Good earplugs are essential for drummers

Photo from Etymotic.com

Photo from Etymotic.com

As a longtime drummer, hearing protection has been a critically important issue for me. Hearing loss and tinnitus (high-pitched ringing of the ears) are very real consequences of repeated exposure to loud sounds. Even today, the mechanics of how our hearing changes are not fully understood, and there are currently no cures for hearing loss and tinnitus. This means that protecting our ears is the only thing we can do to help prevent future problems. We are lucky to be living in this time of increasing awareness and a variety of options for hearing protection. I highly recommend all musicians look into this.

When I arrived to Central Michigan University in 1995 as a first-year music student, I was told that all percussionists in our studio were required to purchase musician's earplugs. This type is custom molded to the ear and uses interchangeable filters which lower the volume without changing the balance of frequencies. At $100 – $200 per pair, it is not a cheap option, especially for a young college student. Yet having these earplugs turned out to be one of the very best investments of my career. Twenty-one years later, I am still using them (I'm on my second pair) for practicing, rehearsals, performances, and any loud environment.

Photo from Etymotic.com

Photo from Etymotic.com

In workshops, I often bring up the topic of hearing protection, and I've been seeing more and more people using earplugs over the years. My first recommendation is to look into the universal fit high-fidelity earplugs by Etymotic. There are other companies making similar products but Etymotic is the one I am most familiar with. At around $12 per pair, these earplugs have the same type of filter as the musician's earplugs. Unlike the cheaper foam, rubber, or wax earplugs, the hi-fi plugs allow you to hear more accurately with a reduction of around 20 dB. Hearing clear music and conversation keeps everyone using earplugs rather than taking them out in order to hear better (completely defeating the purpose of earplugs).

Musician's earplugs are well worth the effort and price tag to purchase. They are comfortable, nearly invisible, and can be customized with interchangeable filters for various situations. The first thing you need to do is to find an audiologist in your area that offers musician's earplugs. For my current pair, I went to Hawaii Professional Audiology in Honolulu. I chose this place because they were used to serving the Honolulu Symphony musicians. When you go in for your appointment, a foam material is used to take your ear impression, which then gets sent to the company making the earplugs. While I recommend this option to almost everyone, there are two situations I can think of where you might want to wait. The first is if you are going through significant weight change, which would likely affect the fit later on. The second category for waiting is younger people who are still growing, for the same reason.

There might be an element of old curmudgeon-ness involved, but I feel like loud volume situations are increasing everywhere: concerts, movies, earbuds, awful restaurant acoustics, TV commercials, and so on. I always keep my earplugs with me and am constantly grateful for this technology. After thirty-plus years of drumming, I feel fortunate that my hearing is in relatively good condition. Without a doubt, consistent use of hearing protection over the years is the biggest reason.

1990 Modern Drummer Article: An Occupational Hazard

Interview: Manman (Yeeman Mui) talks teaching kids, Orff, and taiko

I first met Manman (Yeeman Mui) during Kyosuke Suzuki sensei's Summer Taiko Intensive in 2011. She is now teaching and performing at the Taiko Center of the Pacific in Honolulu, where we performed together during my recent Hawaii trip. A certified Orff instructor, Manman is becoming known as a taiko teacher specializing in young children. In addition to offering classes at Asano Taiko US in Torrance, she is an active performer involved in multiple projects such as Spall Fragments, the upcoming production by Joe Small. Manman kindly spent time with me to talk about her background, Orff training, working with kids, incorporating dance and body percussion, and her current projects. I would encourage everyone to check out the links below for examples of what we talked about in the interview.


Yeeman Mui (aka Manman) Originally from Hong Kong, Manman graduated from the University of Hong Kong in 2010 with an MPhil in Musicology. She is a dedicated taiko practitioner, performer and teacher. Since becoming a certified Orff instructor, her vision is to continually find new ways to celebrate the essence of teaching of taiko through the mind, body and spirit. In 2012 and 2013, she was awarded a fellowship to study with Kenny Endo at the Taiko Center of the Pacific (TCP). Since then she has been working as a performing member and teacher at TCP. Outside of TCP and Hong Kong, She has also taught at the Los Angeles Taiko Institute (LATI), curated the Youth Program at the North American Taiko Conference in Las Vegas 2015, and conducted a series of music teacher workshops in Macau 2015. 


Hawaii trip: finally back for a visit to teach and perform


Flying in over Diamond Head

Flying in over Diamond Head

West Oahu

West Oahu

So many gifts - only in Hawaii

So many gifts - only in Hawaii

I had a fantastic week during my visit to Hawaii. It was hard to believe that I hadn't been back in over seven years, but it quickly felt like I had never left. The average tourist could easily focus on the great weather and spectacular scenery of the islands, but the things I really missed had to do with the daily-life culture there - the generosity and openness of people, along with an easygoing feeling that cultivates time to get together and talk story. Although this was mainly a work trip, these were the things that made my visit possible and so memorable.

