Another Oud growing up

Quote: Originally posted by Microber

Very nice Fritz ! What is taht wood ?

Hi Rob

This wood is "ordinary" european aged maple, but cut in a special direction to leave the rings visble and creating such nice pattern. I have just enough of this wood to make two Ouds, and both of them will be more or less identically. Same method of making, perhaps only the bracing will be another if I make one of them like a Bashir. The one you can see here could become a Bashir...

We will see

Best wishes

Fritz

Quote: Originally posted by Fritz

Attachment: phpCQ8YBQ (46kB)

Quote: Originally posted by abc123xyz

Quote: Originally posted by Fritz   Attachment: phpCQ8YBQ (46kB) Fritz, I'm not exaggerating when I tell you that I gasped out loud when I opened that attachment. That grain is stunning! David

Quote: Originally posted by faggiuols

hello Fritz this bowl is wonderful!! looks like the wing of a bird ... fantastic! full of poetry ... I want to follow as you go forward!

Hi faggiuols

That´s exactly what I thought first when I assembled the first few ribs, like feathers on a wing, one lapped over the next .
Laying the unbent ribs flat on the floor while checking the position of each rib there wasn´t this image in head... but on the mould there it comes spontaneously ! It needed the ribs tapered and bent, mounted on the mould to really see what it has become.

Ofcourse I will post the further growing of this instrument

Do you think it will look fine with the last rib on each side made of mahogany ?

May be the contrast is too hard... but on the other side there isn´t much "colour" without using other woods for some parts... only for the effect. I think, it´s too "effect-less" without the mahogany ribs. Another thought was, that the mahogany ribs are carrying the face better than the relatively soft european maple. So I would create a good base to mount the face. The acoustic effect is : The harder the "frame" to mount the face, the less it will "diffuse" the sound by giving too much impulse to the ribs of softer wood... you must imagine this movements in time lapse... you know ?

Puh... hundreds of thoughts creating a fine Oud... but the most is decided during the building steps... from one to next... more from stomach than from head...

Kind regards

Fritz

Quote: Originally posted by Microber

I already said it : VERY NICE !!!

Hey Rob

Wait some days... I try to make good progress, but I can work on it only after my hated damned unsatisfying thanksless unpayed slave-job

So I have only some moments to really focus on Oud-making... to live the passion... you know ?

Kind greetings to you

Fritz

Quote: Originally posted by faggiuols

hello Fritz know that I am not an expert so I speak from feeling, not from experience. Mahogany me spembra break too. I would prefer to continue with the maple but it can be said only after. I follow you with pleasure!

Quote: Originally posted by faggiuols

hello Fritz I saw that you are a flamenco guitarist! a friend of mine is building a guitar "blanca", with body in cypress, cedrela neck and ebony fingerboard. I'm helping him even in my limited experience, he is in his first work of liuthery. if you have any advice or information to send me I would be grateful. hello

Quote: Originally posted by faggiuols

hello Fritz besides appreciating your oud, I love very much also your philosophy ... I saw your website and your oud .. fantastic! I like your style! they are all beautiful! if you do not mind I will take some ideas for my oud under construction. 10 years ago I built a classic guitar with the help of a luthier and now I'm at my first oud. if you want to help me in my path I'd be happy. per la Blanca ti chiederò sicuramente aiuto by and thanks

It seems, you are italian native... buon giorno :-)

Surely you can take ideas for Oud-making from my site and the pics I made. If someone takes my ideas, it´s like a sign, that I made something right

And ofcourse you get my help for the flamenca blanca, if I can help.

For this you might give me your private mail address... it´s easier to write a mail with pics and so on, you know...


Buona notte

Fritz

Quote: Originally posted by Microber

What is a "blanca" ?

