Re: [Shaku] The Power of Urushi

--- Kiku Day <kikuescargot@hotmail.com> wrote:

> Hi Justin.
>=20
> >Have you tried playing a shakuhachi before and
> after
> >it has been lacquered, giving you this conclusion?
>=20
> I certainly have... and I still don't have a clear
> conclusion on this.=20
> However, I find it interesting that all the ji-nashi
> shakuhachi makers I=20
> have interviewed so far have the opinion that urushi
> coating changes the=20
> sound quality of the shakuhachi. The most common
> argument (without having=20
> put all my notes togtether yet) is, that the urushi
> coating makes the=20
> surface harden - and to a very small degree (they
> admit) smoother. They all=20
> seem to agree independently that this changes the
> sound.

Hi Kiku
Yes, I agree with this. As for the surface smoothness,
there are two kinds of surface - the surface made
rough by files, generally at the nodes (for jinashi)
and most or all of the bottom section where the bamboo
is nearly solid; and the internodal spaces, which are
usually left as they are. So, I think the urushi makes
a lot of difference to the surfaces which have been
filed, changing their texture to being much smoother.
Also, such areas would be more susceptible to
moisture anyway. So, that will change the sound. Then
as for the internodal spaces, they are generally very
smooth already. So it won't change them much, although
a little.

Hardness is also a factor. Although, you can see for
yourself the effect of smoothness. If you pour water
down a shakuhachi with no urushi, you can listen to
the change in tone. I think the aborigines also do
this for their digeridoos. (Be careful before doing it
on a really expensive one - it might crack!)

=20

> You unfortunately recorded that in an extremely live
> room, so it was hard to=20
> hear the shakuhachi for all the remaining reverb
> from the previous notes.=20
> Usually when you record to determine changes in the
> sound quality, you=20
> choose the driest possible room.
> I had no other commments to you recordings than it
> must be an inspiring=20
> place to play!

Yes, not very proper. Sorry about that! I chose the
place I thought nicest, but evidently the worse place
to choose! Is a very lovely place to practice in
though! I find it especially good for jinashi, because
the sensitivity of the space lets you explore the
finest intricacies of the complex sound.

> When playing old Edo instruments before they began
> adding urushi, I think I=20
> can feel/hear the urushi/no-urushi more clearly.

This suggestion could be too crazy but, did you ever
try pouring water down one? Would at least be a way to
hear how it might sound with urushi, without having to
put urushi in it (which you can't exactly take out!)

=20
> Perhaps one day we can do a sound analysis before
> and after urushi, but it=20
> is already hard to make any sound analysis
> trustworthy... and this is no=20
> exception.

Well, I think we are clear that it will make some
difference to the sound, however small. Basically
brightening the sound. I think the point I was trying
to express was, that although the sound is slightly
different, I would not see it as a drastic change, or
changing the sound to have a totally different
character, as if you are no longer playing a bamboo
shakuhachi.

If you did want to do a test though, I think it would
not be so difficult. I have seen somewhere a picture
of a research tool for flutes, where it is a machine
blowing into the flute. If you used one of those,
sound analysis could be quite easy I reckon. Best way
i would think, would be to actually make recording and
then have people listen to them, and comment
qualitatively. E.g. brighter, darker, etc.

Well, happy blowing everyone!
Justin

      =20
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Received on Thu Jul 12 07:17 PDT 2007