The first workshop I taught was for Taiko Center of the Pacific. I started as a student of this taiko school when I moved to Honolulu in 2001, and then eventually became an instructor. This workshop was titled "Pulse, Ji, and Ensemble Playing" and I asked the participants to try my exercises dealing with tempo control, dynamics, following the leader, and producing a consistent sound. I was very pleased with how well everyone played together despite having a wide mix of experience levels. The second TCP workshop I taught was for the youth group. The requested topics included soloing and ensemble playing. When I asked each member what they were interested in covering, the top two answers were to be able to play tighter with the ji (accompaniment) and to create more unique and memorable solos. Everyone could already play well so it was fun working with the students and seeing them adapt to the new concepts I introduced. A huge thank you to Kenny, Chizuko, Brock, Terri, and everyone at TCP for inviting me and putting together the workshops.

Taiko Center of the Pacific workshop

Taiko Center of the Pacific workshop

TCP Youth Group workshop

TCP Youth Group workshop

Ryugen Taiko workshop

Ryugen Taiko workshop

I was happy to work for the first time with Ryugen Taiko. They requested a composition workshop and it was great to have three hours to spend discussing topics such as inspiration, form, notation, dynamics, and analysis. I enjoyed the energy of this group and look forward to seeing their original compositions in the near future. Thank you to Nolan, Greg, and everyone at Ryugen Taiko for the wonderful hospitality and interest in my workshop.

My final workshop of the week was for my good friends at Nakama, a very special group who I usually catch up with during taiko conferences. Saying they have fun is probably still an understatement, and the laughter is absolutely infectious. There was no preplanned workshop topic but we ended up working on Keith's original piece. I liked having the opportunity to learn the patterns and then find ways to make the music speak more clearly, especially for the sections where there are multiple parts happening at the same time. After the workshop, our party continued over dinner at a nearby Okinawan restaurant. Thank you so much to Dee, Keith, John, and the Nakama family for an unforgettable time.

Post-workshop dinner with Nakama folks

Post-workshop dinner with Nakama folks

Amazing view from my homestay

Amazing view from my homestay

On the morning after my arrival, I was trying to sleep in to counteract my jet lag when a text message arrived asking if I was available for a performance starting in one hour. I said yes and rushed down to the chapel at Kapiolani Community College for a lecture demonstration with Kenny Endo and the TCP ensemble, pulling in 5 minutes before downbeat, just enough time to change and hear the setlist. Everything came back to me, including how to wear the costume and the repertoire which I hadn't played in almost 8 years. While this one was a surprise, I actually knew about another performance happening on the weekend. It was a wedding gig at one of the big Waikiki hotels, something I had done many times while living in Honolulu. This one felt like a luxury, as there was a rehearsal and extra time to hang out with the ensemble members. Thank you to Kenny and Chizuko for including me in these performances.

Arriving at KCC chapel for a last-minute performance request

Arriving at KCC chapel for a last-minute performance request

Pre-performance hangout at Waikiki hotel

Pre-performance hangout at Waikiki hotel

This trip was a success because of the generosity of my friends, who provided me a place to stay, lent me their car, didn't let me pay for any meals, booked workshops, and provided an unlimited supply of helpfulness. Thank you so much to Kirstin, Dee & Keith, Kenny & Chizuko, Terri & Glenn, Brock, Nolan, Miles, Eric, Ai, and all of my friends in Hawaii. I will be back very soon!

A must visit for fresh udon

A must visit for fresh udon

Tropical shapes and colors

Tropical shapes and colors

Nico's and Uncle's on Pier 38 for great seafood

Nico's and Uncle's on Pier 38 for great seafood

Another Hawaii institution

Another Hawaii institution

Ranjo, master Japanese bamboo flute maker, with Daniel and Kaoru


photo credit: Daniel Torres

photo credit: Daniel Torres

Ranjo flutes I'm currently using

Ranjo flutes I'm currently using

My first experience with a Ranjo shinobue (horizontal Japanese flute made from shino bamboo) was more than 10 years ago, when I bought a number 6 flute from Kaoru Watanabe. I started playing fue seriously upon moving to Honolulu in 2001 for graduate work at the University of Hawaii and to play taiko with Kenny Endo. Since that initial introduction, my fue collection has grown and I have had the opportunity to visit Ranjo san's workshop multiple times. Visiting him is always a wonderful experience, not only because I can play and handpick any flute in the shop, but especially because of the opportunity to see him work, ask questions, and experience his warm enthusiasm and complete dedication to his craft. My musicianship has grown largely due to Ranjo san's high-quality instruments and knowing him personally. Kaoru also continues to support me and provides constant inspiration. He introduced me to Daniel Torres last year because of our common interests, and I wanted to feature his thoughts and photographs on this blog. I asked both of them 5 questions.


