jaron
Oud Maniac
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Registered: 6-14-2008
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slight adjustments to placement of floating bridge
A question: What is the usual practice for precise placement of a floating bridge on an oud?
I have found that a small position adjustment (within the range that the bracing is designed for) can have interesting results.
The un-played portion of the strings (on the far side of the bridge) can be tuned to the fifth harmonic of each string, which is like a major
third/tenth, or to a fourth/eleventh, or somewhere in between.
The differences are not huge, but they are interesting. The major third tuning makes the open strings more resonant, I think, and adds a little sheen
to the whole sound. The fourth tuning creates a more intense, piercing interaction between the strings. The in between placement adds a hint of
extra, subtle dissonance, a little like adding an almost imperceptible touch of hot pepper to a sweet dish.
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Melbourne
Oud Junkie
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From what I know the floating bridge is designed to stay in the same location. You'll find the the vibrating string length of an oud is divided into
thirds, so if the vsl is 60cm, one third will be the fingerboard to the body neckjoint, and the other two thirds to the brigde. If the bridge is
moved one way or another then this perfect division is lost, and therefore the notes won't fall where they are supposed to, one might think this is ok
because the oud has no frets, but to me it not correct. There is also the issue of bracing , where the brigde location may be placed centrally
relative to two braces on the other side of the soundboard, so the correct sound and vibartion patterns of the instrument become disrupted.
Its funny you mention the unplayed portion of the strings on the far side of the bridge...For years in Greek music, I though the background chords of
the baby bouzouki (baglamas) were produced by striking the strings on the other side of the bridge of the instrument - until the discovered the
baglama!
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patheslip
Oud Junkie
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This idea isn't daft, I used to have a Neapolitan mandolin which was in tune on both sides of the bridge and sounded wonderful (until it was stolen by
Catalan gypsies).
(No disrespect to the many honest Catalan and gypsies out there, one can find bad apples in any barrel.)
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Melbourne
Oud Junkie
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Interesting with the mandolin - but I'd imagine the distance on the other side of the bridge would have been allowed for the first place such that a
perfect note is produced. Otherwise to shift the bridge randomly would distort the tuning and displace harmonics etc...esp on a fretted
instrument.
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SamirCanada
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I will pitch in here since I have made the face of the oud in question and I have also played around with the position of the bridge on this oud.
Although Jaron that is an interesting idea to tune the strings on the other side of the bridge! never thought about that one!
also...
the brace behind the bridge if I remember correctly is at 59cm. For the notes to fall right on the "correct" 20/40 ( neck to face) ratio. the bridge
should be at 59cm.
But as you will notice, placing the bridge directly over the brace has a kind of muting effect on the sound.
I designed the face of the oud having planed to make the oud a 57cm scale length oud. Although I will admit that I didnt consider the fingerboard
ratio. Entirely due to inexperience I have to concede!
On the other hand I dont find that small variations in the position of the bridge forwards or backwards alters the playing positions to such an extent
that it is a problem.
it is noticeable if you pay attention but on the other hand if you are used to switching scale lengths of ouds in the first place.
Though technically you have a point Samer, ideally, fingering at the neck joint position on every oud should be tuned to the string above.
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Ronny Andersson
Oud Junkie
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Exactly Samer the bridge shall stay in one fixed position but many are tempted to experiment with the bridge because is movable. One can damage the
soundboard and also the sound is definitely not improved.
Best wishes
Ronny
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