Mujitsu and Tairaku's Shakuhachi BBQ
World Shakuhachi Discussion / Go to Live Shakuhachi Chat
You are not logged in.
Tube of delight!
#1 2006-02-22 02:23:37
- kyoreiflutes
- Member
- From: Seattle, WA
- Registered: 2005-10-27
- Posts: 364
- Website
Making larger, Watazumi-style flutes?
I got a look at one of Watazumi's flutes today, and I was really interested. I have seen some flutes that Kiku Day has made, and I love the big sound, but I've never really attempted it. I made a shakuhachi once that was probably around a 2.9 size, and out of a fairly good sized piece. It's been butchered since, unfortunately; it wasn't even close to tuned, however.
Anyway, now that i'm much better at making flutes, I'd like to tackle another bigger flute like this. Probably not Watazumi size, but at least Kiku Day size. I know that Brian and Ken are into the bigger flutes, but I'm thinking about the kind of flutes that you look at and have to wonder what it is for a second.
Does anyone have any information to transmit on this subject? I'm not sure what kind of things change when you're using such large pieces.
I'd buy one from someone, if it were just right, but they seem to be hard to find...I'd also have to get it custom, as I've found particular placement of the holes helps my hands, so I'm probably better off making it for now.
Many thanks.
-Eddie
Last edited by kyoreiflutes (2006-02-22 02:27:36)
"The Universe does not play favorites, and is not fair by its very Nature; Humans, however, are uniquely capable of making the world they live in fair to all." - D.E. Lloyd
"Any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bells tolls; it tolls for thee." -John Donne
Offline
#2 2006-02-22 14:16:35
Re: Making larger, Watazumi-style flutes?
kyoreiflutes wrote:
....Anyway, now that i'm much better at making flutes, I'd like to tackle another bigger flute like this......Does anyone have any information to transmit on this subject?
Eddie,
Here are some things I've experienced with longer jinashi flutes. I hope they can be helpful.
Long flutes are often more forgiving to make than short flutes. There is more room for error. While removing material, the sweet spot evolves gradually, as if in slow motion. The key seems to be the ability to tune into this wider perspective and avoid the confusion of hyper-detail.
The odds of turning out a well tuned long flute seem better with a relatively thin bore. Because of the 'optimum' bore/length ratio, the octave tuning is more likely to take care of itself. Conversely, wide bore flutes can be a challenge to tune well. However, for those of us who enjoy the tone possibilities of wide bore flutes, it's worth the effort!
The relationship of the nodes (how much to remove, how much to leave) is critical. The choke point node to the end of the flute is always important. Also, the relationship of the top and bottom end have an influence on tone color. One way to gain an understanding of the relationship of the nodes is to do something to one node and see what happens. Then try things in various combinations. I suppose it is similar to learning a computer program by hitting buttons and making connections.
Flutemaking is mysterious. One approach that has helped me is to attempt to grasp a sense of the whole while aware of and content with the many unknowns. Over time, the unknowns fill in, but never completely.
As always, there are many ways to look at this.
Ken
Offline