PSab
Oud Lover
Posts: 24
Registered: 4-21-2005
Member Is Offline
Mood: No Mood
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Question for Doc, and Other makers
Dear Dr. Oud,
In iran, there is really no specific wood that has been treated specially for instrument making, and therefore the wood that the maker uses is rare
and high quality but has not been prepared for the specific task of instrument making while in the west, woods that are used to build guitars and
violins go through a long process. (this is what my teacher told me) So my teacher suggested that i go to a guitar maker or a violin maker and buy a
high quality wood for face and send it back to iran so that the maker can use it. So my question is what kind of wood should i buy? what is the best
top for a barbat? keep in mind that although the barbat is tuned the same as an arabic oud, we like the echo, the whole point is that i want lots and
lots of echo!
thanks,
Pouya
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Dr. Oud
Oud Junkie
Posts: 1370
Registered: 12-18-2002
Location: Sacramento, CA, USA
Member Is Offline
Mood: better than before
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| Quote: | Originally posted by PSab
Dear Dr. Oud,
In iran, there is really no specific wood that has been treated specially for instrument making, and therefore the wood that the maker uses is rare
and high quality but has not been prepared for the specific task of instrument making while in the west, woods that are used to build guitars and
violins go through a long process. (this is what my teacher told me) So my teacher suggested that i go to a guitar maker or a violin maker and buy a
high quality wood for face and send it back to iran so that the maker can use it. ... |
With all due respect, I think your teacher is misinformed about instrument making and materials. Making and playing ouds are two very different arts,
and while your teacher may be a fine and masterful player, I have found that musicians don't understand much about the art of building instruments.
First - I found ouds (and Barbat) made in Iran from the same materials as found in the west. Iran may not have wood within it's borders, but
certainly has access to instrument quality wood from Turkey, Italy and Europe. Second - I don't believe any maker (guitar or violin)), will sell you
wood as they collect wood for their own use not for resale. Any material they are willing to sell is probably of inferior quality than you could buy
yoourself from a reputable supplier - if you know what you're doing. I would trust the builder to select the wood, as he has the knowledge and
experiance to make the proper selection. Third - the only preparation process is air drying the wood for as long as possible - every instrument maker
understands this. Fourth - the echo (we call it sustain) is more a factor of the structure than the wood used. The type and age of the tonewood (for
the soundboard or face), does have an affect on tone quality or characteristics, but volume and sustain are results of the structural design and
execution. The Irananian maker I reccomend is Mohamed Arafati - his ouds are the best new instruments I've ever played, and he is very consistent -
every one sounds and plays the same - high volume and long sustain (echo) with unsurpassed playability and workmanship. his telephone in Tehran:
011 9821 228-8054
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PSab
Oud Lover
Posts: 24
Registered: 4-21-2005
Member Is Offline
Mood: No Mood
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Thank you doc, The truth is i kind of suspected this to be true when i started researching instrument woods on the internet and the only treatment
process was as you say, air drying.
I am going to iran next october and based on your previous and current recommendation I will call Mr. Arafati a few months before my flight and ask
him to make a long necked barbat (the only problem is i dont think he makes these).
thanks again,
Pouya
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PSab
Oud Lover
Posts: 24
Registered: 4-21-2005
Member Is Offline
Mood: No Mood
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Hi again,
Ostad Behroozinia wanted me to make a few clarifications regarding my pervious posts. I am sure you well know that Ostad Behroozinia is one of the
best barbat players from iran with over 30 years of experience. Ostad has worked with all the respectable makers in iran including Mr. Arafati, Mr.
Mohammadi and Maestro Ghanbari. Evidently ,in iran, there is a large tariff on imported woods which does not make it economic for makers to use
foreign wood (which is the reason ostad suggested that I purchase wood here). Also ostad mentioned again that instrument woods are not seperated from
regular lumber in iran and therefore it is very difficult for the maker to find master grade wood. Often times, makers go to lumber yards and try to
find quality wood.
From conversations with Maestro Ghanbari, Ostad told me that the tools and technology in the west far more superior to that in iran. For this reason,
makers here can cut the wood with a higher precision to a thiner slice. (I think I should mention that maestro Ghanbari is possibly the best
instrument maker in iran and Mr. Mohammadi is one of his best pupils. Works of Maestro Ghanbari have been declared as national treasures and cannot be
exported from iran).
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