willrichtor
October 15th, 2009, 08:01 PM
Yesterday, at about 4:30am, I took possession of my first ever box from SOM. It was about 1/3 of the way into a UPS trailer(I unload them) and was in perfect condition, unlike the majority of the rest of the boxes in that particular trailer, which were hell bent on busting my lips and making the first hour of work miserable.
When I got home later and opened the box up, there were my two prizes: a Musashi Bamboo katana and a Ryumon folded tanto, both with red lacquer finished saya(is the plural of saya still saya? sayas does not sound right).
The musashi was packaged in the full colour printed musashi cardboard box, suppourted by inner styrofoam blocks. It was wrapped in a black cotton sword bag(at least I think it's cotton, it doesn't have any feel of synthetic about it, and has that slightly faded look that black cotton has) and came with the certificate from Musashi. Designed by Sam Sung, who makes very VERY nice Televisions on the weekend. Blade length 28.5" - an inch and a half longer than the advertised 27", and just at the upper limit of what I can draw comfortably. This is not a sticking point for me, just proof that it was indeed made by human hands.
The first thing I noticed was the saya. I was expecting a RED red saya, like ferrari red, and opaque lacquer. Instead, my jaw literally dropped when I saw a deep dark red, almost cordovan or oxblood in tone, nearly the same colour as a 15 year old pair of Dr. Martens I have. There is also the tiniest bit of metal fleck in the lacquer which makes it sparkle here and there, it's done so sparsely that you have to really look to see what is causing the glitter - it's a gorgeous effect. When I looked closer, I was even more surprised to see under this black cherry lacquer, there was WOODGRAIN! If this is represenative of the lot, I think it should be noted, because, for me at least, these characteristics are a major selling point. Red to ruddy brown woodgrain makes me salivate the same way simply thinking of Mexican candy, with the crushed dried chilis on the outside does. There I go again. The only criticism I can levy against it is that there are 3 tiny fisheye bubbles in the lacquer on one side, all in a row. I was expecting much more in the way of imperfection at this price range. Having done both woodwork and finishing, I would charge much more than $100 for creating such an object(just the saya)
The blade is very well fitted to the saya. It is stable but does not take excessive thumb pressure on the tsuba to pop the habaki out, there is no rattle when sheathed, and the only issue at all is that inside the blade channel on the outward facing side(omote?) there was evidently a tiny little knot that is causing a slight oxidation on the habaki's omote face. Dead center on the habaki. It's causing it to turn a slight pinkish hue. I don't consider it a big deal and don't know if I will do anything to to try and fix it or not. Maybe I'll break out the dremel engraver and put a little lincoln head there. :-O
The tsuka is very neatly wrapped, the diamonds of the maki are tight and consistent. The ito itself has a comfortable soft feel to it, but it definitely is pure cotton. It has the slight peach fuzz that cotton just has and that ever so slight fade that black dyed cotton just has. For what it is, I think it's very nice.The same is a nice ivory colour, with little bits of slightly more amber tinted areas, and along with the cotton ito, it provides a very sure and positive gripping surface. I'm sure it could be tighter... it can ALWAYS be tighter, right? That's what I was told drives people crazy during tsukamaki. The tsuka seems overall quite well made. I was not able to remove it in my attempts so far. The mekugi came out without undue force, but the handle is very firmly attached.
The koshirae is a very attractive set. I'm not sure on the mixing of the black iron and blackened brass pieces yet. The fuchi-kashira are very attractive, ranging in tone from an iron black to bright penny copper in the highlighted areas. The menuki though, are black with a verdigris. I imagine the fuchi-kashira will develop the verdigris over time and it will even out. The theme is very pleasing and the parts are decently cast. The detail of the menuki is especially clear, and I have not noticed any flashing or sprue marks on any of it. The tsuba, contrary to the assumption in one of the other reviews, is very much iron. It is a bit anemic in my opinion, but I doubt it will ever be an issue. I may change the koshirae, or the tsuba at least, if something catches my eye one day.
Now, the blade. Little longer than expected, but that's alright. Another half inch and it would be really noticeable on the draw or sheathing. The blade came covered in a thin coat of oil which was easily removed. I haven't looked at the nakago, having been unable to remove the tsuka as of yet. Boshi, I am unsure how to categorize. The boshi looks like Alfred Hitchcock's silhouette on the ura side. No turn back at the tip. The omote side is Yakizume. The kissaki is definitely the roughest part of the blade in terms of polish. The rest of the hamon, honestly is all over the place. It seriously looks as if they used the length of the blade in patches to practice different styles. From the habaki, it is billowing clouds and a few inches up it goes into gunome. A few inches from that it goes into togare for a couple of sections, almost yahazu in a spot, then back into gentle clouds. Is it possible these are the students' practice blades at the Academy? It's pretty striking, no idea what to call it.
Point of balance is 5" from the tsuba. The only other functional katana I have handled was an old Kris, and it feels much lighter and quicker than I remember that sword being. The blade is extremely sharp, much less so as it nears the habaki, but very sharp for most of it's length. It is not quite hair shaving sharp, but it is close enough to make that popping sound when you try. A couple of test cuts on a piece of paper yielded razor sharp edges on the paper which I found out the hard way. I knew I'd find a way to cut myself somehow.
