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bulerias1981
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Oud #2
Hi all. Oud #2 has begun. I have a question about the neck block I'd like your input on.
Here I have two directions for the grain.. Any what do you think of the top one where the grain runs horizontal? My first oud was made with the grain
running vertically.
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SamirCanada
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I would think vertically would be better.
@samiroud Instagram
samiroudmaker@gmail.com
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bulerias1981
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I would think so to. But have you seen any made with the grain running horizontally through the block?
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Jonathan
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Actually, I always go with the horizontal for the neck block and tail block. Here's a pic of a Kyvelos oud in the process of being built:
http://www.luth.org/downloads/AL94/kyvelos02.jpg
and the tail block:
http://www.luth.org/downloads/AL94/kyvelos04.jpg
It seems to me that the horizontal orientation would be definitely stronger for the tail block. I'm not sure it is going to matter too much for the
neck block, but here is my reasoning:
I route out a channel through the neck block for a tongue-in-groove joint with the neck. I think the neck block would be much more likely to split on
me if the grain is running vertically.
For what it's worth. I'm only on oud number 7 right now, so others out here might be able to give a good reason for a different orientation
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jdowning
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There is another possible neck block grain arrangement - one where the grain runs vertically with the ribs glued to the end grain as shown in the
attached sketch.
This is the arrangement found on my old Egyptian oud and is often found on surviving European lutes (although I know of one 16th C lute where the
grain runs horizontally in the neck block - as it also does in the braces).
I have used this arrangement in my recent 'Old Oud - New Project' posting on this forum.
Note that this arrangement may not prevent splitting of the block if a dovetail joint is used (as has happened on my old Egyptian oud). This is less
of a problem for a lute where a large nail was often driven through the block to attach and clamp the neck when being glued in place.
With this arrangement the end grain of the block should be first be sealed with a glue 'size' (dilute hide glue) before gluing the ribs in place - to
ensure maximum joint strength. This, of course, assumes that hot hide glue is being used in constructing the instrument.
The 'side grain' at the neck joint also ensures maximum joint strength.
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bulerias1981
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Ok all. Newest update. Bowl, neck and pegbox completed. I'm waiting for the order of oriental spruce from Turkey to come in so I can begin the top.
Also bone blanks coming in for the rosette.
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paulO
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Beautiful man. Such interesting grain patterns..wow.
Cheers..Paul
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bulerias1981
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Hey everyone. More progress made. The top has been joined, shaped, thicknessed, Rose hole cut out, purfling installed and now I'm installing braces. I
first glued the bridge to the top. And proceeded with gluing the braces from the bottom, below the bridge. I installed the brace beneath the bridge,
then the three above that, ending next to the soundhole and while holding the wood and knocking on it to check its tone, I noticed that I was getting
a slight buzzing sound. I assume its one of the braces.
Any experience with this?
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Kelly
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Lovely work John can't wait for the finished oud.
Can you re clamp each bace in turn to see if buzzing persists or maybe check the tails of the bridge?
Kelly
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bulerias1981
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After careful consideration, the braces will be removed and reinstalled one by one, tap testing after each is joined.
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abusin
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beautifl work John, looking forward to the sound test 
Best Regards
Awad
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bulerias1981
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Ok folks. Drilled the holes in the bridge last night, after 16 hours of work, I installed the strings, and here it is. I still need to apply the
finish. It's early to provide judgement of the sound fully since these are old strings I put on for a test. Also, final adjustments for action haven't
been refined, as that will be the next thing that I do.
Here are some specs.
23x ribs with white strips between.
588mm scale length
367mm bowl width
495mm bowl length
38mm width at nut
54.5mm width at neck joint
Bone rosette based off of Jameel's design minus his name at center of course.
Ebony pegs, and Ebony fingerboard.
Walnut Nahat style bridge with bone cap.
Maple and walnut tile for binding.
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Ararat66
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Fantastic - and bone rosette not plastic - really good. I suppose now comes the sound 
Leon
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bulerias1981
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Once I apply the finish, a new set of strings, and a couple days of tuning, a video will follow 
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MatthewW
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excellent work John, congratulations with #2 oud.
What do you consider the most challenging part of making this oud? What is the width of fingerboard at the nut? Looking forward to a sound
clip.regards,MW
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bulerias1981
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Thanks Matthew,
The specs have been updated reflecing nut width.
Many aspects were challenging making #2. I ran into different problems than the first. I never made a bone rosette, so that was 2 weeks in the making,
I did a few things different, all of which I learned a lot from.
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bulerias1981
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Here it is folks. The final product. I'm very happy with it, and what a learning journey! Can't wait to start up #3!!!
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bulerias1981
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bulerias1981
Oud Junkie
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bulerias1981
Oud Junkie
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bulerias1981
Oud Junkie
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bulerias1981
Oud Junkie
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sabbassi
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What a beauty, very nice details and very clean oud, lovely
thank you for sharing
Best regards, Samir
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bulerias1981
Oud Junkie
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Thanks Sabbassi
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bulerias1981
Oud Junkie
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Decided to remove the extended fingerboard and install a more traditional beard. It so happens that this changed the tone a lot. In fact, it changed
in a very good way.
I've also been playing on this instrument a lot. I have New York Arabic Orchestra rehersals on Wednesdays. I have a two hour gig every Thursday night
at a Lebanese restaurant in NYC (Balade), and I play for several hours solid during the week. So I'm not sure if its from the modifcation, from a lot
of playing, or both.
I like the new look, and certainly love the new sound. Maybe others may prefer the previous extended fingerboard scheme?
This oud is still for sale by the way. Please contact me to try it if you're in the NY area.
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