noseflute.org: Bocarina

Showing posts with label Bocarina. Show all posts

Feb 12, 2023

Rest in peace, dear Chris...

Dear nosefluters, we have a very sad news to share. Mr. Chris Schuermans passed away on 3rd of February in Pretoria (RSA), after a long illness, that he faced with courage and against which he fought like a lion. Chris was a very good friend of us, at Noseflute.org, and we mourn for his loss with all our heart.

Chris Schuermans was the designer and producer of the Bocarina^® nose flute, among other instruments. He began with clay models in the early 2000s, named Clarytone^®, which reached only a local market. But in 2011, after a huge work on the design and the fluid mechanics (including testing the shape with a wind tunnel modelization software), Chris launched the Bocarina^®, which quickly became available in the USA, Europe and Japan : a beautiful, sturdy and easy-to-play, yet musically efficient and powerful instrument was accessible for several Dollars. The Bocarina^® was indeed a high standard manufactured instrument, and has remained since the only nose flute with such capabilities in that range of prices.

Clarytones :

Bocarinas (Regular (in ABS) and early batches (in Polypropylene) :

Clay and ceramic Bocarinas :

Bocarinas experiments and "Glow in the dark" models :

Chris Schuermans could have stopped there, but he followed his researches on, and in 2016 began the production of the Bocarina Pro^®. The goal was to make an instrument in soft plastics, with the purpose of adapting to different types of noses and physiognomies. More, he designed a very new kind of fipple, with a wavy shape in order to expand the ambitus. Chris managed with a hard ABS "technical insert" (the wind way and fipple piece) inset into a soft body (nose hood and mouth shield). The global pitch was a bit higher and the nose flute a bit more tricky to manage, but above all, the manufacturing process was not satisfying (not fully reliable and expensive). That Bocarina^® II didn't convince as did the regular model.

The Bocarina^® Pro and its incredible fipple :

But Chris carried on, learning from mistakes. Trying 3D printing, 5-axis CNC routing, designing new prototypes and testing different materials, natural and synthetic wood, or rare and expensive other ones imported from different parts of the world. Chris, always very generous, sent us (The Nosy Diva and me) many of those rarities, and some sit among our very best nose flutes. For sure, these would have been too expensive to be mass produced. They were experimental objects dedicated to knowledge improvement.

Natural wood and Chemical wood (Necuron 651) :

On the ceramics side, Mr. Schuermans designed moulds to press clay, not necessarily to produce ceramic Bocarina^® in a wide number, but to ensure a regular quality. I don't know exactly how many different models were made in his workshop, but one day he had sent me another ceramic prototype (which plays wonderfully!), I asked him which one it was, and Chris answered to me : "this one should be Bocarina shape #7 or #8, I guess". Not many, but around a hundred or two of the clay Bocarinas (different shapes) reached the market, mainly in Japan (plus Chris' local one in RSA).

Different shapes of ceramic Bocarinas :

But that was not all. Already ill and sometimes very weak, Chris Schuermans had the idea to use the shape of a conch to amplify the nose flute voice. Progressing with "miss and hit", fails and wins, Chris built several prototypes, firstly from (medical) scans of real shells, then by CAD-designing a perfect shape according to acoustics. We suggested to call those "Concharinas", which name Chris adopted. He also wanted to produce some of them in ceramics, but the task revealed very difficult (too many cracks after firing the clay) but not impossible, since he managed to craft successfully some of them. Chris' strength was vanishing away, but our gentle and kind yet... stubborn friend kept on working on the Concharinas with all his heart between his stays at the hospital.

Medical scans of Concharinas :

Raw clay and glazed ceramics :

Chris' last project is a 3D printed shell-bodied violin, which he had just the time to complete. The "Conchiolin" ?

The Conchiolin :

Chris Schuermans' legacy to the nose flute world is huge. He simply re-invented the instrument with a high-tech approach, a real sense of aesthetics and a true and talented craftsmanship. More, he succeeded in manufacturing, ensuring a reliable and regular quality, making professional instruments accessible to anyboby. Chris Schuermans was a true Master, and has been inducted to The Nose Flute Hall of Fame, in the 'Producers' section, at the highest level.

