Zach123
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I have a Zeryab oud and the strings sound like wet farts
Hi guys, I recently bought a Zeryab nahat shami oud and I used orange label pyramids on it and they sound awful. They are floppy and they buzz so much
it feels like a classical guitar downtuned 2 octaves. the sound is so weak and barely audible.
I tuned it C to c and it was just horrible.
I even tuned up to D and that was still horrible but a bit less horrible.
The G course sounds awful. The C course sounds great. The F course in the bass sounds horrrrrrible and so does the A course.
The D course sounds okay but can be better.
It has a scale length of 58.5 cm. Do you guys know of high tension strings that I could use? I am on the verge of returning the oud because the
strings make it sound awful.
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Zach123
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oh For your information I tuned it to the correct octaves if you were wondering.
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Brian Prunka
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Hey Zach, can you post a short video of the sound?
Pyramid orange should be fine on that oud.
Oud strings are normally low tension, it's part of the sound.
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Zach123
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Quote: Originally posted by Brian Prunka  | Hey Zach, can you post a short video of the sound?
Pyramid orange should be fine on that oud.
Oud strings are normally low tension, it's part of the sound. |
Hi Brian, thanks for your response.
https://youtu.be/VOX54Z5dWYQ
here is a video demonstrating. Sorry for the bad intonation I just got the oud I don't play oud and I just guesstimated for the example.
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Brian Prunka
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Great, this is helpful.
I know you just got the oud, so no worries on the playing—we all were beginners at one point!
Listening to the example, the tension sounds fine and it's not the problem.
The oud sounds okay, really, except that the pairs of strings are not in tune with one another (the two c strings are not tuned together, the two g
strings are not tuned together, etc.). Higher tension won't have any effect on this.
This is hard at first, but the two strings in each pair have to be exactly in tune with one another. The best way to do this is to tune one
string in the pair to a tuner and then tune the other string to the first string, playing them both at the same time and adjusting the tuning until
they sound like one string.
This will solve 90% of the problem. Most of the buzzing and unpleasantness is stemming from the tuning.
The rest will come as you develop good posture, fingering habits, and picking technique. Beginners generally vastly underestimate how much buzzing
and poor projection is caused by less than optimal finger placement and an undeveloped risha stroke.
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Brian Prunka
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Listened again to the end more closely and the only strings that could benefit from higher tension are the low F and C.
Pyramid actually calibrates those strings at F# and C# because people tune them to G and D sometimes, so the tension is in the middle of what is
optimal for either. On most ouds, that's fine but since your oud is short to begin with, you might tune them G D instead of F C, or get slightly
heavier strings to replace those (LaBella .034 and .044 silver-plated copper wound strings should work).
While the oud is somewhat buzzy, it's being magnified by the tuning discrepancy. New ouds sometimes are a bit buzzy and will often settle in a bit as
they age (the face and neck joint frequently undergo some shifting in the first couple of years).
Oud strings should be much lower tension than classical guitar (which I notice you also play). The optimal tension is about 40-50% lower than
classical guitar.
Other technical aspects that make buzzing worse:
• Fingering hand fingertip angle
• Lack of appropriate callouses on the fingertips (probably not your problem since you seem to play bass and guitar as well, but the callous
location for oud and guitar are slightly different)
• Improper face angle (face should be perpendicular to the floor or angled slightly toward the floor—you shouldn't be able to see it while
playing)
• Improper risha angle (risha should be at an angle in all 3 dimensions)
• Picking hand movement from elbow or shoulder instead of wrist/forearm rotation
There are some other subtle aspects that aren't easily written in a short post. My main point is that the buzzing is likely a combination of factors,
mostly not having to do with string tension and only partially to do with your oud.
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SamirCanada
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Couple of things at play here. Beside what Brian already mentioned.
The finders need to curl over and press the strings with the hard part of the finger. Not a flat finger like when fretting a guitar.
The strings will take a week or two to get to tension and sound right. You can stretch out the strings and retune a few times a day to make it go
faster. Also as Brian said, need to make them tuned in unison. The key is to tune one string with a tuner and the other string of the course by ear.
The action could be a tad low hard to tell.Try tying the strings a bit higher on the bridge. But what I hear more is not buzzing but slapping of the
strings on the face of the oud, if you are tuned at the right pitch then it's a right hand technique issue. Are you using a risha? I can't see your
hand in the video but I can't understand what's going on the base string is always moving so something is going on there too.
