Extended fingerboards seem to almost always rest on top of the face of the oud. Why is this? Why not set it into the face itself (level with the
surrounding surface)? Is it just a matter of being worried about it dampening the vibrations?Jameel - 8-17-2005 at 08:40 AM
I've seen it done both ways. It's cheaper and easier to do it on top, imo. I've actually seen it inlayed more often than on top. All the Nahats I've
seen have it inlayed into the top and resting on the braces. Dr. Oud says that the face above the soundhole is not critical to sound producion so I
think the dampening effect is a non-issue. Case-in-point, Simon Shaheen's Nahat. He recently added a full length fingerboard on top the original one,
and the sound did not change, at least to my ears, and I've heard it both ways. Adding one later can be a fix for high action, although a tapered
finegrboard is a better method--if the original builder made it that way of course. I personally like the regular fingerboard as far as looks goes.
And the amount of playing that goes on past the neck is pretty minimal. I think it's more for aesthetic reasons that the full length fb is used, to
keep the face from darkening with finger contact. There's also the issue of the dip in the face. Does the fingerboard follow the dip, or does it stay
flat from nut to hole? I've never seen the latter, and wonder if there might be some buzzing because of it?Dr. Oud - 8-18-2005 at 07:57 AM
Quote:
Originally posted by Jameel
....There's also the issue of the dip in the face. Does the fingerboard follow the dip, or does it stay flat from nut to hole? I've never seen the
latter, and wonder if there might be some buzzing because of it?
I've seen both flush and top mounted as well, but only on modern ouds have I noticed the top mounted fingerboard. I added one to my Turkish sized
Lemon oud to correct warpage from 25 years of tension and had excellent results.
Turkish ouds predominately have the soundboard relief. The relief should start at the top edge of the Shamsiyah (big hole), and maximize at the tone
brace forward of the bridge brace. The braces on each side of the bridge will need to be arched to align the bridge with the fingerboard, wherever
that is. I've noted this same pattern on Turkish and some Arabic ouds, notably Nahats. Most other Arabic ouds have a completely flat face, but I
believe the relief allows deeper strokes with the mizrab, providing a wider range of tonal characteristics.
The upper bout of the soundboard should be flat and in alignment with the neck, wether the fingerboard is flush or on top. Buzzing is usually caused
by warpage or wear and if the face dipped down it would not cause a buzz, but would change the tension at higher positions, but with no frets, no
matter.oudmaker - 8-19-2005 at 04:34 AM
Richard
If you wish to put a good sound into the oud you are making, you should consider to give a smooth dip to your top when you are mounting it on. The
distance between strings and top near the small rosettes effects the tension you will be putting on the top. More the surface tension on the top it
sustains the vibrations more. It is like putting tension to a drum membrane by heating it. You get higher pitch but at the same time a sustained
sound.
The dipping should be on a smooth horizontal line, so you also may have it started from the upper bout. Yes it will effect the fingering on the part
of extended fingerboard. There comes our sense of give- and-take between playability vs sound projection.
So having a completely flat surface like some makers do is not a good idea. We don't make just good looking boxes, we make musical instruments.
Regards
DincerDr. Oud - 8-19-2005 at 07:47 AM
Dincer,
Thank you for your suggestion, I do add relief to the ouds I make. I believe that the upper bout is structural only and has no effect on the sound of
the oud, so I choose to make the higher positions more playable by aligning the upper bout with the fingerboard.
My comment about flat faces was an observation about most Arabic ouds I've seen. The dip is certainly an advantage for sustain as evidenced by the
Turkish style ouds, but we need to consider the culteral preferences as well. Some Arabic musicians prefer the punchy sound of the Arabic oud over the
smoother sustained tone of the Turkish ouds. The construction and resulting tonal characteristics of ouds in different cultures has to be the result
of the local musician's preferences, wouldn't you agree? Every client I've had has some idea of what they want their oud to sound like, so I believe
oud makers all over rhe world respond to their client's requests, usually.oudmaker - 8-19-2005 at 09:00 AM
Richard
I think you may be right about Arabic ouds. How do I know this? Simon Shaheen's brother an oudmaker from New York once visited my shop and played
couple of my ouds. ( I think his name was Fred or something similar) His reaction was "They have too much echo, we don't like this kind of sound".
But my friend, I make ouds and try to make them sound as I liked. My clients buy my ouds with my sound. It is not just simply a matter of culture as
you put it is personal preference too. Except some minor dimension changes for the pyisical built up of the player I don't make ouds in accordance to
the preference an oud player. I expect them to prefer my sound and oud as is and pay for it.
Regards
DincerJameel - 8-19-2005 at 09:47 AM
Dincer,
I've had a couple arabs comment that the first oud I built, which had a relatively thin top, a short 59cm scale (tuned Turkish), and lighter bracing
than "typical" arab ouds I've seen, was not very arabic sounding. The second oud I built (actually restored with a completely new soundboard) had a
thicker soundboard, slightly heavier bracing, and a long 63cm scale, had a much more "arabic" sound to it. I understand what Simon's brother was
talking about. (His name is Najib, and he got me started building ouds). My question for you is, if you were to make a more "arab sounding" oud, what
would you do differently regarding the soundboard and bracing?oudmaker - 8-19-2005 at 12:07 PM
Jameel
I would not know any thing about Arabic verses Turkish sound all I know is the sound I have and how to produce it. What I do is as I explained above
to Richard.
Regards
DincerSamirCanada - 8-19-2005 at 12:08 PM
Yes..! Jameel I couldnt help but notice on ur site there was a restored oud picture that I had not seen before! it features your beutifull "s" type
patern. Could you post the pics of that one? please
That would make you really cool
hehe
Regards SamirJameel - 8-19-2005 at 12:31 PM
