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Messages - Davids

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Very good question. Here you can see some most used materials that i know about it.

Nylon
The most common material for the highest (treble) courses. Sometimes used for the third course. Most often transparent, but also available in black or red. Plain nylon is often glossy in appearance, whereas rectified nylon is finished to a matte sheen for increased grip when plucking with the fingers. Either is used for oud.

PVF (fluorocarbon)
Plain, unwound strings that have a higher density than nylon. At the same tuning and scale, PVF strings will be thinner gauge and brighter sounding than their nylon counterpart.

Nylgut
A sythetic "gut" material, milky-white in appearance. Also denser than nylon, but with a warm sweet sound. Used for the two upper courses. Made exclusively by Aquilacorde.

Hope that help you  8)

2
Ceramic doumbeks produce beautiful tones.  They are a little warmer in timbre than many metal doumbek and are as easy to play as the above mentioned drums.  However, ceramic doumbeks are fragile and thus, are much less durable than any metal doumbek.  If you travel with the ceramic drum, then a padded bag is needed.   For a first doumbek I would NOT recommend a ceramic drum since it is more fragile and less versatile than the metal drums.

3
Doumbek, Darbuka Lovers / Re: Do you only play your own drums?
« on: October 23, 2015, 05:21:36 PM »
I think all of us are most comfortable playing our own kits, set up the way we prefer.  However, I also think it's important to be adaptable so that you can jump on a foreign kit and still be able to play effectively.

When I first started playing on shared kits, I was very uncomfortable.  As I got more experience, it became much less of an issue.  Since then only once did I encounter a significant problem.  I was asked to play a set on a gig.  The drummer's kit was in horrible condition, poorly tuned, ergonomically a disaster, and the bass drum pedal spring so stretched that the only way to get the beater to the head was to lift my entire leg and stomp on the foot plate.  Even then, it barely hit the head with any force.  You just have to adjust.

4
Ordinarily strings take some time to stretch in and come to a stable pitch. Pull the string sideways across the face of the oud a bit and retune. After twelve or so times, the string will be stretched in and hold its pitch.

Video Demo:


5
I confirm that the strings placement detailed on Oud Café is one of the best solution.
I've tried many different configurations, and that one gives good results because it avoids string crossings in the pegbox. The oud stays in tune. "Oud Café" gives you a 11 strings diagram. For 12 strings, you just add another low C in front of the low C.

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