Quarim
Oud Admirer
Posts: 1
Registered: 1-26-2012
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Unfinished soundboards and wax
I searched the place, read through various topics but could not find a satisfying answer, so I will give it a go now:
A violin luthier I know was interested in seeing my oud, he never saw one before. He asked some questions about the construction and history and asked
me to play a little. He then told me I should put wax on the soundboard (it's untreated wood, no finish in any way), in order to seal the top and
minimalizing stains, cracks, etc. He told me it would in no way dampen the sound like a finish would. I am sceptic. What's your opinion on this
matter?
The second question I have is about something I read while looking for an answer in an already existing topic: Rubbing eggwhite on unfinished
soundboards was mentioned a few times. What's the deal with that?
I only know that lacquers and oils are a no go in my case. Please help out!
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jdowning
Oud Junkie
Posts: 3485
Registered: 8-2-2006
Location: Ontario, Canada
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Leave the sound board unfinished as it left the hands of the maker. I am told that the old Turkish master luthiers always handled the final stages of
sound board preparation themselves for fear of the unfinished surfaces of the sound board becoming contaminated with oils etc. which they believed
destroyed the acoustic properties (as, they believed, does varnish or any other applied finish).
There has been some past discussion and experimentation on this forum to investigate the merits or otherwise of 'egg white' or 'egg white distillate'
as a sound board finish (they are different materials). Do a forum search for 'egg white distillate' for more information'.
Some modern lute makers use a thin hard wax finish for their lute sound boards but there is no evidence that this substance was ever used
historically. Like the oud, lute sound boards were likely also left unfinished
To avoid staining of an unfinished oud or lute sound board wear clean clothes and do not play with bare arms in contact with the instrument - or play
during the course of a meal or while overhauling the engine of your car!
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fernandraynaud
Oud Junkie
Posts: 1865
Registered: 7-25-2009
Location: San Francisco, California
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Mood: m'Oudy
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I have used simple egg white on 2 ouds. Apllied with a brush, several coats, sanded down after each coat. It offers a little protection without
changing the appearance or sound. The separated liquid seems to give more protection (see egg white distillate).
I have also used light (alcohol-based) shellac, rubbed to a satin semi-gloss with fine metal then plastic "steel wool", which offers quite good
protection, and again did not affect the sound at all. Shellac is what "french polish" is done with, but the little ball of rag application technique
is a bit beyond me, so I use a brush, then work it down to the desired finish.
A varnished glossy soundboard is generally ugly, and used on cheap ouds, but the appearance can be greatly improved with some fine steel wool.
The instruments I used egg white on will get a bit of shellac whenever I get around to it. The unfinished wood is nice, but I happen to prefer a clean
and slightly more finished look long term.
Oils, waxes and any "gummy" finish are widely considered soundboard killers, and it makes sense.
My Shehata's soundboard is varnished semi-glossy, no idea what substance he used, but the rest of the instrument is a high gloss poly(urethane?).
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