As Brian said, no shame in being a beginner. You sound better than I did. But maybe get a teacher? Many virtual lessons available online
@samiroud Instagram
samiroudmaker@gmail.com
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Jody Stecher
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Sometimes you play a d or g or A etc and the tuning discrepancy between the two members of the pair is obvious. But other times it is not. And that is
when you are striking only one member of a pair of strings. So you are getting half volume. Also... if the two strings in a pair are perfectly tuned
to each other and to the other strings (which are also well tuned) even if your picking hand strikes only one string in a pair, the other string will
vibrate as well and add fullness to the sound. We are not seeing your picking hand in the video. But I can guess what is happening. The best oud in
the world will sound thin and wimpy unless the right kind of plectrum is used and held in the right way and approaches the strings in the right way.
Many times I have seen this happen with good musicians who weren't aware of oud plectrum technique.
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Zach123
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| Quote: Originally posted by Brian Prunka | Listened again to the end more closely and the only strings that could benefit from higher tension are the low F and C.
Pyramid actually calibrates those strings at F# and C# because people tune them to G and D sometimes, so the tension is in the middle of what is
optimal for either. On most ouds, that's fine but since your oud is short to begin with, you might tune them G D instead of F C, or get slightly
heavier strings to replace those (LaBella .034 and .044 silver-plated copper wound strings should work).
While the oud is somewhat buzzy, it's being magnified by the tuning discrepancy. New ouds sometimes are a bit buzzy and will often settle in a bit as
they age (the face and neck joint frequently undergo some shifting in the first couple of years).
Oud strings should be much lower tension than classical guitar (which I notice you also play). The optimal tension is about 40-50% lower than
classical guitar.
Other technical aspects that make buzzing worse:
• Fingering hand fingertip angle
• Lack of appropriate callouses on the fingertips (probably not your problem since you seem to play bass and guitar as well, but the callous
location for oud and guitar are slightly different)
• Improper face angle (face should be perpendicular to the floor or angled slightly toward the floor—you shouldn't be able to see it while
playing)
• Improper risha angle (risha should be at an angle in all 3 dimensions)
• Picking hand movement from elbow or shoulder instead of wrist/forearm rotation
There are some other subtle aspects that aren't easily written in a short post. My main point is that the buzzing is likely a combination of factors,
mostly not having to do with string tension and only partially to do with your oud.
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Hey Brian thank you very much for your thorough response. I fiddled a bit with the truss rod and the results changed for the better but the response
is still really weak compared to any oud player I see on YouTube. Mine still sounds like the strings are slinkier than their strings.
I will order a laBella set and see what it will sound like.
Would it be a better idea to go F-f since my oud's bass response is so weak anyways? Are the F-f strings any better for a shorter oud like mine?
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Daryush
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Just a perspective from a beginner:
It took me around 3 months to achieve a risha (right-hand) technique which produced a consistently full sound. The first few days of my oud playing
sounded horrible, but it was definitely me rather than the oud itself. I remember thinking "the bass sounds so buzzy and bad" but now I love it - it
sounds clean and full. I am also coming from playing classical guitar and I realised that oud technique is very much "its own thing". I can't see your
right hand much but at the end of the video it looks like you're hitting the string in a way which isn't producing much volume, I've found a solid and
confident down stroke (experimenting with angle until it sounds how you think it should) has worked for me.
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SamirCanada
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https://www.instagram.com/p/CGKg3KEg6CI/?igshid=g1pn3wsjbglv
I think your oud has the potential to sound like this since it's the same model.
@samiroud Instagram
samiroudmaker@gmail.com
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Brian Prunka
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| Quote: Originally posted by Zach123 |
Hey Brian thank you very much for your thorough response. I fiddled a bit with the truss rod and the results changed for the better but the response
is still really weak compared to any oud player I see on YouTube. Mine still sounds like the strings are slinkier than their strings.
I will order a laBella set and see what it will sound like.
Would it be a better idea to go F-f since my oud's bass response is so weak anyways? Are the F-f strings any better for a shorter oud like mine?
|
I can tell you that a "weak" sound is mostly due to your risha technique. People coming from guitar (I did too) generally vastly underestimate how
much of the "big" sound comes from playing properly. Guitar is relatively forgiving and there's a lot of "whatever works for you" in regards to
technique. The oud really does have a pretty narrow range of what works to produce a big sound.
