Mujitsu and Tairaku's Shakuhachi BBQ

Mujitsu · 2007-09-12 13:44:02

Some recent repair work brings up the subject of binding cracks in bamboo. Specifically, inlaid rattan binding versus exterior binding.

For inlaid binding, a shallow recess is first cut, chiseled and filed in the bamboo. Then, a second thinner recess is removed from within the first. A strong cord is wound in the second recess. This cord is what gives the binding its strength. Ji paste is spread over the cord until it is flush with the first recess. Rattan binding is then wound around the first recess so it is flush with the skin of the bamboo. The rattan binding alone provides little or no strength.

For exterior binding, there is no recess. Strong cord is simply wound around the bamboo.

Which method is better? I think there are aesthetic, functional, philosophical, as well as financial arguments for both methods.

Here are some thoughts about the pros and cons of each method based on my repair experience.

Inlaid Rattan Binding
* Elegant, graceful
* Comfortable to hold without interruption of exterior binding
* Expensive (about 10 times more than exterior binding)
* Permanent. Requires cutting into the bamboo.
* Requires many steps. (Perhaps more suited for the Ji-ari
philosophy of shakuhachi making?)
* Questionable strength. (Does cutting into the bamboo
weaken it?)
* Costly repair issues down the line

Exterior Binding
* Aesthetic. (Some find it elegant, some do not)
* Comfort. (Some find it uncomfortable to hold)
* Inexpensive
* Impermanent (Can be moved or changed at low cost)
* Simplicity. (Adheres to the ji-nashi philosophy of
"less is more.")
* Very strong
* Less to go wrong later

Personally, as a ji-nashi and ji-mori maker, I am very much influenced by a "less is more" mind set. For my purposes and approach, exterior binding makes more aesthetic, functional and philosophical sense. I can also understand how inlaid rattan binding may be preferable for those with a ji-ari approach.

In fact, with the repairs I've done, I've noticed there is often an initial assumption among ji-ari players that inlaid rattan binding is "better" and therefore preferable. Ji-nashi players often prefer exterior binding. I'm curious what other makers and players think about this.

Thanks ahead.

Ken

Kabato · 2007-09-12 14:38:01

Due to the precision required to do a really nice looking inlaid binding I've avoided them on my flutes that have cracked, opting instead for 30lbs clear fishing line exterior bindings. Besides possible cosmetic issues (the clear line doesn't call a lot of attention to itself) and potential comfort problems (entirely dependent on where the crack is, if you don't have to bind very close to a hole then there shouldn't be a problem), this works extremely well for me in keeping cracks sealed. For me, my choice in binding depends on what the flute means to me. On the one hand I think it is a Jiari/jinashi difference, where the less invasive solution seems more in keeping with the idea of accepting that this is a piece of bamboo with its individual strengths and weaknesses; on the other hand it's about how much I value the flute. I think of inlaid binding as a more luxury treatment that I would reserve for a good flute, whereas I'd rather not spend the money on an amateur flute I've made myself.

philthefluter · 2007-09-12 18:28:43

I use both factors (ji-ari/jinashi and general value). The aesthetic element can be a factor too. For example, a single black fishing line binding near the utaguchi can match a buffolo-horn insert. Sometimes the colouring of the bamboo suggests a particular thickness of rattan or the choice of colour for fishing line. Some bamboo also looks well with different types of tree bark.

dstone · 2007-09-12 23:54:05

Question for Ken or anyone... I understand it's common to apply *something* to the inner binding (and sometimes surface binding) such as urushi or epoxy or cyanoacrylate. When those cure, it seems to me the binding becomes a hard and inflexible ring around a still dynamic piece of bamboo. i.e. the bamboo still might see another time of drying and crack pressure. Might this ring end up getting brittle because of the reaction of the coating agent on the plastic or whatever the binding line is made from?

