Herb,
> I have a question on the replacing of evaporated water with oil. Is it an
> even replacement? Can you really replace all the evaporated water with oil?
I doubt it, but I don't know. For one thing the molecules are dramatically
different sizes--water being much smaller.
> I wonder if the bamboo, or any wood for that matter, re-absorb the oil at
> the same rated as it evaporates the water and as deeply as the water is
> evaporated. Or does the oil only penetrate so deep and them no more with
> surface topical application? Would temporary immersion work?
I've been curious as to the finishes (both inside and out) 'oilers' are
contending with. Oiling presupposes a shak without much of an internal or
external finish--kind of like something I'd make, a 'raw' flute. If the shak
has anything approaching a barrier coating, inside and/or out, oiling
becomes an ritual exercise. Put in on, wait a while, wipe it off, feel
better.
As far as oil penetration goes, you'd want to oil from inside the
(unprotected) bore, as the inner wood is much more porous than the outer
skin. So yes, dunk it. Or just plug the foot, tape off the holes and fill it
with oil. I can feel people's toes starting to curl.
> Has anyone done a study on
> optimum moisture content for bamboo/shakuhachi, or other woodwind
> instruments, for best resonance and sound qualities?
Not to my knowledge. I don't really know what people mean by 'resonance'.
Are you referring to a tactile or aural quality? I assume it means feeling
the flute vibrate. If so, having a flute vibrate is an indication that your
flute is made from a slightly elastic material--not the ideal for sound
production. I've assumed that resonance/vibration is a tactile thing and is
largely unrelated to sound quality. Having a flute 'buzz' a little certainly
adds to the playing experience but I tend to think it's actually going in
the wrong direction as far as pristine sound properties. Otherwise, we
should make flutes out of rubber. Big buzz, big sound.
> While I seriously doubt it, is it possible to -over- oil your shakuhachi
> and reduce it's resonance?
Possibly. But in light of the above, let me argue the other direction. Take
something like a flat ruler and clamp down one end (with your hand) to the
edge of a desk or table. Strum the free end. The thing vibrates. How much
the ruler sticks out changes the frequency. The frequency is also determined
by the mass and compressive and tensile strengths of the material.
Compression and tension being nearly equal creates the best vibrating
material. I can see a case that adding oil to bamboo increases it's
compressive strength thus it's overall vibratory quality. But who knows
until somebody does the experiments.
Following on this, I think players have a notion that their flute's wall is
vibrating at the same frequency that the flute's sounding. I doubt this is
true. The flute wall probably has a small frequency range which is
determined by mechanical properties more than anything. Thin walls buzz more
and at a higher frequency than thick walls regardless of the note played.
Resonance/vibration/buzz seems to be a sought-after quality under the
assumption that it's connected to or proof of superior sound quality. I'm
guessing the two are largely unrelated. It probably isn't a great trick to
make a really crummy sounding shak buzz beautifully. Just thin down the
walls and balance compression and tension. Another (and more effective)
trick is to make the bore elliptical rather than round. The more unequal the
two axis of the ellipse are the greater the vibration will be.
Bamboo is an unusual wood in that it's 'bark' has a high tensile strength
while the inner 'wood' has a lower compressive strength. Bamboo usually
fails because the inner wood is crushed rather than the bark being torn.
That's why you can't snap a piece of bamboo like you do a twig--with most
other woods the tensive is less than compressive.
In light of previous threads about what makes a good shak, it appears to be
coming down to this: Visual (how the flute looks) is first. I'm guessing how
it feels (resonance/vibration/buzz) is second and how it sounds is third.
And then, there was that thread/question about whether sound quality was
directly related to flute material that nobody wanted to touch.
So much to know, so little time and good info.
Nelson
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