David Mirabile RONIN Battle Tanto WIP (PAGE 25 NEW CUTTING VIDEO)

Generally, cedar wood is naturally very resistant to decay, moisture, and insects. It's light and strong, and smells very nice. I'm surprised non-sappy varieties aren't a common first-choice for something like a finely-made saya/scabbard!
 
Okay before I go in to David's SAYA I would like to explain what I look for and what I want in the way the sword fits into the SAYA (scabbard)

This is my preferences and others might have different preferences and likes and I do not know what is considered proper ....only as a user what I like

The Habaki for me needs to fit into the mouth of SAYA on the snug side

For demonstration purposes I just placed a sword thru my belt ...no Obi (traditional Japanese sash)

Sash carry is all that interests me for this type of blade

Sword resting in sash




I like the Habaki to be tight enough that it has good retention . Now don't get me wrong I would never tilt a sword Tsuka down like this with out holding the blade into the SAYA like this



But for example here I will not control my blade and tilt it forward with out holding it in (controlling) the sword

I want the fit to be snug enough that I can do this







Now for me when ever I'm moving or doing anything quickly I am controlling my sword by wrapping my thumb over the Tsuba (guard)





Now remember I like a very tight fit so when it's time to draw the sword my thumb moves to the rim of the Tsuba (guard)



I straighten my thumb out in turn breaking the seal of the Habaki and releasing the sword



So this is what I like and next we will go into what David is doing to facilitate this

Thanks
 
Okay

I have never done a draw cut that I have by mistake cut thru the mouth of the SAYA

Thank god :)

When I get this piece I will do a video demonstration of how all this works in real time

After breaking the seal with my thumb I than depending on what angle I want to draw the sword to facilitate the cut roll the sword controlling the SAYA with my weak hand while drawing with my right

This sword is an exercise in what David and I want in this type of piece

Just to be overly cautious I asked David to reinforce the mouth of the SAYA

His comment was you will never cut thru the carbon fiber ..... My comment was please reenforce it anyway :)

This is how he did it

From David :

I decided to use a strip of copper on the ha side of the saya for extra safety from the blade cutting through the saya, should you screw up the draw cut. I tried to imagine how this unforeseeable event could happen... With the carbon fiber skin over the saya, I don't think it would happen, but Joe wants this to be battle ready and wants no chance of the unthinkable to happen. I was going to use an iron or ti. band around the mouth of the saya, but that wouldn't prevent what I could see happening should you really try to rip that blade out at some weird angle. So I rolled and forged a strip of copper to fit along the edge of the saya. This will also be covered in carbon fiber.

First I carved away some material from the edge of the saya so as not screw up the flow...







The next step creates the integral koiguchi. Also gives me the habaki to saya fit up.



This is saturated with resin, sword heavily waxed then inserted into saya...
Hopefully I will be able to remove the sword when I get to the shop this morning!






I will lay up the saya today...

To follow up on Ed's comment on the wood...
Yes, Ho is traditional. But the Japanese are importing Port Orchard Yellow Cedar to their country because of the similarities to their Ho. I have a piece of the P.O. Cedar, it's not bad, but the AK Yellow Cedar seems to me to be a cleaner wood, with almost no visible grain. Carves beautifully. Now this red cedar! Doesn't carve well, but it will carry this blade more than sufficiently.

PS.. Ed, thanks for your contributions to this thread.
And everybody that has taken time to read this short story, or post a comment.
David
 
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More from David:

My koiguchi is integral with the saya. I believe that this is where I deviate from tradition...
After breaking the nakago free from the tsuka..... You can see the seppa still embedded on the seat of the koiguchi.



You will see that the inside the saya how the carbon fiber has been formed to the bo hi.

 
That is a sweet piece! And who the hell cares if some terms are used improperly. If it looks good, feels good, and was made well, ENJOY IT.

I certainly won't collect what other people tell me I should collect... nor will I avoid certain blades because they aren't "real" or "pure".

More pics! ;]
 
sloth357 said:
That is a sweet piece! And who the hell cares if some terms are used improperly. If it looks good, feels good, and was made well, ENJOY IT.

I certainly won't collect what other people tell me I should collect... nor will I avoid certain blades because they aren't "real" or "pure".

More pics! ;]
Click to expand...

Thank you for commenting and I apreciate the kind words about the piece

I only want to pass off correct info so I do apreciate any help in being acurate and hope everyone is getting a lot of good information and enjoying the thread

I'm gonna enjoy the hell out of the blade :)
 
I see my friend Dan Keffeler out there and I am hoping he will comment

For those that do not know Dan he is the 5 time Blade Sport cutting champion and one of the most performance oriented blade makers out there

He also does a wicked adaptation of the Japanese style blade

Say something Danny Boy :)
 
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Very much enjoying all the photos, and the comparison with Yojimbo and A Fistful of Dollars. I've seen the latter a number of times, but never the former. I need to.

Japanese blades are beautiful. I also appreciate makers who give the traditional forms and processes a good goosing. :D
 
David is not ignorant of the proper terminology, parts or processes....he respects it and he has developed his style with careful consideration.