Hey Rob

A blanca (guitarra flamenca blanca) means a guitar made of bright shiny wood like maple or cypres, not rosewood for example, wich would be named "negra", like every dark-wooded guitar.
The term "Blanca" in flamenco describes a guitar whose back and sides are made of cypres, mostly with a top made of very fine spruce with a high rigidity. A blanca creates a more brilliant sound, has a harder and faster attack and reacts immediately on every finger hitting a string (right AND left hand !)... the sound is clear, more bright, sharp differencing every note.
In general a flamenca blanca is built with less height at neck-joint and end of body, perhaps 92mm at the end-block and 85-86mm at neck-joint (this also is than the diameter of the sound hole). The body has sharper curves, a smaller taille, but the area around the bridge perhaps is more round than triangular, like many (the most) classical guitars. There are only millimeters creating some differences between flamencas and classicals, but again between flamenca negras and blancas.

Puh... It´s very very interesting, managing these themes and discussing about the "micro-physics" of a blanca, but... like always... the heart and the soul and passion of the maker is always more efficient for good quality and soundability (and ... ofcourse, playability !) of an instrument.

I hope ... not to over-answer your question

Greetings

Fritz

Hey guys

Here are the next pics of my newborn bowl

I decided to assemble the last narrow ribs of bright mahogany to give an effect of contrast and a bit more gloss to the look. This gives the body a bit more volume inside to create a very warm tone and sound.

This body will be very lightweight and sensible to every impulse to the face.

Only the mirror is missing... but follows soon...

We will see... or hear



[file]33020[/file] [file]33022[/file] [file]33024[/file] [file]33026[/file] [file]33028[/file]

Quote: Originally posted by faggiuols

fantastic thanks fritz my email is: guido.faggioli@gmail.com Tell me if I become annoying hassle-free! hello

I wrote you a mail...

Quote: Originally posted by SamirCanada

nice Fritz I like the bowl very much. you know I would try to continue the mahogany along the neck also, it would give a nice apearance. is that 25 ribs? you are brave... thats a lot of work!

Hi Samir !

Yes, there are 25 ribs... it was a must to save as much as possible of this wood for the effect ... And... really, this was a lot of time (and nerv-)consuming work

And ofcourse I will continue the mahogany in the sides of the neck to reinforce the effect given by this contrast to the maple. Only "black & white" is too heavy... tha maple of bowl, neck and pegbox, to the ebony of the fingerboard and pegs. So this small stripes of a darker colour between is right to make the looking "comfortable" and not so strong and hard. May be the bridge is of dark red-brown wood it repeates the lower contrast and gives the face a fine looking. But I don´t know what to take for the pick guard ? Perhaps grain-alternating mahogany as I used on the last two Ouds. For the ornament in the sound-hole I try to create a pattern with a bird... or some more little birds around a central circle with an arabic script inside, remembering the feather-like look of the bowl !

So much ideas :-)

We will see ...

... and thanks for the nice reply

Fritz

Quote: Originally posted by Microber

But... Rob... I don´t think it will become a Bashir... the bowl is very deep (nearly 19cm)... it might have "too much" volume for a Bashir... I think of making a traditional bridge with perhaps a fingerboard continued to the sound hole... only one sound hole.

I have a top "on stock" wich is very soft spruce with nice structures in darker coloured areas. This would be good for the general appearence of the Oud I think... wouldn´t it ?
I´ll try to make a pic of the top... next days... But befor I have to make the mirror... but I haven´t an idea yet

Again this Oud will have a small inner curve in the face to give a low action while ensuring good playability over the pick guard.

Good things are needing time :-) And I want to make good things...

Best wishes to all

Fritz

WOW!!!!

Quote: Originally posted by SamirCanada

oh nice! I like the 4 diamond design. very nice inlays. clean work!

Quote: Originally posted by Gocauo

Thank is very sweet looking!

Thanks a lot for your comment

Fritz

Quote: Originally posted by bulerias1981

nice my friend

Quote: Originally posted by Fritz

There is some progress with the Oud... here are some new pics...

are quite agree!
is really wonderful !!!
great

Quote: Originally posted by faggiuols

Oh mio Dio ... Che può essere, ...

