FrSamuel
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Newly acquired Mahmoud Safi Oud
Many firsts here, including posting on a forum. To introduce myself, I am an Orthodox priest with grandparents from Lebanon and Syria. Recently, a
dear parishioner from my parish passed away, and her husband asked if I would like to have her grandfather's Oud as there wasn't anyone in the family
to hand it down to, and I am like a member of the family. I was honored and acquired what I now know to be an Oud made by Mahmoud Safi, dated
November 27, 1951 (serial number 1988). From this forum, I have learned that Safi was an assistant of George H. Nahhat in the 40's and early 50's,
after which he established a workshop of his own in Damascus. a second label continues on to name a shop in New York for which the Oud was made. I
am very interested in learning much more about Safi and this particular Oud. The condition is not good, but a very good candidate for restoration.
The main damage is to the sound board with serious cracking and some very clumsy repairs. It was evidently vigorously played by Rose's grandfather as
the pick guard is worn down to the soundboard. Futther, it has an interesting feature - star shaped soundholes - on large, and two small. The
cutwork for the sound holes are fully intact witout damage. Although I expect there are others, I have only seen this feature on Ouds made by his
master, George H. Nahat and I expect that is where he learned this feature. The finger board is inlaid, as is the back of the neck and back of the
bowl. I have not taken pictures yet, but will post as soon as I do. Just interested in some first thoughts and information about this Oud and its
maker from the learned members of this worthy forum. Thank you for any comments!
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Greg
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Welcome to the forums Abuna Samuel. Thank you for sharing the details of this interesting instrument.
Regards,
Greg
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Marina
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I would like to see the photos!
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Alfaraby
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Welcome aboard Abuna 
Some photos would shed light on this oud. No one can give you an advise without SEEING the oud !
MABROUK
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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FrSamuel
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Finally, I am back with pictures. I am sorry for the delay, but this thread was not approved until today, and as you may guess, I am very busy on
Sundays. It looks like this subject has gotten a lot of hits, but without the pictures, I understand the few comments. Now, take a look and please
offer your expert opinions!
I am interested in learning about Mahmoud Safi and his Ouds. This is, as I said before, was built in November 1951. The sound board is in poor
condition, and the bowl has some separation. Does anyone have a guess as to whether this is worth restoration. Also, is this an Oud worthy of
restoration.
Any information would be appreciated! Thank you for welcoming a newcomer (in many ways).
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Alfaraby
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Quote: Originally posted by FrSamuel  | | Does anyone have a guess as to whether this is worth restoration. Also, is this an Oud worthy of restoration. |
Yes it sure does deserve restoration. More severe cases brought in a sack, diagnosed as total wreck were repaired and brought back to life.
As said in another thread about Mahmoud Safi, he is believed to be an apprentice &/or assistant of George Hanna Nahat (aka GHN) back in the 1940's
through the early 1950's, until he launched his own business. None of his ouds were ever seen before the 50's. Therefore, it seems that this is one of
his first ouds. GHN used to make a star-like sound-hole. The most famous one is Farid Al-Atrash's, seen in the first photo, though Farid's is of Star
of David (six-pointed star), while Safi's is of five-pointed star sound-hole.
This oud is all original. One can't miss Safi's bridge, or his pick-guard. My 1957 has the same exact both. The bridge is a bit higher than the Nahats
famous bridges, while the soundboard is concave at the center, what makes the distance between the strings and the soundboard even higher. I first
thought this was a deficiency, till I saw another 1955 Safi's oud and realized he made it in purpose.
With regard to concave soundboard, our fellow John Vergara (bulerias1981) once wrote:
"Concave soundboard is something makers do intentionally, and is also something that may happen over time. I prefer a slight "dip" in the soundboard
at the center for a couple reasons. For a fixed bridge, the oud would be under less stress, and its less likely to receive buzzing on the fingerboard
past the neck joint. There are a couple ways to makers to render the top convex. You'll have a problem if the opposite geometry occurs.. such as a
convex top.. which it bulges UP. That is an oud under stress and a failure in construction of the face".
In fact, I've never seen another Arabian fixed bridge oud with such a concave soundboard. A good photo of the soundboard would tell us if this oud has
the same concave or not.
Most significant in Safi's ouds is the big peg-box. Though working for Nahat for a while, he decided to make bigger peg boxed, assuming it's more
convenient and/or stronger. History has judged this to be false; a smaller peg box is even stronger. Well, I'm not sure. It's only a hunch of an
observer.
The inlay of the fingerboard seems, at first sight, to be bone/wood, but I guess it's not bone. It's a kind of plastic or any similar synthetic
material that smells very "chemical" when filed or sanded down, reminding of the same material that Pyramid's figured picks are made of.
The bowl is stunning. It's made of pure Syrian walnut, the most famous wood used in oud making in the whole Fertile Crescent. It has wood & wood
inlays in a dark/light game with the famous S's around. The bowl per se worth to be patiently restored and re-polished, in order to bring it back to
life, even if the soundboard restoration efforts would or would not work out.
