Mujitsu and Tairaku's Shakuhachi BBQ

I don't know why this happened but it's a good example why not to put an utaguchi inlay in a flute. By the way, you rocked in Pittburgh!

I don't know if this is cause and effect or not but most of my favorite shakuhachi don't have any inlay. As far as utaguchi inlays coming undone, this has happened to me several times and to my friends. They also have a tendency to chip. When purchasing vintage flutes it is not uncommon to find that the utaguchi has been replaced. Why? Obviously they get damaged.

Flutes with no inlay tend to have a mellower sound, although I can't say for sure it's because they have no inlay. It could be because the general philosophy of makers who don't use inlays is different. I have discussed this at great length with my buddies who are makers. They say the only reason they put one in is because the customers want it.

Here is an interesting statement made by Riley Lee on his website:

"Blowing Edge Inlays And About The Flutes I Use And Play

I have found that inlays do very little to the texture of the sound. I've broken inlays and the flutes played no differently. I've played on flutes with the inlay totally knocked out. The sound was a little bit fuzzier; that's all."

If Riley is correct, then why bother with an inlay? It seems like the main reason is for ryu identification and uninspected tradition. Most of us outside of Japan are Kinko players or in schools related to Kinko who would use Kinko utaguchi. Because of the shape of the Kinko utaguchi it seems more unstable and prone to damage than Tozan or Myoan utaguchi. I prefer Myoan/Tozan shapes. I've also had less problems with that shape than with the Kinko shape. Perry Yung and his teacher Kinya Sogawa use a nice variant which they call "Kinya" utaguchi. Perry, if you're reading this, would you care to comment on why you use that shape rather than Kinko?

Some people say that an utaguchi inlay keeps the blowing edge hard and stops it from becoming soggy during long practice sessions. I don't know what the disadvantage of a soggy utaguchi would be. Nevertheless I think this doesn't happen. I've never noticed it. You can always coat the naked utaguchi with a layer of clear (or colored) lacquer to get protection.

I realize I'm out of the mainstream on this, but it's fun to discuss. I would be interested in hearing from makers on this subject. Players as well. Is there any reason to want an utaguchi inlay, any preference between styles and if you were going to have a flute made to order, would you want one?

Looks like we already had this discussion once before:

http://www.shakuhachiforum.com/viewtopic.php?id=96

There is no inherent problem with a properly done inlay. If it just popped out from moisture, either the manufacturer didn't use a suitable adhesive as Ed pointed out or there was no adhesive at all and it was just held in by friction... you can easily glue it in place yourself.

Both of my purchased bamboo shakuhachi have inlays, but I don't have a strong preference either way. Both styles are nice.

Larry wrote:

Well, the good news is the utaguchi was undamaged when it fell out, so I was able to tap it back into place and the flute plays just fine.  As long as I'm careful, it shouldn't be a problem.  Eventually I'll send it back to the maker to be re-glued, but it's going to be hard to part with it.

If you feel confidant in doing it, it's fairly straightforward to do your own repair on the inlay.

One good method is:

• Check that the inlay fits very well into its well. This is important; it must fit closely.

• If it does, go to your local hobby store and get some THIN cyanoacrylate adhesive, like this...



These are both readily available good brands. The key is to get the THIN stuff (it comes in thicker viscosities as well) and the smallest quantity. 1/2 ounce will cost between 3 and 5 bucks.

• Cut off the very tip of the glue bottle to make a very small opening. Drip a little glue onto a scrap of paper to get a feel for handling it; it's a really runny liquid.

• Place the utaguchi inlay into position, making sure the surfaces at the outside bevel are flush with each other.

• Clamp the flute horizontally, with the utaguchi and four-hole side down, so you have access to the INSIDE of the inlay.

• Put 2-3 small drops of glue onto the joint between the inlay piece and the cut-out in the flute. The glue will be pulled into the joint by capillary action. It doesn't take much glue. 2-3 drops are sufficient to hold the inlay in place, and may be enough for the whole repair. You don't want glue running all over the place in and out of the flute...

• Leave the flute alone for a minute or so (it'll cure much faster than this, but this is to be safe).

• Take a close look at the bevel-side of the utaguchi and see if the joint is cleanly filled. If not, clamp the flute so that the bevel is in the same plane as the floor, and put a very small drop or two into any small gap in the joint. Leave it alone for 2-3 minutes.

• If the glue cures a bit proud of the bevel surface, you can flatten it again using some 150-grit garnet sandpaper backed up by a small block of wood to keep it flat. After that, use some 220 grit, and you're done.

This seems very involved, but it's really quite simple. The key is: practice a bit with the glue bottle; use small amounts.

Bon voyage...

Last edited by edosan (2006-07-09 22:25:36)

Tairaku wrote:

Players as well. ...  if you were going to have a flute made to order, would you want one?

I'm just a novice player and really novice maker but, for what it's worth, none of my flutes have an inlay and I think it will mostly stay that way. I do give the mouthpiece bevels, top cuts, and inner rings a very thin coating, sanding, and polishing of Hot Stuff as pictured in Ed's post.  This makes for beautiful, nearly invisible, hard protection.

This preference is likely a result of my upbringing.  I witness my teacher and other influential players playing jinashi nobekan without inlays and without concern or limitation.

I think the materials and craftsmanship of an inlay can be very beautiful.  But I like how Albert Einstein said it (sort of), "[a flute] should be made as simple as possible, but no simpler." 

-Darren.

Last edited by dstone (2006-07-10 03:49:31)

Larry wrote:

After a multiple hour playing session the utaguchi on my 2.4 fell off.  I was wiping a bit of sand from the inside (not applying much pressure) and it popped out.  Could this be caused by being damp for too long?  It's a jinashi flute with a thin coat of lacquer to protect the bore, so maybe it just wasn't sealed down enough?  I don't know anything about flute making so I'm just curious what might have caused this.

Larry,

I've found that utaguchi pop outs are common sources of repair requests. The adhesive used, surface area and fit all seem to play a role in keeping the utaguchi intact. Also, with moisture, dryness, climate changes, etc., any addition made to a flute can respond differently than the original material.

In my experience, the process Ed described above is a good way to secure and strengthen the seal.

Good luck,
Ken

Tairaku wrote:

I would be interested in hearing from makers on this subject. Players as well. Is there any reason to want an utaguchi inlay, any preference between styles and if you were going to have a flute made to order, would you want one?

When making a shakuhachi for myself, I choose not to include an utaguchi. If I felt there was a functional advantage to one, I would include it. In my experience, natural edge shakuhachi require less repair than shakuhachi with utaguchi. Also, when a repair IS needed, it is less invasive. Personally, I don't think the utaguchi itself changes the tone, but rather how the material present is shaped.

I understand and appreciate the aesthetic appeal of an utaguchi. It looks cool! For me, however, it does not override the desire to make a flute that has less to go wrong later.

Ken

If you do, just make sure you 'test drive' the glue bottle before proceeding....