Quote: Originally posted by abc123xyz

Quote: Originally posted by Fritz   There is some progress with the Oud... here are some new pics... Oh my goodness... That may be, to my taste at least, the most beautiful back on an oud I have ever seen. Which is not to say that the front is not excellent, it is. It's just that your cut of the grain is something new and really unique to my own eyes. It recalls the thoughtful choice of wood and grain pattern found in a lot of luxury furniture of the Art Déco period. That diamond inset at the tail is so tasteful, like the inlays on the front. David

Hey abc123xyz or.... David

Wow... so many well sounding words in just two or three sentences : Do I deserve this ?

If you say, this Oud has the most beautyful back you´ve ever seen, than I think, you haven´t seen much :-) I have seen Ouds with much more beautiful woods, but the maker of these Ouds are well known, they are selling many Ouds, and they are doing this in a country, where the wood isn´t as horrible expensive as it is in Germany... and they are able to make Ouds of the finest materials, because the costs of the materials aren´t the biggest amount to invest for making an instrument. Here in Germany you have with "luck" a job... meaning no money and no time... so how could I get such woods... No chance

I am unknown, so fortunately my Ouds are sold time to time... and this is the reason I am able to make the next Oud... one after another. Also the tools... ofcourse I´d like to have better tools, but they are expensive, so I can´t buy them.

I make possible what´s possible with the things I have... allways trying to get best results. One example is perhaps this Oud you like so much... and your words are honest I think. I´m glad to read such words about my work... this is what feeds my passion and my wish to go on with Oud-making.

Thank you so much !!!

Fritz

Quote: Originally posted by faggiuols

Quote: Oh mio Dio ... Che può essere, a mio gusto, almeno, la più bella di nuovo su un oud che abbia mai visto. Il che non vuol dire che il fronte non è eccellente, è. E 'solo che il taglio del grano è qualcosa di nuovo e davvero unico per i miei occhi. Ricorda la scelta da parte di legno e grano modello trovato in un sacco di mobili di lusso del periodo Art Déco. Questo inserto di diamante in coda è così di buon gusto, come gli intarsi sul davanti. are quite agree! is really wonderful !!! great

i want to add my encouragement. this is oud bowl is very beautiful and you were able to take this humble wood and make it look nicer than some of the most expensive woods. I am a fan of your work, keep going man!

also to be honest I think you have improved very much from your first couple of ouds.

you will have no problems selling this one

Quote: Originally posted by SamirCanada

i want to add my encouragement. this is oud bowl is very beautiful and you were able to take this humble wood and make it look nicer than some of the most expensive woods. I am a fan of your work, keep going man! also to be honest I think you have improved very much from your first couple of ouds. you will have no problems selling this one

Samir...

Again so many very kind words... many many thanks to you.
Ofcourse I make the most beauyiful as possible with the material I have or I could get. The most important is, to know what will be the result... and so I take a special look to the woods I will work with in order to transform to an Oud.

And... when I am not able to learn from one Oud to the next, I have to lay down this work... It´s a must to make progress in every art... stagnation is the dead of every work.

Ofcourse I would be happy to be able to use flamed / curled / clouded maple (or other)... but even this block of wood, standing in the edge of the workshop of a carpenter for many years... was telling me...make an Oud of me So I did... and the result seems to be welcome ... For me it´s important to be able to use every wood... meaning not only exotic woods to create nice and well sounding instruments... to give every wood the "chance" to live again in an instrument.

Thanks to you, Samir, and to all others giving me this friendly feedback !!!

Best wishes to all of you !

Fritz

Quote: Originally posted by faggiuols

Quote: If my italian would be as good as your english, I would be able to read your text without thinking about some words... but it´s clear, that you gave me a very big compliment ! sorry Fritz I pasted the translation rather than the text. however well you understand what I mean ... I always follow you very carefully and I always hope that you post new pictures of your beautiful instrument. bye

Hey faggiuols

What ever you have wanted to post, I understood clearly

May be next days are following new pics... and soon the face will be assembled ...