Daniel Torres interview

photo credit: Daniel Torres

photo credit: Daniel Torres

When and where did you first meet Ranjo san?
I met Ranjo san for the first time on June 2013, thanks to Kaoru san, who was kind enough to make the necessary introductions. I spent a whole day photographing him at his workshop in Chiba. 

What makes his flutes special?
There are at least two things that make Ranjo san's flutes special. First, his hearing and sense of tuning is extremely accurate, and since the tuning of a fue is done by hand, he has the required skills to create very precise instruments. Second, his craftsmanship has been perfected over more than forty years of practice, so there is almost no compromise between form, aesthetics, and function. Ranjo san is quite ingenious when it comes to his crafting techniques and he is constantly improving upon his own designs. Kaoru can describe some of this better. 

How can someone order a Ranjo fue?
I believe Kaoru san is the only person that sells Ranjo fue in North America. In Tokyo, you can go to Mejiro (a well known shinobue and shakuhachi store located near the station of the same name) and place an order.

What advice do you have for fue students?
Practice every day. There is no substitute for dedication and discipline. It is going to take a long time, it is going to take a lifetime. Sometimes it will be frustrating, but every now and then you'll have moments when it will be clear that you are going somewhere. Get used to playing in public as early as possible. Look for a mentor that can correct your technique as often as possible.

How can people learn more about Ranjo san?
Through Kaoru, perhaps? That is a bit of a difficult question. People who play fue know Ranjo through his craft, but to get to know him personally, you'd need to have access to him. Ranjo san is an amazing person, extremely generous, humble, and easy going. Perhaps some day we could convince him of doing a talk about his own life as a fue maker?

Daniel Torres

Daniel Torres

About me: 
I'm a video game programmer, sake brewer, and occasional photographer. I've been studying fue for about three years so far, and played Taiko for about ten years as member of Kita no Taiko in Edmonton, Canada. My photography page can be reached at http://photography.dantorres.net, and my sake blog is http://sake.dantorres.net.


Kaoru Watanabe interview

photo credit: Daniel Torres

photo credit: Daniel Torres

When and where did you first meet Ranjo san?
I met Ranjo san the first time while I was on tour with Kodo in the early 2000. Either I visited his studio as a young member of kodo or perhaps he came to the concert hall where we were performing. 

What makes his flutes special?
The quality of material, the quality of craftsmanship are, first of all, superior to other flutes. He does certain things while making his fue that most others don't do - such as obsessing over the intonation of the overtone series and octaves. He has a curiosity and love of experimentation that propels him to improve upon his technique, even after nearly four decades of making fue. He once recreated a Polynesian nose flute I showed him but using aged bamboo and Japanese urushi. 

How can someone order a Ranjo fue?
Contact me if you don't speak Japanese or contact him directly by phone or letter. He is a very friendly person. Also, his wife and daughter both speak a bit of English as well. 

What advice do you have for fue students?
Listen to and try to imitate as many different styles of fue playing you can, even if you don't know what's going on. Listen to the music of noh, gagaku, kabuki, minyo, nagauta, various festival and folk musics, and shakuhachi music. This all of course is if you don't have access to someone who knows about traditional fue playing. Don't worry as much with the music of contemporary taiko groups in my opinion. It's difficult to make the shinobue sound like a Japanese instrument, as opposed to a vaguely "Asian" sounding instrument - so I strongly encourage people to study and listen to the traditional music (if that's what they're trying to do).

Kaoru Watanabe

Kaoru Watanabe

How can people learn more about Ranjo san?
Just like studying Japanese music in general, nothing can compare to going to the source. To visit his workspace is to see first hand what it means to strive for pure perfection. To see him make fue and ask him questions about the process is always incredibly inspirational to me. I've had lessons and worked with many of the great fue players around but I've learned from him as much as any of them. His generosity and support of my career cannot be overstated. I have vowed to continue to strive to improve my playing with the same fervor that he strives to improve his fue. 

Kaoru's website


2010 visit to Ranjo workshop

2010 visit to Ranjo workshop

2013 visit to Ranjo workshop, with Shoji, Maz, Yasuo

2013 visit to Ranjo workshop, with Shoji, Maz, Yasuo

Recap of performance and workshop tour in NorCal, May 2016

I had a wonderful time on the road in northern California last month. Packing the equipment skillfully into the car is always an important step, having to consider making it all fit, avoiding damage to the car and instruments, accessibility, and proper weight distribution. My equipment list included a vibraphone, four-piece drumset, cymbals, hardware bag, shimedaiko, amplifier, dry erase board, suitcase, a banker box of food, cooler, sleeping bag, and a few other smaller items. The common reaction from folks who helped me load in or out is "wow, you fit all this into that car?!"

