Soba kiri, or soba-giri bocho, a Soba cutting knife.
There are many noodle restaurants near me in the East Village of Manhattan. What is different about Sobakoh is that the noodles are cut by hand. And you can watch them being cut by a master soba maker, Hiromitsu Takahashi. Japanese food + handcraft = I’m there.
Sobakoh has been making hand cut soba, from organically grown sobakoh (buckwheat flour), since the mid 2000′s. Nozaki’s book on Japanese kitchen knives mentions soba was originaly a kind of fast food in Japan, beginning about 300 years ago.  Hand cut soba is called Teuchi-Soba to differentiate it from the machine cut variety.
A special purpose knife is used to cut the soba: a Soka Kiri. Takahashi’s knife, above, is a beautiful example. Note the straightforward contour of the scales as they transition to the blade and graceful curves on the blade. If you look at the two spots of light reflection towards the left of the blade, you can see the secondary bevel where it is sharpened. The knife is not over finished, or excessively polished in one area or another, but is well integrated, especially with the functional, lightly varnished (?) handle.  I’m becoming more and more a fan of wood handles with little or no finish on them: although they get a dirty, stained or develop a patina quickly, the feel of the uncoated wood provides unparalleled tactile feedback and comfort. Any surface coating changes this, to a degree. Obviously, different woods feel quite different, from silky smooth swiss pear wood to a almost rough feeling burl. The handle on this knife knife is similar to a bearded axe; an old form, supposedly dating from the 6th century. This handle position allows a high degree of control of this hefty knife which weighs about two pounds and has a blade length of about 12 inches, since the placement is directly behind the blade. The weight of the knife does most of the work: the soba master places it and slides it downward in a diagonal. Slicing in a diagonal, like a guillotine, lowers the effective cutting angle of the blade, giving a cleaner cut. A clean cut preserves more of the food’s visual integrity and umami.
But as I was inexpertly slurping my soba, occasionally with the noodles slapping up onto my glasses, I wondered if these hand cut soba noodles tasted better because they were hand cut, or if it were due to other factors: the broth, the fresh buckwheat, the slightly irregular size, the knife used, the cutting board, etc…. Or is it because I naturally value the work of the hand more than that of a machine. Was I subscribing to a cultish adulation of handwork? What I respect in David Pye’s work is his refusal fetishize handwork.  Pye has a craftsman’s take on the philosophy of handwork that lead him to emphasize the rational, aesthetic and practical advantages over machine production. But Pye also has a great respect for well designed machine craft. Soetsu Yanagi, who is Pye’s more romantic Japanese craft/philosopher counterpart, has a more dichotomous view, linking machine work – science – the head, in opposition to hand work – religion – the heart. “Moreover, the nature of machine work is such that its products are standardized and thus monotonous and cold, ill-fitted to serve as man’s companions in his daily life.”  Some of the heart, in this case, is reflected in the small variation of noodle width and thickness. Yanagi has an entire chapter on the beauty of irregularity.
Sobakoh – Soba Master
So to return to my question; why does handout soba taste ‘better’ than machine cut, other factors aside? I think it does, although I haven’t done a rigorous, side by side blind taste test. Is it only the subtle irregularities in size of the noodles (sabi?) that identify them as handmade, and therefore are perceived as better than a machine made noodle? These variations in size are extremely small. If you watch the video of Takahashi cutting the soba, he works in a highly methodical, almost machinelike manner, moving the wood cutting guide (komaita) a small amount with each precise cut. His foot positions steady his entire body and notice the way he holds the knife: it is not his arm the guides it downward, but his shoulder and upper torso. Even his surroundings emphasize his machine like nature. He enclosed in his small soba room, like a motor encased in a machine, on display. He is the first thing you see from the street as you walk into the restaurant, so you know these noodles are handmade.
Or could it actually be that this physical action of his hand, done with a careful movement by a skilled master who has trained in the tradition of the soba craft, that somehow affects, almost inexplicably, their taste in a way that no machine can replicate? Is this the taste of craft?
 Nozaki, Hiromitsu. Japanese Kitchen Knives: Essential Techniques and Recipes (Tokyo, New York and London: Kodanasha, 2009), 131. There is also a nice closeup showing hand and body position while cutting soba on page 130.
 Pye, David. The Nature and Art of Workmanship (Bethel, CT: Cambium Press, 1995), see Chapter 9.
 Pye, The Nature and Art of Workmanship, 23-29.
 Yanagi, Soetsu. The Unknown Craftsman: A Japanese Insight into Beauty (Tokyo, New York and London: Kodansha International, 1978), 107.
 Yanagi, The Unknown Craftsman, 108.