---

We will terribly miss our friend Chris. We had incredibly interesting talks with him, and funny ones too. He was a kind gentleman and a very sharp mind. We address our deepest condolences and warmest thoughts to his family, particularly to his brother Lodewyk and his children.

Jul 23, 2016

Selfie with Uke Master Will Grove-White

NoseFlute.Org was honoured by the visit of Mr. Will Grove-White (and family), respectable member of the Ukulele Orchestra of Great Britain (UOGB) and reknowned nose flute enthousiast! Very proud of this unmerited honour, Noseflute.org associated with the incomparable Nosy Diva to take a fluty selfie with Will's pair of young bodyguards, in front of the Neptune fountain (Nancy, France).

Then at the Wallet Instant Wallet Nose Flute, at the Snoot Flute, and at the Numero 9, my koa uke built by master Gérard Guasch:

Mar 28, 2016

The Bocarina^® Pro - Part V : Ceramics

To conclude (momentarily) our presentation of the new Bocarina^®, let's have a look at some specimens Chris Schuermans made in glazed ceramics. Remember Mr. Schuermans is originally a ceramicist, before entering the plastic nose flutes manufacturing...

Chris sent us (the Nosy Diva and me) as gifts (thank you Chris!!) two great samples, pressed in a mould, then glazed and fired at high temperature. They share the same characteristics than the plastics ones, but obviously aren't soft and can't be bent.

The other little difference come from the position of the logo (down the mouth shield), in a simpler design.

Three other specimens, absolutely stunning, have also appeared in the Japanese toy shop Galiton:

---

Mar 26, 2016

The Bocarina^® Pro - Part IV : Interview

Let's continue our exploration of the new Bocarina^® Pro with an interview of its inventor and designer, Chris Schuermans from Pretoria, South Africa. We hope that this discussion will answer all the kind of questions that occured with this new model.

Big big thanks to Chris Schuermans for having taken the care and the time to answer us.

Noseflute.Org:
The Bocarina^® is a super good nose flute, certainly the best manufactured one. Why did you decide to create a new one ?

Chris Schuermans:
Thank you for the compliment! There were a few factors that prodded me in that direction.
It was blatantly obvious that there was room for improvement. Practically as soon as the first design went into production, I realised that it is not a great design and the playability of the Bocarina^® is not ideal.
The high notes are difficult to control and come out harsh because the instrument has to be blown hard in the high range. This also means it uses a lot of breath to play the instrument.
The other problem was the ergonomics; the old model did not fit well on many face types because the nose saddle was too narrow.
Lastly, I did not like the look of the insert on the face side of the Bocarina^®. The joint gaps are unsightly.

The new and the original nose saddles:

NFO:
When did the process start, from the first idea until the production ? What were the different steps of this process ? What is the reason of the wavy labium ?

CS:
I guess it started when I made a ceramic Bocarina^® that played better than the mass produced plastic model. The high notes were sweet and it was almost effortless to play and control the high notes. Furthermore,
I could play the instrument very softly. (whistles tend to squawk when they are blown softly)
This initiated the search for a better fipple. That was about three and half years ago... I did a lot of experiments with clay whistles but I could not figure out what worked and what did not. I needed a more scientific approach so I resorted to 3D Computer Aided Design (CAD). My first few 3D CAD models were printed with a 3D printer. However, the resolution of the 3D printer was just not good enough and it was too expensive so I decided to buy a CNC (computer numeric controlled ) milling machine.
I started experimenting with ocarinas because they are easier to mill than nose flutes. My aim was to make the fipple as efficient as possible, so I applied a few basic principles of aerodynamics to my fipple designs. I filleted the corners of the air passage and the fipple.
I also figured out that a straight line for the labium edge was not ideal. I tried a U-shaped labium edge but I got much better results from a wavy labium edge. I also curved the fipple surfaces outward to allow the air to expand as it leaves the end of the airway.
I have a feeling that this new fipple design could set a new standard for all whistle and flute makers.

