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faggiuols
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Fritz very nice !!
strument special one is coming.
I would like to know: what are the markings of the rosette?
they mean something in particular?
thanks
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Fritz
Oud Junkie
Posts: 246
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Location: Northest Germany
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Quote: Originally posted by faggiuols  | Fritz very nice !!
strument special one is coming.
I would like to know: what are the markings of the rosette?
they mean something in particular?
thanks |
Hi faggiuols
Yes, ofcourse there is a special "text" in it :
It has the Maqamat music scales Arabic, Persian & Turkish names: famous rast, nahawand, hijaz, sikah etc... so told me by AlFaraby. The original
is a rosette by NAHAT... AlFaraby modified it and implemented my real name in the center, difficult to write (speak) in arabic letters. But... I
think, he has done a very good job !
I´m just assembling the braces now... the top will be mounted soon...
Greetings
Fritz
Music is the food for the soul
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Alfaraby
Oud Junkie
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Fritz dear !
I like to thank you for the credit you've given me to design your logo inside the old well known Maqamat rosette. I have reformulated the old
calligraphy in the supposedly Nahat design, adding some touches and replacing some letters.
However, it seems it's not a Nahat's matchless style, now when we see it on other makers' oud like the Hasbany's Bro. 1921 listed in ebay lately. It
came as a surprise to me, this maker's name & the rosette.
Great job
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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faggiuols
Oud Junkie
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| Quote: Originally posted by Fritz | | Quote: Originally posted by faggiuols | Fritz very nice !!
strument special one is coming.
I would like to know: what are the markings of the rosette?
they mean something in particular?
thanks |
Hi faggiuols
Yes, ofcourse there is a special "text" in it :
It has the Maqamat music scales Arabic, Persian & Turkish names: famous rast, nahawand, hijaz, sikah etc... so told me by AlFaraby. The original
is a rosette by NAHAT... AlFaraby modified it and implemented my real name in the center, difficult to write (speak) in arabic letters. But... I
think, he has done a very good job !
I´m just assembling the braces now... the top will be mounted soon...
Greetings
Fritz |
thanks Fritz
I'd like to see a picture near to the hole where you see decorations well.
you can post that!
thanks
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Fritz
Oud Junkie
Posts: 246
Registered: 6-14-2012
Location: Northest Germany
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| Quote: Originally posted by Alfaraby | Fritz dear !
I like to thank you for the credit you've given me to design your logo inside the old well known Maqamat rosette. I have reformulated the old
calligraphy in the supposedly Nahat design, adding some touches and replacing some letters.
However, it seems it's not a Nahat's matchless style, now when we see it on other makers' oud like the Hasbany's Bro. 1921 listed in ebay lately. It
came as a surprise to me, this maker's name & the rosette.
Great job
Yours indeed
Alfaraby |
Dear AlFaraby...
When anybody has to thank, that´s me !
If it´s a Nahat or not.... I saw some designs nearly equal to the Nahat you sent me... slightly differeing... but the beauty is untouched ...
Since years I wished to get a good template to apply such a rostte in one of my Ouds.... and you haven´t hesitated a second to improve me !
When we see the result... that´s it !
Speaks for itself..
Many thanks to you, Sir ! 
Fritz
Music is the food for the soul
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Fritz
Oud Junkie
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| Quote: Originally posted by faggiuols | | Quote: Originally posted by Fritz | | Quote: Originally posted by faggiuols | Fritz very nice !!
strument special one is coming.
I would like to know: what are the markings of the rosette?
they mean something in particular?
thanks |
Hi faggiuols
Yes, ofcourse there is a special "text" in it :
It has the Maqamat music scales Arabic, Persian & Turkish names: famous rast, nahawand, hijaz, sikah etc... so told me by AlFaraby. The original
is a rosette by NAHAT... AlFaraby modified it and implemented my real name in the center, difficult to write (speak) in arabic letters. But... I
think, he has done a very good job !
I´m just assembling the braces now... the top will be mounted soon...
Greetings
Fritz |
thanks Fritz
I'd like to see a picture near to the hole where you see decorations well.
you can post that!
thanks |
Hey
Okay... here you get it :-)
Music is the food for the soul
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faggiuols
Oud Junkie
Posts: 285
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great and excellent!!!
but you cut with a coping saw or have a machine?
