I decided to go back to the classical attachment of strings for two reasons:
- the possibility of changing the individual action of each string is really a great asset, and
- I didn't like how it looks
For that I glued (titebond) a simple ebony head plate onto the bridge
- for aesthetical reasons
- and more leeway to change the action of strings.
The fixation of the plate onto the bridge was done with some soft copper wire:rojaros - 10-25-2008 at 02:11 AM
Then during the time it needs to harden the glue I the cut the tuning pegs shorter.
Firstly I considered to eschange them for western viola ebony pegs but then I found olive wood is also nice and somhow it suits this oud quite
well.
It's amazing how the optical impression of the oud changes when there are no peg ends standing out. Looks much clearer.rojaros - 10-25-2008 at 02:20 AM
The picture was of course taken after restringing the oud.
As you can see I use here the sequence one would use with a 6 course reinaissance lute. I find it very orderly and convenient. Matthias Wagner taught
me this way.
The strings I put on the oud are Daniel Mari strings. Of course it is too early to evaluate them, because they have to sit properly first, but the
first impression is quite good, especially considering the price. They are on the rather softer side (which I like).
The newly glued plate with new string is on the next picture:rojaros - 10-25-2008 at 02:25 AM
I also worked a bit more on the and sanded it once more with very fine paper (400 and then 600) and this lessened the little buzzes here and there.
The result is quite good, I feel, especially considering how the whole story started.
The action is good, sound is dark and percussive, the oud looks nice and is very well playable. And I got a nice leather padded soft bag from
oud_proff in Jordania almost as fast as if I had ordered it in Germany.
Here a complete picture:
best wishes to everybody hererojaros - 10-25-2008 at 10:27 AM
I have to add that Daniel Mari strings are very promissing indeed. Even throughout one day they developed very positively.
best wishes
Robertfrancis - 10-26-2008 at 06:28 PM
You really realise a fine work on this oud, it is well reborn now, for the best...
Could you tell me how you removed the varnish on the soundboard?
I have the same bad finish on my "old" oud and for the sound and for the look I'm sure it's better without this varnish...It seems to be the same one
that on your picture, so maybe I can work like you did.
I thank you, Robert.
Best wishes,
Francisrojaros - 10-27-2008 at 01:49 AM
Hi Francis,
I followed the advice of a famous luthier who has a lot of experiences with old varnishes. He took a drop of 'polishing alcohol' and checked that the
varnish is on alcohol basis.
If you find out his, it's allways a good news. He then adviced me as follows:
Take kitchen paper (from a roll) and soak it with high percentage alcohol (burning or cooking spirit or alcohol will do the job). You put the soaked
sheets on the sound board and let it do its work. Then you can collect the dissolved varbisch withe sheets and clean the face with some more paper
with alcohol. Then you sandpaper the face with fine sandpaper (400 and finer) along the grain. That's it.
Caution: If you don't want to take away the varnish from the bowl (which he didn't advise me to do) then takle care not to spill the alcohol over the
bowl. You could use plastic shopping bags to protect ist.
The result is (at least with my oud) just beatifull...
good luck and best wishes
Robertfrancis - 10-27-2008 at 02:23 AM
I thank you, Robert!
By your help I still know how to process in a secure way.
Do you finish with a fin sandpaper : 800 or 1000?
Does the soundboard stay like this, without anything else to protect?
I'll soon improve my luck!francis - 10-30-2008 at 03:08 PM
In the same time than cleaning the sounboard, I would like to remove the plastic rosettes and change them for finest pieces.
I don't know where I could choose and buy rosettes. A research here in the forum doesn't give me any result.
Someone has a link or an idea?
I thank you!
Francisrojaros - 11-3-2008 at 09:18 AM
Hi Francis
I think 800 is perfectly allright. See when you are content with the surface.
I haven't heard of any treatment of the wood, though one might think of waxing it slightly.
There is still some varnisch in the wood even after removing and sanding it. Probabely the wood doesn't need more than that.
As far as I could see, Mathias Wagner leaves his ouds or at least the faces untreated ...
good luck!
Quote:
Originally posted by francis
Do you finish with a fin sandpaper : 800 or 1000?
Does the soundboard stay like this, without anything else to protect?
I'll soon improve my luck!
rojaros - 11-3-2008 at 09:21 AM
Whatever you do with your rosettes, keep in mind that the ratio of covered to open surface is also a factor to determine the resonace frequency
('Helmholtz' frequency) of the Oud, so if you take more open rosettes that will shift the frequency up, and if they are more closed, thaty will shift
it down.
That might change the overall sound of the oud (not necesarilly for the worse, but you don't know).
So do it only if you feel you have nothing to loose...
best wishes
Robert
Quote:
Originally posted by francis
In the same time than cleaning the sounboard, I would like to remove the plastic rosettes and change them for finest pieces.
I don't know where I could choose and buy rosettes. A research here in the forum doesn't give me any result.
Someone has a link or an idea?
I thank you!
Francis
