todda
Oud Maniac
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Registered: 11-29-2005
Location: Sequim, Washington
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bridge height adjustment options and relation
I would like to adjust the height on my floating bridge Bashir style oud. I have two directions I can take:
1. trim the bottom "footprint", there-by reducing the amount of contact surface to the soundboard ( I realize this is very small ).
2. trim the top and re-establish the string notches.
On another note - I have noticed a few floating bridge models that are "arched" ( like a violin or cello ). Does a flat "footprint" bridge reduce the
vibration of a soundboard more than the arched versions. My thought would be that an arched bridge would tranfer more treble and bass harmonics than
the flat format which could reduce soundboards ability to vibrate and disturb the air in the bowl chamber. And with this string of thought, does the
specific design of a bridge need to relate to the design of the bracing - I have seen "X" bracing used in archtop guitars that are thinner where they
meet in the middel - that would tend to lend that they obsorb and transfer vibration better, rather than a larger single brace.
And lastly - does the wood or combination of woods used in a bridge effect the sound - I have not seen a bridge made of Ebony, is that because it will
flatten out the sound by not tranfering vibration enough?
I appreciate your thoughts and knowleadge on these topics.
Todd
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Ronny Andersson
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Todd, why do you want to adjust the height?
Best wishes
Ronny
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todda
Oud Maniac
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Location: Sequim, Washington
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Hi Ronney -
I have become used to the Sukar oud's action ( I purchased from Jameel) - it's a low enough that wheh I switch to the Yaroub, the transition trips me
up - I think you going to tell me to pratice picking my finger up and excersie to become proficiant on the Yaroub because it will only aid me in my
playing technique.
I was not going to trim or cut the Yaroub bridge, but fashion a new one - that's why I had the string on questions afterward.
I also changed the strings to Aquila ( extra set that Jameel sent with the Sukar ) - it cleaned tone and characteristics. A very nice oud that will
stay with me.
Also - I had emailed you about the 1927 Turkish oud by Amasyali Mumjuzadeh Mehmet Tevfik that you have on your web site - did you get those emails?
Nice to hear from you - and no do worry, I'm not changing the oud, just asking directions/options.
Why is no one else answering the technical questions? - the design application of arched vs. flat bridges?
Todd
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SamirCanada
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Well since you insist. Here's my 2cents...
If you bring the brige down you will get less volume if you leave the brige where it is. You must have noticed that when you bring the brige further
back towards the base of your oud The tension needed for the right notes raise. I would make shure that the brige is in the intended location for your
oud because in the long run if it wasnt in the right place for some time it might have pulled the neck joint up and raise your action. In wich case
you need to reset your neck not shorten your brige. If you dont mind loosing a little bit of vollume then you can try making a shorter brige. That
will be a quick fix and if the tension pulling the neck was the problem then it will reduce to further damage the neck untill you can get a luthier to
look at it. Or make a trip to tunisia and bring it to him
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wfspark
Oud Junkie
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arched VS flat bridge
I would think that for an oud, the bridge should be flat to accomidate for the flat finger board. Also, I understand that the vibrating length from
nut to bridge for Bashir ouds is 57 CM. If that is the case, make sure that the bridge is set to the specified vibrating length. It makes a world of
difference as to how the string tention is distributed through out the oud. If I'm wrong in any area of this, please let me know.
William F. Sparks
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todda
Oud Maniac
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Location: Sequim, Washington
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Thank you for your replies Samir & William -
I have checked the Bashir's soundboard in relation to the fingerboard - it's straight and true ( not pulling forward or back ), the bridge is also
dead on the 57cm - I knew to place it there prior to the information, because you can see where the bridge has sat before. I used this same method to
learn the correct finger postions - I saw where the strings were worn or had been played and that showed the general location to work with and learn
to define better by ear.
Some of my inquiries regarding the design of a bridge were also to prepair for building my own. I would like to explore an off-shoot or hybrid design
with a carved, arched top and back with format with straight sides. This design has been applied to violins, guitars, mandolins, ect... with great
results in sound projection and tone qualities. I have wondered why some one has not done this before? - I know the "tradtionalist" will say that it
is no longer an Oud, but if you look at the same approch applied to the design of the piano over the years ( uprights, grands, forte, ect... ) they
are are still classified as "pianos", they just have modified case structure and case design ( most of the mechanics are still the same ) - the "box"
and it's bracing are what changes the sound.
I'm quessing that the sound of an archtop Oud would be deeper and depending on the hole configuration & bracing, can be adjusted to develope more
or less treble/bass harmonics ( a classic "F" hole used in F5 mandolins produces the tradtional "bluegrass" treble dominate sound, where an open oval
hole produces a Celtic/blues/jazz deeped tone ).
Along with that - one final devation would be a radiused fingerboard - I've played flat classical/Flamenco guitars and radiused archtops anf flat
mandolin vs. radiused fingerboards - both work, but the ergonomics and feel of a radiused fingerboard is just more comfortable and structurlay
addaptive to your hands design.
Let's see if I get flamed for offering those ideas.......
Todd
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wfspark
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Location: San Antonio Texas
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I think it's a neet idea to have an arched top instrument. Just don't arch it so much as to have your oud be mistaken for an eleven string violin.
William F. Sparks
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