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Fritz
Oud Junkie
Posts: 246
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I made it with an ordinary saw with a very fine blade by hand. With a mashine you haven´t got the contol on every cutting stroke... no reaction
feelable from the blade to the saw-holding hand... I prefere cutting by hand... may be in the future by laser... when I´ve sold a few Ouds :-) (just
a dream  ... )
All the best
Fritz
Music is the food for the soul
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faggiuols
Oud Junkie
Posts: 285
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| Quote: Originally posted by Fritz |
I made it with an ordinary saw with a very fine blade by hand. With a mashine you haven´t got the contol on every cutting stroke... no reaction
feelable from the blade to the saw-holding hand... I prefere cutting by hand... may be in the future by laser... when I´ve sold a few Ouds :-) (just
a dream ... )
All the best
Fritz |
Wow !!
Double large and excellent !!
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Fritz
Oud Junkie
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The top is mounted... so I can continue making the neck and the pegbox... here are some pix of the process
Ich made the sides of the pegbox slim and rigid... with the nice maple outside and the mahogany from the last ribs in the inner parts. Between them I
decided to make a grain-crossing layer of hard mahogany, not for the contrast, but for stabelizing the holes when drilled and with pegs inserted. So
these wood-sides cant split when a peg is pressed in too hard. I think, this is a good idea and I perhaps will make it on every next Oud-pegbox. This
methode decreases the weight and optical massivity and so I can use relatively slim layers of wood. I pressed very heavy these wood-layers together,
so there isn´t a bubble of air inbetween... this is the main thing to observe.
Also the pegs will be able to turn with less needed power as usual because of the smaller surface in both cones. With good (genuiene) peg-soap it will
be easy to turn the pegs and they will ofcourse hold the tune...
[file]33609[/file] [file]33611[/file] [file]33613[/file]
Music is the food for the soul
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Fritz
Oud Junkie
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The next step
The sides of the pegbox are ready, and I began to prepare the neck... the core with anextra hardwood inside to make the neck stiffer against torsion
and coming up sometimes.
I decided to make the fingerboard a bit thicker to prevent any moving of the neck... it will begin with 4mm thickness and ends uo with may be 6mm at
the saddle...
The kanna i use are very good, fine japanese blades with two layers of different steel... making it not easy to tune the blade... bur it works well if
tuned to a precise setting
Music is the food for the soul
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Microber
Oud Junkie
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Even the woodchips are nice !
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Fritz
Oud Junkie
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Hi Rob
Yes... they are... and I hesitated to throw them away, but I did :-)
The kanna was very fine tuned for those slices, planing the wood in one stroke on the whole surface nearly without stressing... slowly and straight...
it was a pleasure to see the chips comming up in the Kanna... I like mixing the work with aesthetical moments...
Oh how I like the japanese blades... in every kind... as there are knifes, blades for some tools like kanna... and ofcourse the genuine swords... In
the past I restauratetd, classified and polished some very old Katana- and Tachi-blades and some daggers of the Koto and Shinto-period (okay... some
good Gendaito, too)... So I had the "luck" to have some nice (and very expensive) stones here to sharpen the blades of my japanese wood-working tools.
My Nomi have a mirror-like finish... only made with water and stone ! The are going through the wood like a hot wire through butter...
Music is the food for the soul
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Fritz
Oud Junkie
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An update
The neck is mounted, the fingerboard, too, the angle against the top is nearly perfect to have an action by about 2,5mm. See the wood in the middle of
the neck-wood going through the whole neck preventing any bending and torsion. The fretboard is nearly 5mm in thickness at the saddle, at the
beginning about 4mm. There isn´t much to complete this Oud... so the next pix are coming soon...
[file]33656[/file] [file]33652[/file] [file]33654[/file]
Music is the food for the soul
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faggiuols
Oud Junkie
Posts: 285
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hello Fritz
I always follow very carefully to learn!
your work is very nice.
I hope you post pictures of the cut to be carried on the neck to mount the pegbox.
I can not find a system that allows a good job without the use of machines that I have not.