photo credit: Tracy Cornish

photo credit: Tracy Cornish

My first engagement of the tour was an outdoor concert with Kenny Endo at the Satsuki Bazaar in Berkeley on May 22. It was a beautiful day and we had an enthusiastic audience. The other musicians included Mas Koga (shakuhachi, saxophone, shinobue), Noriko Tsuboi (koto), and Hiroshi Tanaka (taiko, percussion). For the final piece "Spirit of Rice," Kenny called up the great drummer Akira Tana to sit in with us. What a blast that was! Akira brought an infectious groove and energy, taking the music to a whole new place. Thank you to Pam and Judy for taking great care of us.

photo credit: Tracy Cornish

photo credit: Tracy Cornish


tabla at musician's mall

Next door to the Berkeley Buddhist temple is a great Indian music store called Musician’s Mall. My friend Robbie Belgrade works there and he kindly gave me an extensive tour and hands-on demonstration of all the instruments there. I have been big fan of Indian music for a long time so it was a treat to experience this in person. The bansuri (Indian flute) is especially intriguing and I couldn't resist picking one up along with a method book. By doing some preliminary self-study, I hope to gain a bit more insight into this deep musical tradition.

bansuri and method book
harmonium at musician's mall
sitar at musician's mall

jiten daiko workshop

My next stop was a workshop for Jiten Daiko in San Francisco. They requested the topics of sounds, sticks, and ji playing. Everyone had great energy and thoughtful questions, and I really enjoyed working with all of the members. As taiko players, we are always looking for a space that can accommodate loud drumming, is spacious, has storage, and is affordable. It's great that Jiten Daiko has figured this out! Thank you to Kristi, Jeremy, and Galen for your work in putting this workshop together.

 


After a few days of teaching some private lessons in the area, I headed to UC Davis for the 2016 Intercollegiate Taiko Invitational held over Memorial Weekend. It was my first time attending this annual event and I came away appreciating the scope and depth of the current collegiate taiko scene. I was asked to teach two workshops called Solo Composition, which is a subject I enjoy covering. Among the 50 total participants in my workshops, I found that many had an interest in learning how to add more visual elements to their soloing. My approach to soloing is based more on the musical side but we were still able to apply the same concepts to expression through movement. Thank you to Gloria, Lisa, Eric, and Bakuhatsu Taiko Dan for all your work in hosting this event.

intercollegiate taiko invitational 2016
eien's opening demo at intercollegiate taiko invitational
eien's workshop at intercollegiate taiko invitational

Eien concert with Robbie Belgrade, Shirley Muramoto, John Kaizan Neptune

I was unable to stay for the entire weekend of ITI because of having to leave immediately after my second workshop to play a concert with John Kaizan Neptune at Kuumbwa Jazz in Santa Cruz. Admittedly, departing Davis at 5 PM for a 7:30 PM start time in Santa Cruz is a bit risky, but I was fortunate with very light traffic and arrived 15 minutes before downbeat. This was my second time working with John but I have known his music since discovering his album Tokyosphere in the late 1980s. Compact discs were just becoming popular and the first two CDs in my collection were John Kaizan Neptune and Led Zeppelin. Also performing were Robbie Belgrade (tabla, percussion, bass clarinet), Shirley Muramoto (koto), and Kyle Abbott (shamisen). There was also a very special guest in the audience, the innovative creative genius of shakuhachi making in the US, Monty Levenson. John called up Monty to sit in for the final piece where he jammed on the "takeda," a bamboo-only instrument similar to udu and west African drums invented and built by John. I had the opportunity to play the takeda previously and John knew how much I liked it, so I felt honored when he generously gave me the one he was playing during the concert. My friend Kyle offered to host me at his place for the evening and I had a great time hanging out with him late into the night over a complex bourbon-barrel aged stout, discussing music, teaching, coffee, food, and possible future collaborations. Kyle also got up early next morning to make me a great cup of coffee before my departure. Thank you to John, Ginger, Kyle, Leslie, Monty, Kayo, and the wonderful crew at Kuumbwa Jazz.

Eien concert with John Kaizan Neptune, Monty Levenson, Kyle Abbott
Eien concert with Robbie Belgrade, John Kaizan Neptune, Kyle Abbott
Kyle Abbott capuccino
Kyle with coffee

Eien with Ichimi Daiko in San Luis Obispo

My final stop was a workshop for Ichimi Daiko in San Luis Obispo. I had met this group several years ago when I was on tour with Kenny. This was an especially enjoyable workshop because of the warm hospitality and positive atmosphere. I had fun working with this group of mixed ages and experience levels because of everyone's full engagement and willingness to try anything. There was a potluck after the workshop where everyone brought delicious food, giving us the opportunity to relax and get to know each other. Thank you to Ruth, Steve, and the whole Ichimi Daiko group for such a wonderful ending to my tour.