My binding experience is limited but I have done six surface bindings on a couple of flutes with colored monofilament (PowerPro) and then applied cyanoacrylate as an aesthetic experiment. I liked the result. But then I wondered if the coating (HotStuff, in this case) transformed a functional, flexible binding into a rigid one that is more likely to fail.

Just wonderin'...

-Darren.

Last edited by dstone (2007-09-13 01:20:31)

Mujitsu · 2007-09-13 12:26:30

dstone wrote:
But then I wondered if the coating (HotStuff, in this case) transformed a functional, flexible binding into a rigid one that is more likely to fail.
-Darren.

Very interesting theory Darren. I have witnessed a few painted bindings which have cracked completely through along the line of the bamboo split. However, If I had to make an educated guess I would think that it is the exception and not the rule. Either way, I prefer to use urushi or clear acrylic as a compromise. I can't say for sure if it's any better.

Paint the binding for strength and risk a crack, leave it be and risk a crack. Name your poison!

Ken

James J. · 2007-09-13 13:53:29

Ken, I only own two flutes, both Levenson cast bores 1.8 and 2.4. I opted for the external binding in both cases because I live in a climate with alot of temperature/humidity variation. The practical concerns outweigh the aesthetic ones as far as the appearance of the shakuhachi, for me.

I have to admit that inlaid rattan binding does look very nice, though.

Both my wife and a friend of mine who are not shakuhachi players have remarked to me that they like the look of the black, external bindings of my flutes, which surprised me. The appearance of the external bindings grew on me too, especially since they are protecting my flutes!

I am just a total beginner, but if I had an unlimited budget to have a flute made, I would not hesitate to have black, external binding put onto it.

James

jamesnyman · 2007-09-13 19:34:08

I have fully bound a number of jinashi shakuhachi (by both Ken LaCosse and Perry Yung) with 65 lb test PowerPro high tech line. Compared to the black nylon bindings on some of my other shakuhachi, the PowerPro bindings are MUCH less obtrusive. I have never had a jinashi shakuhachi crack even though I carry them with me everywhere I go and often leave them out for days or weeks in my house (80 degrees/30% humidity/air conditioned) without a moisture barrier. I live in Texas, a climate not kind to bamboo.

Yungflutes · 2007-09-13 22:48:56

dstone wrote:
Question for Ken or anyone... I understand it's common to apply *something* to the inner binding (and sometimes surface binding) such as urushi or epoxy or cyanoacrylate. When those cure, it seems to me the binding becomes a hard and inflexible ring around a still dynamic piece of bamboo. i.e. the bamboo still might see another time of drying and crack pressure. Might this ring end up getting brittle because of the reaction of the coating agent on the plastic or whatever the binding line is made from?... But then I wondered if the coating (HotStuff, in this case) transformed a functional, flexible binding into a rigid one that is more likely to fail.

Just wonderin'...

-Darren.

Hey all.
Darren, I coat my bindings with urushi or clear American lacquer. My intent is to keep them together so that the end windings don't stray. I don't think the urushi or lacquer penetrates enough to "petrify" the nylon or mono filament. I could be wrong.
Here's a photo of my favorite Hocchiku.

Sometimes the crack opens up and sometimes they're barely visible. These bindings give yet holds it together. Even when the cracks look huge, the flute still plays great.

There's three types of bindings on this flute. Nylon cord, mono filament and unfinished inlaid above and below Ri (#4).

It's a fact that inlays may eventually need to be dug out and rebound after a number of years. I've had to do this more than a few times. Here's a Shigemi flute that needs to be completely rebound because the bindings gave way.

It was a little problematic because over the years, the crack began to open and the owners were putting super glue in the cracks.

But they couldn't get the super glue in underneath the inlays where there happen to be leaks. It was a major restoration (I'm happy to report that the owner is very happy with it).

For my own flutes, I prefer topical bindings. Unless, as Kabato says, it happens to be in an area that impedes fingering. I sometimes I put one at the top so the utaguchi cap can go on and off easily.

Namaste, Perry