The New Tairyu Jinashi Resin Shakuhachi

The New Tairyu Jinashi Resin Shakuhachi

A flute shaped by tradition, tuned by patience, and forged in something stronger than bamboo

You can hear it here: Watch & Listen
Or own it here: Buy the Tairyu Jinashi Resin Shakuhachi

A Long Path to the Right Sound

This flute wasn’t born overnight. The New Tairyu Jinashi Resin Shakuhachi is the result of relentless experimentation with Nick Bellando — plastic, ABS, Teflon… we tested them all. Every prototype offered something — a whisper of promise — but not enough. The tone would be hollow, or the resonance fell flat, or it felt more like a PVC pipe than a shakuhachi.

Then resin arrived in hand — and something clicked.

The flute resonated acoustically. The sound was dark, grounded, and familiar — unmistakably reminiscent of jinashi. And yet, there was something startling about it: it wasn’t bamboo. But it didn’t matter. I had a hard time believing it myself.

Tone That Sits in the Earth

The character of this flute is unapologetically jinashi. Its tone is deep, round, and weighted at the core. It doesn't chase brilliance or sparkle. It prefers gravity. If a Jiari Flute is like a roaring fire, this Jinashi is like burning embers from a campfire.

The focus is on the fundamental. It speaks clearly and doesn’t trade its dignity for volume. There’s something sacred in that choice — a humility of tone that matches the Honkyoku tradition it was built to serve.

Overtones are present, but respectfully tucked behind the central tone.

Responsiveness That Honors Nuance

This flute doesn’t scream, and it doesn’t need to. Within its dynamic range, there’s ample expressive depth. Meri and kari come easily — honest, responsive, clean. That matters. Jinashi flutes live and die by subtlety, and this one listens carefully to your intentions.

Now, it is a towari flute. The Chi sits a little high, so yes — you’ll have to engage with it. But once you’ve spent time listening, adjusting, and living in its space, the pitch control opens up. It rewards attention.

And the range? All three octaves are accessible — including hi dai kan. That alone surprises many who assume resin equals compromise. In this case, resin equals resilience — and responsiveness.

Aesthetics: Hidden in Plain Sight

Covered in urushi, the flute looks like bamboo. In fact, most players won’t know the difference unless they’re told. The weight, the balance, the hand-feel — it’s all there. No sterile plastic slickness. No hollow utility. Just an instrument that feels meant to be held, played, and traveled with.

And that’s the other piece: it travels. This isn’t a museum piece to protect. This is a working flute, made for real climates and real life.

Why Resin? Why Now?

Let’s be honest: bamboo is sacred, but it’s also fickle. Temperature, humidity, cracking, warping — the list goes on. For players who practice seriously or perform regularly — especially outdoors or abroad — the anxiety around their flute can become louder than the music.

The Tairyu Jinashi offers a solution that doesn’t feel like a compromise. It allows players to commit fully to Honkyoku or Sankyoku without holding back out of fear of damaging a prized root-end bamboo flute.

And this isn’t just a "starter" instrument. It’s also for advanced players who need a secondary or travel shakuhachi that honors the tradition. This is not a folk flute. It’s not for avant-garde multiphonics. It’s for those who want to walk deeper into the aesthetics of classical shakuhachi without dragging bamboo baggage.

Who It’s For

Beginners. Travelers. Professionals. Skeptics. Everyone, really — except those looking for a jiari rocket or a pop-fusion flute. This flute is for people who respect silence, who value nuance, and who understand that beauty often lives in restraint.

I’ve been enjoying it and keep it right next to my other flutes. I can’t wait to use it for my upcoming lessons with my own students.

Check out the flute here.

👉 Hear the flute here
👉 Buy the flute here

Ro For 10,

Shawn Tairyu Head