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Anyone care to speculate that a shakuhachi painted with urushi inside & out would be quite crack-proof? Not impervious to expansion or contraction due to temperature, but from a moisture perspective, it would be essentially a closed system. This can have its own beautiful aesthetic, I think, like (some) heavily bound flutes do also.
ala Perry Yung:
ala Masayuki Koga:
Or has anyone tried Nelson Zink's idea of deep frying a culm? scroll to bottom of page
-Darren.
Last edited by dstone (2007-02-21 23:31:26)
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I always liked urushi lacquered flutes. I think, personally, they are more impervious to climate changes. And all those old komuso couldn't be wrong, could they? Ken has made some amazing urushi coated instruments.
Here is a an old Masayuki Koga 2.0 instrument which I had Perry Yung restore.
Perry restored it back to a traditional 5-hole (from a 7-hole), rebound the natasuke, and filled a small hole in the bore of the upper half where Koga had inserted a microphone. Then I had Peter Hill notch the tsu hole to enable a deeper, richer tsu-meri/dia-tsu-meri.
Koga used it for playing jazz in the 60s. It was a short 2.1 made by Fujiwa Ryufu (sp.?). Koga chopped it and re-tuned the holes and bell to make it a 2.0 well tuned to "C". That's Koga's hanko. The original maker did not sign it, either that or the lacquer obscured it.
This flute changed my whole perspective on what I thought a 'good shakuhachi' was all about. With this flute, it's all about music. And urushi.
Last edited by Chris Moran (2007-02-23 02:02:13)
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it looks great man.
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