Overall, This is an incredible buy at $99. I bought it as a means to evaluate the brand's work and I am supremely impressed. I am very curious about their higher end swords. The ratio of price to the work that has obviously gone into this sword get it a 5/5 even with it's small flaws and quirks. I will add pictures when I get a chance.
When I got home later and opened the box up, there were my two prizes: a Musashi Bamboo katana and a Ryumon folded tanto, both with red lacquer finished saya(is the plural of saya still saya? sayas does not sound right).
The musashi was packaged in the full colour printed musashi cardboard box, suppourted by inner styrofoam blocks. It was wrapped in a black cotton sword bag(at least I think it's cotton, it doesn't have any feel of synthetic about it, and has that slightly faded look that black cotton has) and came with the certificate from Musashi. Designed by Sam Sung, who makes very VERY nice Televisions on the weekend. Blade length 28.5" - an inch and a half longer than the advertised 27", and just at the upper limit of what I can draw comfortably. This is not a sticking point for me, just proof that it was indeed made by human hands.
The first thing I noticed was the saya. I was expecting a RED red saya, like ferrari red, and opaque lacquer. Instead, my jaw literally dropped when I saw a deep dark red, almost cordovan or oxblood in tone, nearly the same colour as a 15 year old pair of Dr. Martens I have. There is also the tiniest bit of metal fleck in the lacquer which makes it sparkle here and there, it's done so sparsely that you have to really look to see what is causing the glitter - it's a gorgeous effect. When I looked closer, I was even more surprised to see under this black cherry lacquer, there was WOODGRAIN! If this is represenative of the lot, I think it should be noted, because, for me at least, these characteristics are a major selling point. Red to ruddy brown woodgrain makes me salivate the same way simply thinking of Mexican candy, with the crushed dried chilis on the outside does. There I go again. The only criticism I can levy against it is that there are 3 tiny fisheye bubbles in the lacquer on one side, all in a row. I was expecting much more in the way of imperfection at this price range. Having done both woodwork and finishing, I would charge much more than $100 for creating such an object(just the saya)
The blade is very well fitted to the saya. It is stable but does not take excessive thumb pressure on the tsuba to pop the habaki out, there is no rattle when sheathed, and the only issue at all is that inside the blade channel on the outward facing side(omote?) there was evidently a tiny little knot that is causing a slight oxidation on the habaki's omote face. Dead center on the habaki. It's causing it to turn a slight pinkish hue. I don't consider it a big deal and don't know if I will do anything to to try and fix it or not. Maybe I'll break out the dremel engraver and put a little lincoln head there. :-O
The tsuka is very neatly wrapped, the diamonds of the maki are tight and consistent. The ito itself has a comfortable soft feel to it, but it definitely is pure cotton. It has the slight peach fuzz that cotton just has and that ever so slight fade that black dyed cotton just has. For what it is, I think it's very nice.The same is a nice ivory colour, with little bits of slightly more amber tinted areas, and along with the cotton ito, it provides a very sure and positive gripping surface. I'm sure it could be tighter... it can ALWAYS be tighter, right? That's what I was told drives people crazy during tsukamaki. The tsuka seems overall quite well made. I was not able to remove it in my attempts so far. The mekugi came out without undue force, but the handle is very firmly attached.
The koshirae is a very attractive set. I'm not sure on the mixing of the black iron and blackened brass pieces yet. The fuchi-kashira are very attractive, ranging in tone from an iron black to bright penny copper in the highlighted areas. The menuki though, are black with a verdigris. I imagine the fuchi-kashira will develop the verdigris over time and it will even out. The theme is very pleasing and the parts are decently cast. The detail of the menuki is especially clear, and I have not noticed any flashing or sprue marks on any of it. The tsuba, contrary to the assumption in one of the other reviews, is very much iron. It is a bit anemic in my opinion, but I doubt it will ever be an issue. I may change the koshirae, or the tsuba at least, if something catches my eye one day.
Now, the blade. Little longer than expected, but that's alright. Another half inch and it would be really noticeable on the draw or sheathing. The blade came covered in a thin coat of oil which was easily removed. I haven't looked at the nakago, having been unable to remove the tsuka as of yet. Boshi, I am unsure how to categorize. The boshi looks like Alfred Hitchcock's silhouette on the ura side. No turn back at the tip. The omote side is Yakizume. The kissaki is definitely the roughest part of the blade in terms of polish. The rest of the hamon, honestly is all over the place. It seriously looks as if they used the length of the blade in patches to practice different styles. From the habaki, it is billowing clouds and a few inches up it goes into gunome. A few inches from that it goes into togare for a couple of sections, almost yahazu in a spot, then back into gentle clouds. Is it possible these are the students' practice blades at the Academy? It's pretty striking, no idea what to call it.
Point of balance is 5" from the tsuba. The only other functional katana I have handled was an old Kris, and it feels much lighter and quicker than I remember that sword being. The blade is extremely sharp, much less so as it nears the habaki, but very sharp for most of it's length. It is not quite hair shaving sharp, but it is close enough to make that popping sound when you try. A couple of test cuts on a piece of paper yielded razor sharp edges on the paper which I found out the hard way. I knew I'd find a way to cut myself somehow.
Overall, This is an incredible buy at $99. I bought it as a means to evaluate the brand's work and I am supremely impressed. I am very curious about their higher end swords. The ratio of price to the work that has obviously gone into this sword get it a 5/5 even with it's small flaws and quirks. I will add pictures when I get a chance.