I thought that my oud when I started just wasn't very loud or strong sounding—until I went to Simon Shaheen's Arabic music retreat and heard master
players play on my oud and get a big sound out of it. Then I realized that I needed to refine my picking technique. I can tell from your video that
the strings you are using are fine and producing plenty of sound, I don't think you need different strings.
Using F-f' makes sense if you want to play in the higher tuning. It may sound better or worse on your oud, it really is not predictable. Who are the
oud players you like? Anouar Brahem, Naseer Shamma, Munir Bashir use the high tuning. Simon Shaheen, Nizar Rohana, Riad al Sounbati, Farid al Atrash
use the low tuning.
Another thing you could do on your oud is just tune it up 1/2 step, this will give you an idea of what it will feel/sound like with heavier strings.
At 58.5cm it should be safe to tune up a 650 set slightly.
Do you have a teacher? That is the most important thing; it's rather difficult to learn proper right hand technique without any direction.
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Zach123
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| Quote: Originally posted by Brian Prunka | | Quote: Originally posted by Zach123 |
Hey Brian thank you very much for your thorough response. I fiddled a bit with the truss rod and the results changed for the better but the response
is still really weak compared to any oud player I see on YouTube. Mine still sounds like the strings are slinkier than their strings.
I will order a laBella set and see what it will sound like.
Would it be a better idea to go F-f since my oud's bass response is so weak anyways? Are the F-f strings any better for a shorter oud like mine?
|
I can tell you that a "weak" sound is mostly due to your risha technique. People coming from guitar (I did too) generally vastly underestimate how
much of the "big" sound comes from playing properly. Guitar is relatively forgiving and there's a lot of "whatever works for you" in regards to
technique. The oud really does have a pretty narrow range of what works to produce a big sound.
I thought that my oud when I started just wasn't very loud or strong sounding—until I went to Simon Shaheen's Arabic music retreat and heard master
players play on my oud and get a big sound out of it. Then I realized that I needed to refine my picking technique. I can tell from your video that
the strings you are using are fine and producing plenty of sound, I don't think you need different strings.
Using F-f' makes sense if you want to play in the higher tuning. It may sound better or worse on your oud, it really is not predictable. Who are the
oud players you like? Anouar Brahem, Naseer Shamma, Munir Bashir use the high tuning. Simon Shaheen, Nizar Rohana, Riad al Sounbati, Farid al Atrash
use the low tuning.
Another thing you could do on your oud is just tune it up 1/2 step, this will give you an idea of what it will feel/sound like with heavier strings.
At 58.5cm it should be safe to tune up a 650 set slightly.
Do you have a teacher? That is the most important thing; it's rather difficult to learn proper right hand technique without any direction.
|
Hey Brian, thank you for your response and I am so sorry for responding so late. I put laBella F-f on there and they sound great on every course
except the g course. I try using the same risha technique and all the courses sound great except the g course. The strings hit each other and buzz and
sound weak.
Any idea of what I can do since I have been able to get a really good sound out of every other course besides the g course.
And regarding my favorite oud players I don't know a lot about them I am still a beginner in Arabic music. I just want my oud to make good sound and
then I want to start learning but it is not very motivating when the strings don't sound very nice. Now it is only the g course. Do you have any idea
how I can fix it? After searching a bit I saw that you recommended a pack of strings to someone with a g course that is thinner in diameter. Can you
tell me what I should get?
Thank you Brian.
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Brian Prunka
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Sometimes the design/build of cheaper ouds simply doesn't really showcase certain strings well, usually either the g or d courses are the victims.
Trying different strings will help but it's ultimately just an issue with the instrument. Hard to say whether that's the case here, but Zeryab ouds
are a little inconsistent (I think they are often quite nice for the price, actually, but they are still mostly a budget instrument). You could try
experimenting with different g strings.
PVF might help, as it's higher in density (so a similar gauge string will be heavier). I'd suggest something like .68mm PVF.
Nylgut also might help, the .76mm nylgut should be good for g on this oud. Not as dense as PVF, but denser than nylon.
As I recall, the g course in the ou80a set is .031in, which is usually ok on your size oud but you might want to go up to .032in if you stick with
nylon.
