Mujitsu and Tairaku's Shakuhachi BBQ

And by the by, it is a rootend.

Ken, you are SUCH a comfort...

Thank you Ken! Such comfort is appreciated. Adding to the maze, this is also a jinashi................I shall take my warm fuzzies and retire for the night.

waryr wrote:

Thank you Ken! Such comfort is appreciated. Adding to the maze, this is also a jinashi................I shall take my warm fuzzies and retire for the night.

Unless you are a super-purist (and then you have to take what God gives you), it is permissible to add bits of ji here and there in a jinashi to bring all the ducks in a row. John Neptune does this as a matter of course with his flutes.

Toby

Mujitsu wrote:

Toby wrote:

Unless you are a super-purist (and then you have to take what God gives you), it is permissible to add bits of ji here and there in a jinashi to bring all the ducks in a row. John Neptune does this as a matter of course with his flutes.

A benefit of adding bits of ji when necessary is a higher yield of good shakuhachi. It's also possible to add bits of ji while maintaining the general tone color of the flute.

Yes! Let's get into the Gi-nashing Ji-mori Wars again!

Really, though, little bits of ji can make a stunning difference in the quality of a flute. Being fundamentalist about not using ji is just, well, gosh-darn it, it's just ... fundamentalist.

Life is short.

One thing I have seen John Neptune do:

Get a fix on the problem using the wet paper method or Perry's bead-on-a-string method (John used wet paper in this instance).

If you get some positive results indicating that some addition is required, get an accurate fix on the location in the bore (distance down from the
blown end), and the amount of material.

Put what you think is the requisite amount of 5 minute epoxy on the end of a chopstick that you have marked in order to achieve the established
location in the bore. It doesn't seem to matter much where the blob ends up around the bore, but at the right place down IN it.

And yes, I know: mother nature weeps when we use epoxy, but that's often what John uses to figure things out.

Place the blob, wait 15 minutes. Blow.

Repeat as necessary. I have looked into the bores of some of John's best for-sale flutes, and they were often pretty bumpy and gnarly.

waryr wrote:

Perry's "bead-on-string" found it for me!!  Just distal to the fourth hole. I looked into the bore at that location, and found a space where the bit had dug into the inside wall of the bamboo. Now to just insert enuf "bumpy knarly" to fix the sound.

Perry, the go no hi did not pop into harmonic, just wasn't there with regular fingering, and was hard to reach with alternate. (Happy New Year Dude!!!)

Happy New Year Dave!
Glad it worked. A Tuning Bead works better for Jnashi and Wet Paper works better for Jiari...generally.

I am fully realizing Perry's statement about rising early and playing music on a flute you have made with your OWN hands!

I just love it here in bamboo school!!!!!

See you at my making workshop in Brooklyn on Feb 6