instruments- Karakui will require the use of Rosin (made of Pine resin, oils, ash, etc.), after an initial period. The Rosin is applied as a thin and tacky layer, adding grip between the two wood pieces. Karakui are infamous for breaking with the slightest impetus, and are therefore readily available individually or in sets of 3. Karakui also act as another face of expression for the Sanshin- they can be carved in a variety of different styles and designs, and finished in a range of colors, textures, and some can even be 'tipped' with Jade, Coral, or other stones, shells, and natural decorations. Another part of Sanshin's body is susceptible to damage- and that is the head, or 'Ten'. It can be scratched, dented, or even completely broken off, if mishandled. A textile, simply called a Ten cover, is a small, elastic-reinforced slip-cover that is generally padded and quilted, to provide a bit of protection against surface damage. These Ten covers can be used at all times, or can be removed during play. Use during play will not effect sound quality. Ten covers come in as big of a variety as Doumaki, many made to match. The finishing touch, and arguably 'the Soul' of every Sanshin, is the Doumaki- the decorative textile that surrounds the head of the Sanshin. Dou, meaning 'drum' and Maki, meaning 'Wrap'. Most often, Doumaki are made from modern fibers and methods, and display the Royal Crest of the Ryukyu Kingdom (Hidari Gomon), in rich black and gold. These days, a wide variety of both modern-made and traditional hand-woven Doumaki can be found both in Japan and by world citizens via the internet. They can range from US$10 (for traditional design and cheaper materials), all the way to US$175, for the magnificent hand-woven Doumaki, made with hand-spun silk or the famous Basho-fu, 'silk' made from the trunks of Okinawan Banana trees. These high-end Doumaki may also incorporate leather, python skin, Bingata fabric (Okinawan 'stencil & paste' dyeing), Minsaa weavings (traditional Ryukyu '4 & 5' Square patterns_ and other natural/modern materials. In addition to synthetic skins, another modern cost-cutting adaptation is the 'New Wood' Sanshin- an instrument that abandons any type of 'skinning' of the body, and instead utilizes a thin panel of wood composite. This wood face is then finished and decorated in any number of fashions. This 'New Wood' design has pioneered the seemingly popular