Pyramid makes .825mm nylon which is ~.0325 in. D'addario makes good nylon, you can get .032 or .033 and try those. D'addario nylon is overall a
little cleaner sounding than LaBella so that could help. You could also try clear nylon, D'addario makes .0317in clear nylon that is very clear
sounding.
The g course and d course are tricky for the following reason:
For g: it's difficult to get high enough tension with nylon at shorter string lengths without the string being thick and dull-sounding
For d: it's difficult to get low enough tension with a wound string at longer string lengths without the string being fragile and thin-sounding, and
if you use nylon for the d you run into the problem of not having enough tension/too thick strings
Since your oud is short, the g will tend to be the problem. If you had a long oud, you'd be more likely to have a problem with the d.
This is why I prefer 60cm ouds, it's short enough that d isn't usually a problem and long enough that g isn't usually a problem.
If you try tuning the g course up a half step and see if it sounds better, you will have some idea of what might help.
If you wanted to share a new video of the g course, it would give me a little more insight but the above is just some general advice.
Mostly you will just need to experiment to find what works. The suggestions above are just some different things to try.
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coolsciguy
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| Quote: Originally posted by Brian Prunka | Sometimes the design/build of cheaper ouds simply doesn't really showcase certain strings well, usually either the g or d courses are the victims.
Trying different strings will help but it's ultimately just an issue with the instrument. Hard to say whether that's the case here, but Zeryab ouds
are a little inconsistent (I think they are often quite nice for the price, actually, but they are still mostly a budget instrument). You could try
experimenting with different g strings.
PVF might help, as it's higher in density (so a similar gauge string will be heavier). I'd suggest something like .68mm PVF.
Nylgut also might help, the .76mm nylgut should be good for g on this oud. Not as dense as PVF, but denser than nylon.
As I recall, the g course in the ou80a set is .031in, which is usually ok on your size oud but you might want to go up to .032in if you stick with
nylon.
Pyramid makes .825mm nylon which is ~.0325 in. D'addario makes good nylon, you can get .032 or .033 and try those. D'addario nylon is overall a
little cleaner sounding than LaBella so that could help. You could also try clear nylon, D'addario makes .0317in clear nylon that is very clear
sounding.
The g course and d course are tricky for the following reason:
For g: it's difficult to get high enough tension with nylon at shorter string lengths without the string being thick and dull-sounding
For d: it's difficult to get low enough tension with a wound string at longer string lengths without the string being fragile and thin-sounding, and
if you use nylon for the d you run into the problem of not having enough tension/too thick strings
Since your oud is short, the g will tend to be the problem. If you had a long oud, you'd be more likely to have a problem with the d.
This is why I prefer 60cm ouds, it's short enough that d isn't usually a problem and long enough that g isn't usually a problem.
If you try tuning the g course up a half step and see if it sounds better, you will have some idea of what might help.
If you wanted to share a new video of the g course, it would give me a little more insight but the above is just some general advice.
Mostly you will just need to experiment to find what works. The suggestions above are just some different things to try. |
Hi Brian,
Thank you for such a complete answer. This should go to the FAQ part of the forum.
You have wonderful suggestions for using different materials (nylon, PVF, nyglut) that produce the right amount of tension (~35N) for gg string to get
better sound. I have also read on this forum that folks use strings tuned lower that what they were meant for to get superior sound, for instance by
using Turkish aa string and tuning it down to gg.
aa on D'addario EJ95 has a diameter of 0.28 inches, whereas gg on EJ95A is 0.31. In effect, one would use a thinner gauge string and tune it a whole
step lower. This is opposite of what one might think to be a good solution. What am I missing here?
Thanks
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Brian Prunka
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| Quote: Originally posted by coolsciguy |
Hi Brian,
Thank you for such a complete answer. This should go to the FAQ part of the forum.
You have wonderful suggestions for using different materials (nylon, PVF, nyglut) that produce the right amount of tension (~35N) for gg string to get
better sound. I have also read on this forum that folks use strings tuned lower that what they were meant for to get superior sound, for instance by
using Turkish aa string and tuning it down to gg.
aa on D'addario EJ95 has a diameter of 0.28 inches, whereas gg on EJ95A is 0.31. In effect, one would use a thinner gauge string and tune it a whole
step lower. This is opposite of what one might think to be a good solution. What am I missing here?
Thanks |
You're welcome, I hope it is helpful to some folks. It's just based on a lot of trial and error and experience.