Kind regards

Fritz

Quote: Originally posted by faggiuols

I expect them Fritz! now your bowl is famous throughout Sardinia .. I show the pics to everyone I meet hoping they share the poetry of your instrument with me. in truth few are interested. But my mother. which is a musician (playing the piano) was enchanted. I await the photos. bye

Have a look at the pix... Suddenly my prog won´t change them in .jpeg... so there isn´t a preview... damned ! Porca miseria

Quote: Originally posted by faggiuols

I've watched them without difficulty, but no preview.

Quote: Originally posted by Fritz

Does anybody think this bridge matches with the Oud ? With the design of the top ? I´m not sure to use this bridge ! Perhaps another is nessesary... may be with "wings" ? Any suggestions ? Be honest please if the completed bridge is ugly ore doesn´t match... Fritz

Quote: Originally posted by SamirCanada

Go with your intuition Fritz, if 1% of you doesn't like it now don't do it, by the time it's glued on it will be too late and you may hate it. Maybe this applies to you but I am like this.

Samir...

You are totally right... and I have to say, I don´t like it on this Oud... may be on another... but this Oud deserves another. more aesthetical bridge. So I decided not to glue it but ask the profs here on the fortum. I was not sure if it´s the right design, and I think it´s not. It takes away some of the elegance of the appearence of the instrument, so far it is now. And ofcourse I would be in trouble when glued on and not matching with the other features.

I will make another one... I have an idea yet... Wait and see

It´s very good to have some guys here saying what they really want to say, even when it´s not a "good" critic... but it is !

Your honest words are very important for me (as they would for others I think)

Many thanks to you !

Fritz

Quote: Originally posted by jdowning

What are the original file names of those three .jpeg images that do not currently display as 'thumbnail' previews (post dated 11-9-2014)?

Quote: Originally posted by jdowning

I have taken the liberty of renaming and reposting one of your previously posted 'problematic' image files (renamed to 'Fritz Oud Bridge.jpeg') so that it does not include one or more of the Windows reserved file characters. The thumbnail preview image now appears as intended and all is well! You might try doing the same thing to the other two images - just to get the hang of it and for practice. You should not include one or more of the following characters in your image file names to avoid this problem in future < > : " / \ | ? * Just trying to help!

Quote: Originally posted by Microber

Hi Fritz, I like this bridge. The luthier Huosain Sabsaby sometimes makes bridges with that kind of curve. I post here a few pictures that I found on his facebook. By the way, there are a lot of pictures of his ouds on his facebook. For me, it's a real museum. Robert

Hi Rob

This bridge isn´t satisfying me... not on this Oud ! Ofcourse, there are many bridges on Ouds with the same or slightly other curves... but they´re matching with the Oud´s face by the original maker. I know Hussain Sabsaby´s Ouds... very nice looking instruments indeed ! But the most bridges of the most Oud-maker are painted black while they are of maple or beech.

I want to use only natural colours, and so not every bridge looks good when in natural finish...

I think, the bridges of Sabsaby are looking good on his Ouds... and the other features are matching with the general looking. I spent a long time looking at his instruments on facebook, real beauties... a lot of them !

I am very sensitive about aesthetics, symmetrics and colours and (sound ofcourse) and many other things... so I hesitated to glue this bridge... now I know why !

Every opinion is importatnt... also your´s... it enables me to have another look on the details...

Have a nice evening

Fritz

Quote: Originally posted by faggiuols

Quote: Originally posted by Fritz   Does anybody think this bridge matches with the Oud ? With the design of the top ? I´m not sure to use this bridge ! Perhaps another is nessesary... may be with "wings" ? Any suggestions ? Be honest please if the completed bridge is ugly ore doesn´t match... Fritz Hello Fritz I'm glad you ask sincerity to the forum, because I do not like the design of the bridge. mounted on the soundboard looks like a mouth, too round, I think it would be better to design a more "oriental" ... honestly when I saw the bridge I thought I would spoil the beauty of the work! sincerely as always accurate that I speak only of personal aesthetics, as you know I'm no expert oud!