How do you do it?
thanks
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Fritz
Oud Junkie
Posts: 246
Registered: 6-14-2012
Location: Northest Germany
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| Quote: Originally posted by faggiuols | hello Fritz
I always follow very carefully to learn!
your work is very nice.
I hope you post pictures of the cut to be carried on the neck to mount the pegbox.
I can not find a system that allows a good job without the use of machines that I have not.
How do you do it?
thanks
|
Hi faggiuols
There are many kind Oud-maker here in the forum... try to get the most info possible, not only from me :-) My method could be fine, but there are
surely a lot of tips if you search for in some threads.
But ofcourse I will give as much I can with postings and pix. The next fingerboard is assembled to the mahogany Oud... very precisely attached in line
with the bridge and the coming strings. I had to snad it down more at the saddle as I wanted, so there are at least 5mm left in thickness... thick
enough to be able sand and plane again after some years, when the end of the neck is coming higher for a mm. I hope it won´t, but who knows. This
neck is really stiff, very tight assemled to the neck blocck with my special methode. I´ll make some pix soon, and you will get an idea how to prpare
for assembling the pegbox...
This isn´t a secret, you have to work precisely and before glueing the adapted pegbox (with neck allready assembled or not) be aware the pegbox is
fitted as tight as possible, there has to be no gap between the wood parts. And... keep in mind that the pegbox won´t fit with glue as it does
without ! There might be a mm more standing over the neck end as you have planned,,, because the glue needs a bit space. This is important when using
special measured bones for the saddle.
You don´t need any mashines to make this joint, only a good saw, a fine ruler made of steel with half mms to check the way the pegbox goes in the
neck... and perhaps a jig for the sawing angle where the pegbox-bottom meets the neck...
The next days I will post my progress with those Ouds...
Music is the food for the soul
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Fritz
Oud Junkie
Posts: 246
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Today I made the slot for the pegbox... and simultaneously some pix for faggiuols... to see how I am making this...
I hope these pix and the description is enough to make clear how it´s done...
First I lay the neck with the fingerboard down on my jig... clamping it in the righ position to make sure the saw will meet the horizontal sawing
cut... alining this cut with the jig.. keeping in mind the space the saw will need in the wood.
Clamping this complete to the workbench... sawing carefully until the cut reaches the slot allready sawn horizontal... leaving this typical piece of
different woods the neck is made of.
Exactly this piece I use as a sanding template to equal the surfaces, the horizontal and the just sawn.
In mind that the pegbox will have a bottom closing, I make the slot exactly wider as the bottom wood will be in thickness. So there will be left
enough space for the bone saddle.
Trying one side of the pegbox shows the matching angle I was sawing with this jig...
Music is the food for the soul
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SamirCanada
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I will use your technique from now on.
@samiroud Instagram
samiroudmaker@gmail.com
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faggiuols
Oud Junkie
Posts: 285
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| Quote: Originally posted by Fritz | Today I made the slot for the pegbox... and simultaneously some pix for faggiuols... to see how I am making this...
I hope these pix and the description is enough to make clear how it´s done...
First I lay the neck with the fingerboard down on my jig... clamping it in the righ position to make sure the saw will meet the horizontal sawing
cut... alining this cut with the jig.. keeping in mind the space the saw will need in the wood.
Clamping this complete to the workbench... sawing carefully until the cut reaches the slot allready sawn horizontal... leaving this typical piece of
different woods the neck is made of.
Exactly this piece I use as a sanding template to equal the surfaces, the horizontal and the just sawn.
In mind that the pegbox will have a bottom closing, I make the slot exactly wider as the bottom wood will be in thickness. So there will be left
enough space for the bone saddle.
Trying one side of the pegbox shows the matching angle I was sawing with this jig... |
thanks Fritz
the way is clear.
I see that the fingerboard is already glued!
is also very simple.
thanks a lot for spigazione. I'm still assembling the ribs of my oud.
I'm very lento. I removed some ribs even twice because the light came through. I'm to the seventh rib mounted .I do not lose heart!
I'll be able to finish the bowl!
