuhachi, made by Shozan, had a huge crack along the front from the top all the way down past Tsu. The owner wanted inlays since they are so nice looking when done well (I've had to redo some bad inlay jobs so let this be a warning). Doing 13 inlays was pretty intense. I couldn't do it all at once since the cutting rquires so much concentration. I felt like a doctor going into a 12 hour surgery or something. Where's my nurse!
Happy New Year all!
Breath deeper in the New Year,
Perry
Posted by Perry Yung at 10:42 PM | Comments (0)
August 29, 2005
Refurbished Nakatsuki finished!
Jet's been kicking up a storm lately since he discovered his limbs. He's still not crawling yet so I thought I should get these repairs finished before he does.
Let's start with the before photo. Those who have been following this repair know that I started it it two weeks ago. As you can see, someone had tried to tighten the nakatsuki with enamel paint and superglue. Over time, everything crumbled.
Here's what it looks like after.
After the coats of urushi had been cured, I use hair pomade as my joint grease to protect the fresh coat or lacquer. Hair pomade with beeswax is thicker than cork grease. The owner didn't ask for an inlay on the rattan binding but I decided at the last moment that an elegant old flute like this one needs all the trimmings. An inlay at one end makes the bindings looks much neater. To start the inlay, I needed a straight line to saw by. This is how I make my straight edge.
Here's what the cut of a fine Japanese saw looks like.
Next, I file a slight slope down to the line. I want the middle where the two ends meet to be fatter so I stayed away from that area.
All cleaned up and ready for the rattan windings. I've refurbished a bunch of inlays that were not done very well. If the bamboo is not smooth, it shows on the windings.
I like the streamlined look.
Two old friends meet again.
I think they came together well ;-)
Here's the after photo.
I get a lot of responses thanking me for sharing these techniques. Really, all I want is for people to respect these great old flutes and to care for them properly. The Hanko reads as Beautiful Wind.
I certainly do not mind cleaning up someone's experiments since I enjoy helping fine flutes find a life. But, I hope people will think twice before putting super glue on a nakatsuki.
Namaste, Perry
Posted by Perry Yung at 12:11 AM | Comments (1)
August 09, 2005
Inoue Shigemi Repair Finished!
Much apologies to you folks who have been following the Shigemi repair. In between the time I started and finished it, I had a baby. Jet came in at 8 lbs and 21 1/2". That's the exact length of a 1.8 shakuhachi!
The Shigemi is finished. but here are some more photos of the work in progress. Last time, we left off at the top needing reconstruction.
Here's my solution.
I grafted another piece of bamboo at the top to bring it back to a proper level.
The result feels natural and better on the lips.
Stay tuned for the final cosmetics - the bindings and nakatsuki relacquered in urushi.
Back to the feedings...what time is it...
Be well, Perry
Posted by Perry Yung at 10:11 PM | Comments (0)
August 04, 2005
Customizing a Shakuhachi into a 7 Hole flute.
This week, I was able to finish a custom job. The owner wanted his old shakuhachi turned into 7 hole flute. I was a bit nervous removing the plastic rings. You never know what's underneath. I love working on old flutes because you get to see what they did in the days before super glue and 2-ton epoxy. So far so good. Nothing exploded or unraveled...this time. I also coated the male nakatsuki with four coats of urushi to tighten the joint. Stay tuned for another nakatsuki complete restoration. Some one had used super glue to build up the joint. It's not a pretty sight.
The old crumbly Ji has to be filed smooth and then coated to stabilze.
So far so good.
I had to add material to one side so that it would come together flush.
A successful wrap.
The hole drilled smoothly with Forstner bit so that it wouldn't lift the rattan. It is in perfect pitch in Ri Meri!
I am very happy with the way this flute turned out.
HEAR the old scale and then the new scale.
The new scale facilitates the Yosempo mode.
Until the next repair!
Namaste, Perry
Posted by Perry Yung at 09:00 PM | Comments (0)
May 25, 2005
Day 3, Shigemi Inoue Repair
Wow, this flute is really coming together. Once I did the inlays, the whole thing started to respond nicely!
I finally finished the whole flute in inlayed rattan and am getting a nice sound. When it first came to me, there was hardly a RO. Now, it's quite velvety.
I like the contrast of the new rattan against the dark aged skin. The owner wants brown urushi painted over the rattan, let's see what she looks like when it's all finished.
The next step is to remove the plaster from the chin rest at the top
It's ironic that the original reason it came to me was because there was a chip in the plaster and I was just going to glue it back in.
All the plaster had to be removed so that the graft will adhere well - bamboo to bamboo.
I had seen such steep angles on other old shakuhachi. I wondered if that's how they liked to play shakuhachi back then. This type of angle creates a buzzier tone. Nice for those who like Honkyoku. Stay tuned for the bamboo graft. First, I have to find the perfect donor. Until tomorrow. Namaste, Perry
Posted by Perry Yung at 01:02 AM | Comments (0)
May 21, 2005
Day 2, Shigemi Repair
Off to a great start with the rattan. Underneath is 20 lbs monofilament encased in 2-ton epoxy. It will surely not open up...ever. Filing the epoxy to the exact recessed depth is quite tricky. I was only able to do three rattan wraps today because ot the intense focus and concentration.
Stay tuned...ouch (pardon the pun)!
Namaste, Perry
Posted by Perry Yung at 11:12 PM | Comments (0)
Major Shakuahchi Restoration on a Shigemi Inoue
Last week, the stars were aligned. Two Shigemi Inoue flutes came into my shop on the same exact day. Both had a leak. Both were put in my humid box at the same time. One sealed completely and was returned two days later. The other, revealed no change after being in the box for three days. On the fourth day, it exploded
There were little cracks in the lacqer coated bindings and I knew that was a sign of deterioration underneath but little did I know the urushi was rotten. It was slowly giving way before it came to me and basically explode once it was exposed to a little humidity. It was like a bandaged wound that had been needing stiches. Well, the doctor's in the house.
There were cracks in the bore when I got it. Now they are fully opened. There were signs that there was already bore work done then these cracks first split through.
Here is the reason why I never use super glue to fill the cracks. Once you do that, the crack will never seal and if it splits more, there will be a liitle hole underneath the bindings. This is where I suspect the leak was coming from.
There's going to be bore work done. I will restore ti to it's original bore profile.
Another gapping hole underneath the binding.
The old way of holding a crack together. With a kusabi. We know today those things don't work. Makers in Japan no longer use kusabi to repair cracks on shakuhachi.
It's gotta go.
The bottom piece had cracks too. It's time to fully bind the whole flute.
I'm using 20lbs monofilament. It's much stronger than the thread the previous repair man used. That could've been forty years ago.
The back of the utaguchi had Ji built up to cover up where someone had cut away bamboo to create a greater angle. It was too steep so they filled it with Ji. I'm going to restore it by grafting a new piece of bamboo.
The skin of the Shigemi will sit on my bench top for a while. This flute was made about 80 years ago. Let's see what magic theses pieces may bring.
Come back to see the flute fully restored.
Please store your flute in AIRTIGHT containers.
Namaste, Perry
Posted by Perry Yung at 01:10 AM | Comments (0)