Quote: Originally posted by jdowning

Easy enough to test. Attached is the file renamed to 'Fritz Oud Brücke'. Sure enough, as you can see it is the German Umlaut in your file name that is not accepted - so the file name has been changed for you by one that is acceptable but without the thumbnail preview image. All of the three files that you originally uploaded are in JPEG format (right click on the image and check out the image properties).

Hey... what a quick answer

Yes, ofcourse I know the right mouse click... and I was wondering why despite the image was not seen as a thumbnail...

I´ll make another try to make sure the prob is fixed...

Thanks a lot for trying !

Fritz

The next try....

[file]33301[/file]

and it works

Well Fritz, if you hesityate, don't glue it, as Samir says.
Anyway... I still like it.

Quote: Originally posted by SamirCanada

I like your new bridge better, good luck with the rosette.

Quote: Originally posted by Fritz

Here is a new bridge I made today... again made with very fine (old) walnut with an overlay of Ebony... I like this combination. The tracing is clear and simple, but the effect couldn´t be overseen. I will use this bridge on the maple Oud... but soon I have to begin the rosette... hopefully I get a very fine template... Greetings Fritz

Quote: Originally posted by faggiuols

Quote: Originally posted by Fritz   Here is a new bridge I made today... again made with very fine (old) walnut with an overlay of Ebony... I like this combination. The tracing is clear and simple, but the effect couldn´t be overseen. I will use this bridge on the maple Oud... but soon I have to begin the rosette... hopefully I get a very fine template... Greetings Fritz Hello Fritz here's the real artist !! two lines and everything becomes perfetct .. very nice ..

faggiuols

In the moment the bridge is under pressure... with glue on the face of the Oud... I scratched both surfaces with a very fine japanese Nomi and applied glue on both pieces... and than the clamps...

I´ll see ... this top will be a very fine one ! I try to do the most possible to make an absolutely unique instrument...

Quote: Originally posted by Fritz

Quote: Originally posted by faggiuols   Quote: Originally posted by Fritz   Here is a new bridge I made today... again made with very fine (old) walnut with an overlay of Ebony... I like this combination. The tracing is clear and simple, but the effect couldn´t be overseen. I will use this bridge on the maple Oud... but soon I have to begin the rosette... hopefully I get a very fine template... Greetings Fritz Hello Fritz here's the real artist !! two lines and everything becomes perfetct .. very nice .. faggiuols In the moment the bridge is under pressure... with glue on the face of the Oud... I scratched both surfaces with a very fine japanese Nomi and applied glue on both pieces... and than the clamps... I´ll see ... this top will be a very fine one ! I try to do the most possible to make an absolutely unique instrument...

Quote: Originally posted by faggiuols

Fritz very nice !! strument special one is coming. I would like to know: what are the markings of the rosette? they mean something in particular? thanks

Quote: Originally posted by Fritz

Quote: Originally posted by faggiuols   Fritz very nice !! strument special one is coming. I would like to know: what are the markings of the rosette? they mean something in particular? thanks Hi faggiuols Yes, ofcourse there is a special "text" in it : It has the Maqamat music scales Arabic, Persian & Turkish names: famous rast, nahawand, hijaz, sikah etc... so told me by AlFaraby. The original is a rosette by NAHAT... AlFaraby modified it and implemented my real name in the center, difficult to write (speak) in arabic letters. But... I think, he has done a very good job ! I´m just assembling the braces now... the top will be mounted soon... Greetings Fritz

Quote: Originally posted by Alfaraby

Fritz dear ! I like to thank you for the credit you've given me to design your logo inside the old well known Maqamat rosette. I have reformulated the old calligraphy in the supposedly Nahat design, adding some touches and replacing some letters. However, it seems it's not a Nahat's matchless style, now when we see it on other makers' oud like the Hasbany's Bro. 1921 listed in ebay lately. It came as a surprise to me, this maker's name & the rosette. Great job Yours indeed Alfaraby

Dear AlFaraby...