The soundboard is in a relatively good condition and of a good quality species. I can't figure out what kind of wood is this, but I assume it's the
same that Nahat used at that time: Caucasian Spruce. It needs to be mended carefully and repaired by a well trained expert, thoroughly cleaned using a
very fine steel wool & should not be taken off. If any loose braces are detected, they aught to be glued through the purfling without damaging the
SB.
These were just some of the thought that occurred to my mind while looking at those beautiful photos of Safi's oud.
Good luck, Abuna
Yours indeed
Alfaraby
[file]24974[/file] [file]24976[/file] [file]24978[/file] [file]24980[/file] [file]24982[/file] [file]24984[/file] [file]24986[/file]
alfarabymusic@gmail.com
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Brian Prunka
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| Quote: Originally posted by Alfaraby |
The inlay of the fingerboard seems, at first sight, to be bone/wood, but I guess it's not bone. It's a kind of plastic or any similar synthetic
material that smells very "chemical" when filed or sanded down, reminding of the same material that Pyramid's figured picks are made of.
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For what it's worth, Pyramid's picks are made of celluloid, which is made by mixing plant fibers (usually cotton) with nitric acid and camphor. The
smell you get when sanding is from the camphor (same as mothballs and certain ointments for sore muscles).
Most plastics in the early 1950s would be either celluloid or casein (which is made from milk proteins and lye), although Bakelite (the first wholly
synthetic plastic) is also a possibility, or hard rubber.
Almost anything made in the 1950s to mimic Ivory would be celluloid or casein. Bakelite was more commonly used to mimic tortoiseshell.
Some plastics also add formaldehyde as a stabilizer, which definitely could give off a "chemical" smell.
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FrSamuel
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Thank you very much Alfaraby for your informative analysis. I am most grateful. Also thank to Brian. I am encouraged to pursue restoration, and
would be also very grateful to any suggestions as to how that can be most expertly done. +Fr Samuel
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Alfaraby
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Yes dear Father, ship the oud to me
Now seriusely: our friend Michel Massad in Miami Beach, Florida would do a great job. Though very far from WV, I recommend him as one
of the best oud restorer in both Americas. He's an accomplished oud player, as well as a gifted musician, so e-mail him at: 1949mkm@gmail.com.
These are reliable restorers listed in FAQ thread about oud makers around the world. Some are closer to your location, others are far away. In any
case you'd have to ship the oud, so what difference would it make whether it's in NJ, LA or FL ?
USA
Viken Najarian in LA, Ca.: http://www.oud.net
Jameel Khalaf Abraham: http://www.khalafoud.com/
John Vergara, NY-NJ: http://www.johnvergaramusic.com/
Richard Hankey aka Dr. Oud: http://www.droud.com
Najab Shaheen, NYC: http://www.oudman.com/
Haig Manoukian: musician & expert repairs and advice in NY. Tel: 212.777.4396
Canada
Samir Nassif: Ottawa
samir_nassif@hotmail.com http://samirnassifoudluthiery.blogspot.com/
Claude Guibord: http://www.metierdart.com/luthiers/claude_guibord.htm
(oud and lute repair work)
Good luck and don't forget to post some photos of the restoration works.
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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Alfaraby
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Another issue I've missed:
I'd like to see the label. Something seems to be vague regarding the serial number. How come 1988, while the man has just opened his
business door ? 
I wonder !
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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FrSamuel
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Location: WV, USA
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Alfaraby,
Greetings!
Here is the best I can do photographing the label - the star shaped sound holes made it difficult to get a clear shot. In one, you can see some of
the image of Mahmoud Safi, and most of his signature. Also, the Date over the number 1988 is seen in the last two pictures - you can put them together
as you look at them. Hope this will reveal something. Certainly, 1988 would not be a date. Let me know what you think.\
+Fr. Samuel
[file]24988[/file] [file]24992[/file]
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FrSamuel
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Sorry, uploaded this one twice, I guess - Again, this is the one with the date.
[file]24994[/file]
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Alfaraby
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NO ! it's written very claer in Arabic : Number 1988 ! What number, I don't really know. From looking at his features he looks like a youngman, so
how could he ever managed to make 1988 ouds already back in 1951 ? If making an oud (at the famous Abdo Nahat well-trained workshop in Damascus) took
a week or so & if the luthier had worked 52 full weeks a year without skipping even one, he'd have to work 38 years to make such number of ouds,
which I doubt this is the case here, taking into consideration he had been working for GHN for years.
My oud has no serial number at all, not even a wiped out one. Only a date May 1957; so it seems this is the number of a type, like 1, 7, 107, 201 ..
etc. Sukkars. or just a lucky number !!
In general, only Abdo Nahat and his brothers &/or associates were very consistent numbering their ouds . Others just didn't think this a matter
of importance, or wasn't sure they were making history like Master Abdo have thought since 1880 !
We'll wait to see what comes up with the restoration issue. I'll write in public what I wrote Fr. Samuel: If restoring this oud would cost thousands,
you'd better hang it on a wall at home/office.
Good luck
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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