I hope soon to update my argument with images.
soon
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Fritz
Oud Junkie
Posts: 246
Registered: 6-14-2012
Location: Northest Germany
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Hey Samir
Try it ! Important is the angle og the jig, when you have allready an angle for pegboxes. I make the boxes matching these angles with a template, so
every box is equal in this angle, you know ?
Then make a jig, when you have chosen an angle for the pegboxes. Also important is to hold the sawing blade down on the jig when sawing... with
perhaps two fingers... not to slip on the untouched wood of the neck. Push and pull the blade slowly and accurate under the two fingers until the
blade is really inside the wood and has made it´s own slot for sawing the leaving millimeters. There you need no fingers anymore. Please be carefull
with the last mm... not to cut more than needed. Very soft strokes with the blade ... allways looking for the point to reach on both sides.
Take double sided adhesive tape for the sanding paper on the piece sawn off from the neck, functioning as a small sanding block. Decide by yourself
if you apply sanding paper on both surfaces of this little block... the even area, and on the angle... I make only one side... so the block slides
more easily trough the sawn triangle. The flat surface is more important to give a good flat area to glue the top of the pegbox. Than adapt the sawn
angle exactly to the pegbox. You may also adapt a bit on the pegbox-area wich will be glued by scraping with a rounded blade with a big radius... but
: The blade has to be round ! In other case you will remove too much wood on the edges of the pegbox... then they will not fit as wanted. Scrape in
the middle of the wideness of the pegbox AND with the sanding block at the upcoming angle of the neck until the two parts fit perfectly.
Have good luck with this :-)
Best wishes
Fritz
Music is the food for the soul
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Fritz
Oud Junkie
Posts: 246
Registered: 6-14-2012
Location: Northest Germany
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| Quote: Originally posted by faggiuols | | Quote: Originally posted by Fritz | Today I made the slot for the pegbox... and simultaneously some pix for faggiuols... to see how I am making this...
I hope these pix and the description is enough to make clear how it´s done...
First I lay the neck with the fingerboard down on my jig... clamping it in the righ position to make sure the saw will meet the horizontal sawing
cut... alining this cut with the jig.. keeping in mind the space the saw will need in the wood.
Clamping this complete to the workbench... sawing carefully until the cut reaches the slot allready sawn horizontal... leaving this typical piece of
different woods the neck is made of.
Exactly this piece I use as a sanding template to equal the surfaces, the horizontal and the just sawn.
In mind that the pegbox will have a bottom closing, I make the slot exactly wider as the bottom wood will be in thickness. So there will be left
enough space for the bone saddle.
Trying one side of the pegbox shows the matching angle I was sawing with this jig... |
thanks Fritz
the way is clear.
I see that the fingerboard is already glued!
is also very simple.
thanks a lot for spigazione. I'm still assembling the ribs of my oud.
I'm very lento. I removed some ribs even twice because the light came through. I'm to the seventh rib mounted .I do not lose heart!
I'll be able to finish the bowl!
I hope soon to update my argument with images.
soon |
It is not importatnt to glue the fingerboard first.. but so you can use more pressure to glue it, when the pegbox isn´t mounted yet. Glueing the
fingerborad : Keep in mind the wood for the fingerborad soakes the humidity of the glue ! So it wind tend to bend the sides away from the neck-wood...
you might get a gap there ! To avoid this awful failure please soke the other surface (not the glueing side) with water for a while to give the
"counterpart" of abilty to bend. So you have the edges down on the neckwood when preparing the glueing. Pressing the neck with fingerboard on the
bench the humidity will go out not as fast as the glue dries... meaning the fingerboard will alleways be with pressure at the sides during the drying
time. So you will have a perfect joint and an even surface.
Use all the time you need to make progress ! Make it good, not fast ! Keep calm while building your first complete Oud :-)
Fritz
Music is the food for the soul
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Fritz
Oud Junkie
Posts: 246
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New update...
The pegbox... The sides are assembled, the bottom is mounted... in the way I show here. On one pic you will see the little japanese Kanna I made by
myself with a small, very sharp blade for special works on critical parts...
Music is the food for the soul
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Fritz
Oud Junkie
Posts: 246
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The pegbox is mounted and the finish is going on... every day...
There are some pix...
Music is the food for the soul
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faggiuols
Oud Junkie
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wonderful
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Microber
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