I think the suggestion regarding tension, tuning down etc. are case-by-case and depend a lot on the specific oud and tuning.
1- tuning matters, it's not just about tension. Each oud will resonate differently at different tunings. This is why some Turkish ouds will sound
bad (or less good) in a lower tuning, regardless of the strings used. Or why some old Arabic ouds really need to be tuned to B or Bb rather than C
to get the best sound. Great ouds will often have more leeway here (it may not be ideal, but will still sound good in other tunings).
2- the ideal tension on a plain g course is not 35N, but depends on the material. Tonal qualities depend not just on tension but materials and
diameter. To get 35N with nylon, for example, you would need approximately .90mm string (.035 in). This is huge and will sound dull and feel thick
and heavy under your fingers. For nylon, you're often aiming more .775-.825 mm (.030-.033 in), which yields around 27-30N. PVF range is usually
.63-.70mm, and Nylgut is usually .70-.79mm and will yield slightly higher tensions by virtue of the nature of the material. It's just not as simple
as trying to match tension.
3- It also depends on the construction of the instrument — a lot of Arabic ouds have thicker tops, this creates more inertia and very light
string may not produce enough energy to drive the top and produce a good sound. So a .028in string may work great on one oud and not at all on
another.
There is not a one-size-fits all solution here. Arabic ouds vary in length, intended tuning, top thickness, bracing, and bridge type. All of these
have major effects on the responsiveness of the strings and what strings will sound good. There are things that generally work, but the only real
solution on any particular oud is to experiment and find what works for your particular instrument and use.
Personally, I haven't had the same experience as Omar with respect to using Turkish sets tuned down. I find the plain strings to be too weak in most
cases and not well-balanced with the wound strings. It doesn't mean he is wrong in his case, but it depends a great deal on the particular oud.
My experience, which I relate frequently, is that pre-composed sets are very rarely ideal for any Arabic oud. Arabic ouds vary a great deal so any
set is either designed for only one particular case or it is a compromise between them and not ideal for any. It may be that a set works great for a
particular oud, but in almost all circumstances one would get a better result by developing a customized set through trial and error.
I do not ever use an "oud string set" of any kind on any of my Arabic ouds. Turkish ouds are much more standardized and so if you get the right set
for your tuning, the oud sets are often quite well-suited.
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coolsciguy
Oud Junkie
Posts: 249
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Location: Washington D.C.
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| Quote: Originally posted by Brian Prunka |
You're welcome, I hope it is helpful to some folks. It's just based on a lot of trial and error and experience.
I think the suggestion regarding tension, tuning down etc. are case-by-case and depend a lot on the specific oud and tuning.
1- tuning matters, it's not just about tension. Each oud will resonate differently at different tunings. This is why some Turkish ouds will sound
bad (or less good) in a lower tuning, regardless of the strings used. Or why some old Arabic ouds really need to be tuned to B or Bb rather than C
to get the best sound. Great ouds will often have more leeway here (it may not be ideal, but will still sound good in other tunings).
2- the ideal tension on a plain g course is not 35N, but depends on the material. Tonal qualities depend not just on tension but materials and
diameter. To get 35N with nylon, for example, you would need approximately .90mm string (.035 in). This is huge and will sound dull and feel thick
and heavy under your fingers. For nylon, you're often aiming more .775-.825 mm (.030-.033 in), which yields around 27-30N. PVF range is usually
.63-.70mm, and Nylgut is usually .70-.79mm and will yield slightly higher tensions by virtue of the nature of the material. It's just not as simple
as trying to match tension.
3- It also depends on the construction of the instrument — a lot of Arabic ouds have thicker tops, this creates more inertia and very light
string may not produce enough energy to drive the top and produce a good sound. So a .028in string may work great on one oud and not at all on
another.
There is not a one-size-fits all solution here. Arabic ouds vary in length, intended tuning, top thickness, bracing, and bridge type. All of these
have major effects on the responsiveness of the strings and what strings will sound good. There are things that generally work, but the only real
solution on any particular oud is to experiment and find what works for your particular instrument and use.
Personally, I haven't had the same experience as Omar with respect to using Turkish sets tuned down. I find the plain strings to be too weak in most
cases and not well-balanced with the wound strings. It doesn't mean he is wrong in his case, but it depends a great deal on the particular oud.
