Mujitsu and Tairaku's Shakuhachi BBQ

Hi Alex

I recommend keeping the flute in plastic and if possible using a Dampit. Regarding mold; this will happen if you leave the flute for long periods of time without being played. If you play regularly, 3-4 times each week, it won't be a problem. In fact if you play regularly, the contact with your hands, the vibrations of the sound, and the moisture will prevent most cracking. shakuhachi like to be played! It doesn't make any difference if you keep the flute in one or two pieces. Finally, it is still possible that the instrument will crack, so don't go nuts trying to prevent it. Best to play low RO as much as possible.

James

Teaman wrote:

Does anyone know what the best percentage is for keeping shakuhachi? It seems that there are dozens of humidifiers on the market, and most of them have different percentages. Any ideas?

If you live in a location that has high ambient humidity (above 50% relative humidity), this is really not much of an issue. The exception: Often places with high ambient humidity, say the Great Plains area of the US, have cold winters, which means that when the heat's on the relative humidity can plummet.

In locations with low ambient humidity, such as the Southwest or Mountain states, I suggest the plastic bag/damp sponge approach; yes, it's a minor hassle to get at your flute(s) with this method, but it is reliable, IF you attend to the sponge from time to time. See this link for an illustration:

      http://www.yungflutes.com/log/archives/ … l#comments (Scroll UP--from Perry Yung's website, also posted elsewhere on the Forum, I believe)

I don't think there's much percentage in worrying about the numbers, but if you really want to get anal on this, build/acquire a nice flute-sized humidor with a hinged lid, install a simple mechanical humidity guage therein, and keep the humidity in the humidor at 50-60%. Quick access, necessary humidity; but try taking the whole rig with you to your lessons.   

I'd stick with the plastic bag approach and forget about the numbers...

eB

Last edited by edosan (2006-07-18 19:33:15)

...and lose less as well.

eB

I contend that, due to its nature, the inner surface of the bamboo is more subject to moisture gain/loss than the outer surface, thus the point that jiari shakuhachi lose less moisture, or at least lose it at a slower rate.

ANY shakuhachi is likely to crack if allowed to dry out and lose moisture long enough, it'll just take a bit more time for those with filled bores.

eB

Again I am making assumptions, but I think there are several different kinds of cracking and their reasons for doing so. Also, the initiation of a crack may occur a long time before it becomes visible.
An exterior crack would most likely occur from being exposed to a heat source such as the sun or a radiator. This crack may be most apparent on the outer surface but could affect the  bamboo through to the inner bore, unless it has only penetrated the skin.
The nature of a wood cell is such that the uptake of moisture can exert very high pressure within the cell itself, up to 2000psi.
With my own flute making, the only cracks I have noticed have been a result of kiln drying culms that have had the nodes removed prior to drying. The drying process I have used is to take the culm to 110 C for five hours. It is experimental and I am not satisfied with the results.
I have not as yet noticed any cracking in culms that have had the nodes left intact while being dried.

I would think that atmospheric moisture would affect the inner and outer sides of bamboo equally, though the skin may offer some resistance. There is also a membrane on the inner wall of bamboo, unless removed in the making of the flute, that may give some resistance to moisture uptake.
Noticing how much a Jiari gets wet from breath moisture compared to an un-laquered bore, I would assume the laquer provides good resistance, as well as possibly adding some strength to the surface.
However, my own flutes are made from 'black' bamboo, a softer bamboo than Madake. I don't laquer but do wipe with walnut oil.

Kel.

What is your opinion on using oil (tung, for example -- probably the fast-drying variety) on the inner bore as a mold-inhibitor.  i.e. possibly either preventing mold growth or making swabbing with the cleaning cloth easier.

-Darren.

My first piece of advice on oils is to make sure you know what you're buying. My companies label their oils not according to what's actually in the oil, but accroding to what sounds catchy/sells the most or is  an "accepted" term. For example: "Boiled linseed oil" is called "boiled" simply because manufacturers used to heat the oil (not boil) in order to mix in metallic driers. This process is not even used anymore (thanks to liquid driers), but the product is still called "Boiled". Make sure that whatever oil you use is "straight" as in "pure" otherwise you could have a really nasty surprise.

Personally, I wouldn't reccomend using tung oil. Tung oil still dosen't protect from vapor exchange, even when a film builds up. On top of it, tung oil is extremely difficult to turn into a film; it takes at least 5 or 6 coats (with sanding in between coats) and takes a very,very long time to dry. Once you add coats, you also have to think about how this changes the bore of your flute as well as its resonance properties. Once oil has dried in the bamboo, the only way to remove it is to remove the bamboo, or use industrial strength stripper. I don't think any of us want to do either.

My suggestion on making swabbing easier: reduce the size of your cloth. I use a piece of cheesecloth, which is extremely cheap, non-abrasive, and even looks nice. Gradually trim the cloth as you pass it throught the bore until there is very little resistance. All you are trying to do when swabbing is pick up the excess moisture. When you play your shakuhachi, the spaces inbetween the cells in the bamboo take the moisture from your breath because you are, in essence, creating an atmosphere of high-humidity. This moisture will be released from these spaces as soon as there is an environmental change (such as you stop blowing into the flute).Swab the bore once or twice after you've played, and then let your shakuhachi air out ( I even keep the utaguchi cap off to facilitate this, just put it somewhere safe). If you do not let the air circulate, this is when you will get funky smells. The smell is the direct result of bacteria, living and breeding in the moisture. Once the moisture evaporates, no more bacteria. You should not have to add any scents to any musical instrument; all you are doing is hiding the fact that it needs to breathe. Scent is also not an indicator of penetration; just the potency of the product.

Sorry for the long post   hopefully people will find it useful.

To oil or not to oil...that is the question. Living in northwest Washington state so I should'nt be concerned w/a new jinashi boning out & cracking, but some say use walnut or tung oil thru the bore or treat the whole flute by occasionally wiping it w/one of these oils & some say it could promote mold.  whadayasay?

The MAIN reason for wiping the bore of a shakuhachi after playing is not to remove the moisture, but to remove all the detritus that gets deposited with it, or that the moisture attracts: These little items (details to be left to the imagination) can attract mold, and/or build up in the bore if not regularly removed.

eB

Practice good oral hygiene and listen to Ed or your flute bore could look like this.

Adrian wrote:

Why do we ... use a Dampit to add moisture when not playing?

Dampits?!  We don't need no stinking Dampits! 
I live in Dampit, Canada.

-Darren.