He has spent much time at my house checking out well mounted Japanese style blades by Bailey Bradshaw, Howard Clark, Dan Maragni and J.D Smith. He has a nice small library of reference books.

This is in deep contrast of many makers/American collectors who are WILLFULLY ignorant of the proper terminology, parts and processes....this leaves the good stuff for those of us who do know and appreciate the difference between "sorta/kinda looks like, maybe" and "wow, that's very cool"!

Great thread, Joseph, and good on you for keeping everyone well informed of all the thought that goes into a fine piece like this.

Best Regards,

STeven Garsson
 
Storm Crow said:
Very much enjoying all the photos, and the comparison with Yojimbo and A Fistful of Dollars. I've seen the latter a number of times, but never the former. I need to.

Japanese blades are beautiful. I also appreciate makers who give the traditional forms and processes a good goosing. :D
Click to expand...


Thx James
 
Kohai999 said:
David is not ignorant of the proper terminology, parts or processes....he respects it and he has developed his style with careful consideration.

He has spent much time at my house checking out well mounted Japanese style blades by Bailey Bradshaw, Howard Clark, Dan Maragni and J.D Smith. He has a nice small library of reference books.

This is in deep contrast of many makers/American collectors who are WILLFULLY ignorant of the proper terminology, parts and processes....this leaves the good stuff for those of us who do know and appreciate the difference between "sorta/kinda looks like, maybe" and "wow, that's very cool"!

Great thread, Joseph, and good on you for keeping everyone well informed of all the thought that goes into a fine piece like this.

Best Regards,

STeven Garsson
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Always love your posts STeven

As you are I am very proud of what David is doing and who he is :)
 
Steven - you have Japanese-style blades from Dan and JD! Great (and rare) pair.
Was it you that Dan made the tanto for that he spoke about at Ashokan last year (or the year before)? That was a most elaborate design and construction, and that blade is a treasure. If so, good for you.

Sorry for the distractions.

Joe and David, thank you very much for documenting this so well. It is very interesting. I make mostly Chinese and European stuff, but I respect the Japanese tremendously, and I like the modern take.

The old blades are the sort of thing that take my breath away, of course. They have something all their own.

Thanks to everyone for clarifying and keeping us straight on traditional definitions. A good technical jargon is important in a specialty field, and keeping the jargon accurate and precise is vital to helping people think and create in that idiom (sorry to play psychologist - but I complained about people using Japanese terminology when we don't use old English to describe the seax, and I don't use Texan speech to describe bowies. I was wrong, and kindly shown that I was wrong, and it was then that I realized the fact that the Japanese terminology was an important technical jargon).

Great thread. Carry on!
 
Joe, learning a lot about Japanese swords !! I have a questions, does the blade come in contact with the SAYA any place other than at the mouth ? Is it a tight fit or when the blade is inserted there is space all around it ?
 
VicS

I am sure the blade makes contact elsewhere especially along the spine

In some ill fitting SAYA's you can hear the sword clacking around

Now on smaller blades maybe once the Habaki is seated the blade could be suspended I suppose but on the way in and out its gonna touch somewhere

I differ to the folks that make them to really give an answer on this
 
does the blade come in contact with the SAYA any place other than at the mouth ?
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In the traditional sense:

Yes, it slides in along and rests on the "mune" or spine. The Habaki should holds it snugly in place to prevent it touching the sides of the saya.

When removing a sword from saya or shirasaya, it should be held with Tsuka (Handle) in right hand, saya in left with the edge up. It is removed carefully allowing the mune to slide along the saya without the sides touching the inside of the saya. The main reason being, that you want to protect the polish from "Hike Kizu" or surface scratches. Professional Japanese Polishing costs run anywhere from $80 - $200 per inch of cutting edge. NOTE: NEVER allow anyone other than a Traditionally trained Polisher polish an antique Japanese sword ! They can cause irreparable damage. There are only two such polishers in the US, one I know of in Canada and no one that I am aware of in Europe.

The exception of sword removal, would be when drawing the sword for cutting, Iai Kata or maybe self defense. Although, with so many great modern made swords available today, there is no reason to be using an antique sword for training.

If you would like to know more regarding care and maintenance of the Japanese sword, follow this link:

http://yakiba.com/care_maintenance.htm

Best,
Ed
 
kevin -the professor said:
Steven - you have Japanese-style blades from Dan and JD! Great (and rare) pair.
Was it you that Dan made the tanto for that he spoke about at Ashokan last year (or the year before)? That was a most elaborate design and construction, and that blade is a treasure. If so, good for you.

Sorry for the distractions.
Click to expand...

Hello Kevin,

Here are the Maragni and the Smith pieces. The blade on the Maragni is 14" long(nagasa) and was delivered to me about 10 years ago. He calls it wakizashi, I call it o-tanto, so there is another bit of discussion, lol!
fvct53.jpg

opzdl0.jpg


Though these are Japanese STYLE, they are clearly from materials and geometries NOT Nihonto.

Best Regards,

STeven Garsson
 
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