My experience, which I relate frequently, is that pre-composed sets are very rarely ideal for any Arabic oud. Arabic ouds vary a great deal so any
set is either designed for only one particular case or it is a compromise between them and not ideal for any. It may be that a set works great for a
particular oud, but in almost all circumstances one would get a better result by developing a customized set through trial and error.
I do not ever use an "oud string set" of any kind on any of my Arabic ouds. Turkish ouds are much more standardized and so if you get the right set
for your tuning, the oud sets are often quite well-suited.
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Thank you Brian.
Your knowledge and willingness to share it is just amazing  .
I think I have a grasp on the concept now; as you said, I need to experiment with different strings. PVF is a material I haven't tried yet and will
need to get a set now. Thanks again for the info.
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coolsciguy
Oud Junkie
Posts: 249
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Location: Washington D.C.
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| Quote: Originally posted by Brian Prunka | | Sometimes the design/build of cheaper ouds simply doesn't really showcase certain strings well, usually either the g or d courses are the victims.
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Brian, is this why the tuner won't settle on a solid g and will move around the mark when tuning?
All other strings, I can get a solid tune where tuner gauge sits on the mark (gives me a solid A), but for the g string, it tends to dance around and
never settle firmly no matter what I do.
Thanks again
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Brian Prunka
Oud Junkie
Posts: 2939
Registered: 1-30-2004
Location: Brooklyn, NY
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| Quote: Originally posted by coolsciguy | | Quote: Originally posted by Brian Prunka | | Sometimes the design/build of cheaper ouds simply doesn't really showcase certain strings well, usually either the g or d courses are the victims.
|
Brian, is this why the tuner won't settle on a solid g and will move around the mark when tuning?
All other strings, I can get a solid tune where tuner gauge sits on the mark (gives me a solid A), but for the g string, it tends to dance around and
never settle firmly no matter what I do.
Thanks again |
Sorry, I didn't see this before.
Sometimes the resonance of the bowl is around the G or an overtone (maybe D), which could cause interference with what the tuner is picking up. You
can try singing into the bowl to find the resonance (just go up and down with your voice, it will suddenly get much louder and reflect back at you
when you hit a resonant node).
A general fact about strings is that they don't vibrate exactly as "ideal string" physics would dictate, particularly in the following situations:
The tension is very low
The tension is very high
The material or shape of the string is inconsistent
These can cause the overtones of the string to be out of tune with the fundamental (in fact this is always slightly true due to the fact that the ends
of the string can't vibrate freely), and this mismatch between fundamental and overtones can confuse an electronic tuner. You can try to compensate
for this by using the octave harmonic to tune, which eliminates the fundamental.
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coolsciguy
Oud Junkie
Posts: 249
Registered: 5-14-2020
Location: Washington D.C.
Member Is Offline
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| Quote: Originally posted by Brian Prunka |
Sorry, I didn't see this before.
Sometimes the resonance of the bowl is around the G or an overtone (maybe D), which could cause interference with what the tuner is picking up. You
can try singing into the bowl to find the resonance (just go up and down with your voice, it will suddenly get much louder and reflect back at you
when you hit a resonant node).
A general fact about strings is that they don't vibrate exactly as "ideal string" physics would dictate, particularly in the following situations:
The tension is very low
The tension is very high
The material or shape of the string is inconsistent
These can cause the overtones of the string to be out of tune with the fundamental (in fact this is always slightly true due to the fact that the ends
of the string can't vibrate freely), and this mismatch between fundamental and overtones can confuse an electronic tuner. You can try to compensate
for this by using the octave harmonic to tune, which eliminates the fundamental.
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Great explanation as always. Thank you. This makes perfect sense.
My issue with gg resolved to an extent when I switched to Pyramid Lute as suggested by Mustafa. This conforms to your last bullet point (better
consistency resulting less overtones).
There is so much stuff to learn, this forum and contributing members are gems.
Thanks again!
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Brian Prunka
Oud Junkie
Posts: 2939
Registered: 1-30-2004
Location: Brooklyn, NY
Member Is Offline
Mood: Stringish
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You're welcome! Always glad to share and help when I can. Pyramid lute nylon is some of the best and certainly could help. Sometimes tuning up or
down a half step or so (with appropriate strings) will also put the pitches of the oud in a better place with respect with the resonances of the
instrument.
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