When anybody has to thank, that´s me !

If it´s a Nahat or not.... I saw some designs nearly equal to the Nahat you sent me... slightly differeing... but the beauty is untouched ...

Since years I wished to get a good template to apply such a rostte in one of my Ouds.... and you haven´t hesitated a second to improve me !

When we see the result... that´s it !

Speaks for itself..

Many thanks to you, Sir !

Fritz

Quote: Originally posted by faggiuols

Quote: Originally posted by Fritz   Quote: Originally posted by faggiuols   Fritz very nice !! strument special one is coming. I would like to know: what are the markings of the rosette? they mean something in particular? thanks Hi faggiuols Yes, ofcourse there is a special "text" in it : It has the Maqamat music scales Arabic, Persian & Turkish names: famous rast, nahawand, hijaz, sikah etc... so told me by AlFaraby. The original is a rosette by NAHAT... AlFaraby modified it and implemented my real name in the center, difficult to write (speak) in arabic letters. But... I think, he has done a very good job ! I´m just assembling the braces now... the top will be mounted soon... Greetings Fritz thanks Fritz I'd like to see a picture near to the hole where you see decorations well. you can post that! thanks

great and excellent!!!
but you cut with a coping saw or have a machine?

Quote: Originally posted by faggiuols

great and excellent!!! but you cut with a coping saw or have a machine?

I made it with an ordinary saw with a very fine blade by hand. With a mashine you haven´t got the contol on every cutting stroke... no reaction feelable from the blade to the saw-holding hand... I prefere cutting by hand... may be in the future by laser... when I´ve sold a few Ouds :-) (just a dream ... )

All the best

Fritz

Quote: Originally posted by Fritz

Quote: Originally posted by faggiuols   great and excellent!!! but you cut with a coping saw or have a machine? I made it with an ordinary saw with a very fine blade by hand. With a mashine you haven´t got the contol on every cutting stroke... no reaction feelable from the blade to the saw-holding hand... I prefere cutting by hand... may be in the future by laser... when I´ve sold a few Ouds :-) (just a dream ... ) All the best Fritz

The next step

The sides of the pegbox are ready, and I began to prepare the neck... the core with anextra hardwood inside to make the neck stiffer against torsion and coming up sometimes.
I decided to make the fingerboard a bit thicker to prevent any moving of the neck... it will begin with 4mm thickness and ends uo with may be 6mm at the saddle...

The kanna i use are very good, fine japanese blades with two layers of different steel... making it not easy to tune the blade... bur it works well if tuned to a precise setting

Quote: Originally posted by Microber

Even the woodchips are nice !

Hi Rob

Yes... they are... and I hesitated to throw them away, but I did :-)

The kanna was very fine tuned for those slices, planing the wood in one stroke on the whole surface nearly without stressing... slowly and straight... it was a pleasure to see the chips comming up in the Kanna... I like mixing the work with aesthetical moments...

Oh how I like the japanese blades... in every kind... as there are knifes, blades for some tools like kanna... and ofcourse the genuine swords... In the past I restauratetd, classified and polished some very old Katana- and Tachi-blades and some daggers of the Koto and Shinto-period (okay... some good Gendaito, too)... So I had the "luck" to have some nice (and very expensive) stones here to sharpen the blades of my japanese wood-working tools. My Nomi have a mirror-like finish... only made with water and stone ! The are going through the wood like a hot wire through butter...

An update

The neck is mounted, the fingerboard, too, the angle against the top is nearly perfect to have an action by about 2,5mm. See the wood in the middle of the neck-wood going through the whole neck preventing any bending and torsion. The fretboard is nearly 5mm in thickness at the saddle, at the beginning about 4mm. There isn´t much to complete this Oud... so the next pix are coming soon...