Renderings of the WIP and final fipple design:

I experimented with different sized fipples and the spacing of the labium edge. During the course of experimenting with the fipple I also refined the shape of the body in gradual steps.

NFO:
I know you encountered a bunch of difficulties that you overcame with success: please could you detail ?

CS:
There were some challenges and a few bumps in the road.
Firstly, to get the instrument to fit as many different faces as possible became very challenging because I could not get any facial ergonomic data about the average human face.
Once the design of the new Bocarina^® was finalised the mould design for the toolmaker had to be done. This became a major obstacle. I eventually found a German toolmaker/ mould designer who took on the work, however, he gave up after about 20 hours of work. Eventually, I had to design the punch and cavities for the moulds. By the time I finished the designs, the toolmaker who made my previous mould couldn't slot in my work because he had taken on a big project. This presented me with the next challenge; to find a toolmaker who was interested in taking on a difficult project.
There were also a few hiccups and delays with the mould making process.

NFO:
The new Bocarina^® has got a peculiar design! Why did you use two different materials ? Which are they ?

CS:
The aim of the two part design is to improve the ergonomics and aesthetics.
The intention, is that by having a flexible body, the instrument will fit on more face shapes.
The air passage is made of a hard ABS (Acrylonitrile-Butadiene-Styrene) plastic which is over-moulded with a flexible TPE (Thermoplastic Elastomer)

NFO:
This nose flute is clearly « pure, sharp and quick » oriented… Is it a « professional » model ?
(if the Bocarina^® was a Grand Tourism Ferrari, is this one the Formula 1 model ?)

CS:
I appreciate the comparison -- Thank you for the compliment Antoine!
The goal was to make an efficient nose flute. I do hope that eventually it will be used professionally.
It is more difficult to master than the 'old' Bocarina^® so it is not intended for beginners.

NFO:
How should we call this new flute ? « the new Bocarina^® », « Bocarina^® II », « Clarytone^® » ?

CS:
I have already been asked this question and I'm still not sure.
The name Bocarina^® is derived from Boca or Buca, Spanish and Latin for mouth and ocarina (closed vessel flute), suggesting that the Bocarina^® turns your mouth into a closed vessel flute.
I was hoping that this would end up being the generic name for nose flutes, because technically, I think, the name nose flute is not descriptive enough -- the instrument is merely blown with the nose and the mouth forms the sounds.
So, at best it should be called a nose and mouth flute.
Clarytone^® is the name of my business but it could also serve as the name of the 'new' Bocarina^®
How about Bocarina^® Pro?

NFO:
How many colours will be available ? Which ones ?

CS:
The colour choice was not easy to make, so I decided to try a fruit colour scheme.

Here are the proposed colours:

Intermediate renderings for the colour chart:

NFO:
When will they be released and available to the public ?

CS:
I already have some that are available to the public but they are not perfect. There are still a few issues with production and the moulds.
As you will notice on the instruments I sent you, there are flashes of plastic on the edges where the mould shut off surfaces are. You will also notice that there is a problem with the injection point, which will probably have to be moved.
The over-mould material (TPE) is also an issue -- I have to find the correct one that will chemically bond with ABS plastic and it must be:
          ·Food Safe
          ·Odourless
          ·Smooth, not sticky or tacky (good haptics)
          ·Colourable
          ·Affordable
          ·Shore 60-70 hardness
          ·Hopefully available in South Africa

I have already tested 5 different grades of TPE and only one of them is silky smooth -- but it is relatively expensive because it has FDA (Food and Drug Administration) approval.
I plan to test a Urethane Based TPE within a week or two.
Production can be finalised once I have decided on a over-mould material and once the mould has been modified.

NFO:
Will the regular Bocarina^® still be produced ?

CS:
Yes the 'old' Bocarina^® is still going to be produced. Its popularity is growing, especially in Japan. Furthermore, the 'old' Bocarina^® is easier to play and is well suited for beginners.

NFO:
Thank you a lot, Chris! Now, we're all impatient to see this new nose flute available on the retail market!

---