[file]33656[/file] [file]33652[/file] [file]33654[/file]

Quote: Originally posted by faggiuols

hello Fritz I always follow very carefully to learn! your work is very nice. I hope you post pictures of the cut to be carried on the neck to mount the pegbox. I can not find a system that allows a good job without the use of machines that I have not. How do you do it? thanks

I will use your technique from now on.

Quote: Originally posted by Fritz

Today I made the slot for the pegbox... and simultaneously some pix for faggiuols... to see how I am making this... I hope these pix and the description is enough to make clear how it´s done... First I lay the neck with the fingerboard down on my jig... clamping it in the righ position to make sure the saw will meet the horizontal sawing cut... alining this cut with the jig.. keeping in mind the space the saw will need in the wood. Clamping this complete to the workbench... sawing carefully until the cut reaches the slot allready sawn horizontal... leaving this typical piece of different woods the neck is made of. Exactly this piece I use as a sanding template to equal the surfaces, the horizontal and the just sawn. In mind that the pegbox will have a bottom closing, I make the slot exactly wider as the bottom wood will be in thickness. So there will be left enough space for the bone saddle. Trying one side of the pegbox shows the matching angle I was sawing with this jig...

Quote: Originally posted by SamirCanada

I will use your technique from now on.

Hey Samir

Try it ! Important is the angle og the jig, when you have allready an angle for pegboxes. I make the boxes matching these angles with a template, so every box is equal in this angle, you know ?
Then make a jig, when you have chosen an angle for the pegboxes. Also important is to hold the sawing blade down on the jig when sawing... with perhaps two fingers... not to slip on the untouched wood of the neck. Push and pull the blade slowly and accurate under the two fingers until the blade is really inside the wood and has made it´s own slot for sawing the leaving millimeters. There you need no fingers anymore. Please be carefull with the last mm... not to cut more than needed. Very soft strokes with the blade ... allways looking for the point to reach on both sides.

Take double sided adhesive tape for the sanding paper on the piece sawn off from the neck, functioning as a small sanding block. Decide by yourself if you apply sanding paper on both surfaces of this little block... the even area, and on the angle... I make only one side... so the block slides more easily trough the sawn triangle. The flat surface is more important to give a good flat area to glue the top of the pegbox. Than adapt the sawn angle exactly to the pegbox. You may also adapt a bit on the pegbox-area wich will be glued by scraping with a rounded blade with a big radius... but : The blade has to be round ! In other case you will remove too much wood on the edges of the pegbox... then they will not fit as wanted. Scrape in the middle of the wideness of the pegbox AND with the sanding block at the upcoming angle of the neck until the two parts fit perfectly.

Have good luck with this :-)

Best wishes

Fritz

Quote: Originally posted by faggiuols

Quote: Originally posted by Fritz   Today I made the slot for the pegbox... and simultaneously some pix for faggiuols... to see how I am making this... I hope these pix and the description is enough to make clear how it´s done... First I lay the neck with the fingerboard down on my jig... clamping it in the righ position to make sure the saw will meet the horizontal sawing cut... alining this cut with the jig.. keeping in mind the space the saw will need in the wood. Clamping this complete to the workbench... sawing carefully until the cut reaches the slot allready sawn horizontal... leaving this typical piece of different woods the neck is made of. Exactly this piece I use as a sanding template to equal the surfaces, the horizontal and the just sawn. In mind that the pegbox will have a bottom closing, I make the slot exactly wider as the bottom wood will be in thickness. So there will be left enough space for the bone saddle. Trying one side of the pegbox shows the matching angle I was sawing with this jig... thanks Fritz the way is clear. I see that the fingerboard is already glued! is also very simple. thanks a lot for spigazione. I'm still assembling the ribs of my oud. I'm very lento. I removed some ribs even twice because the light came through. I'm to the seventh rib mounted .I do not lose heart! I'll be able to finish the bowl! I hope soon to update my argument with images. soon

wonderful