If you play guitar and are thinking about learning the oud, you already have a useful musical foundation. You may be familiar with melodies, chords, scales, rhythm, and improvisation. However, the oud is a different instrument, with its own playing techniques, musical traditions, and acoustic characteristics.
At Faruk Türünz Oud Shop, we have been making handmade ouds in Istanbul since 1984. Over the years, I have seen how important it is to choose an instrument that suits the musician, especially when the player is coming from another string instrument. A guitarist can bring valuable experience to the oud, but choosing the right instrument and understanding its differences can make the transition much easier.
The oud and guitar are both string instruments, but their construction and playing techniques differ in important ways.
Most modern guitars have frets, which help the player find specific notes. The oud is fretless. This allows the player to make subtle adjustments to pitch and explore the intervals and ornaments characteristic of Arabic, Turkish, and other Middle Eastern musical traditions.
The oud is generally played with a long plectrum called a risha. Its sound is produced through a combination of the strings, the soundboard, the bowl, and the instrument’s internal construction.
For guitarists, the absence of frets may require an adjustment period. At the same time, experience with picking, rhythm, and musical phrasing can provide a useful starting point.
Before choosing an oud, think about the music you want to play. Are you interested in Arabic music, Turkish classical music, Iraqi maqam, or a mixture of styles? The answer can help guide your choice of instrument.
You should also consider the tuning, string length, neck dimensions, and general playing comfort. An oud that feels comfortable in your hands can make regular practice more enjoyable.
The sound matters just as much. Some instruments have a warm, rounded tone, while others offer a brighter sound or a different balance between the lower and higher registers. There is no single sound that suits every musician.
If possible, listen to recordings of the particular instrument you are considering. Photographs can show the craftsmanship and appearance, but they cannot tell you everything about its response, resonance, and tonal balance.
Guitarists exploring the oud will quickly discover that there are several regional traditions. Turkish, Arabic, and Iraqi ouds can differ in dimensions, tuning practices, construction, and tonal character. However, there is variation within each category, and the label alone does not guarantee a particular sound.
Turkish ouds are often associated with a higher traditional tuning and a sound that suits Turkish musical repertoire. Arabic ouds are commonly used in Arabic musical traditions and may be built with different dimensions and tonal preferences. Iraqi ouds also have their own musical history and performance traditions.
Your intended repertoire is a useful starting point, but it should not be the only factor. Consider the instrument’s actual sound, its playing feel, and the tuning you intend to use.
At our workshop in Istanbul, we make Turkish, Arabic, and Iraqi ouds. If you explain what you want to play, we can discuss which type may be appropriate for your needs.
For a guitarist choosing an oud, the instrument’s soundboard is worth understanding. The soundboard is a major part of the oud’s acoustic system, responding to string vibration and helping produce the instrument’s sound.
Its characteristics depend on several factors, including the wood, thickness, bracing, bridge, and relationship with the bowl. These elements work together. The quality of an instrument cannot be judged by one material or construction detail alone.
In my work, I pay close attention to the relationship between the soundboard and its internal braces. Their design and placement influence how the instrument responds and how its sound develops.
For guitarists, this is especially relevant because two ouds that look similar may feel and sound quite different. A carefully constructed instrument should be considered as a whole rather than judged only by its decoration or wood selection.
A double soundboard oud is built differently from a traditional single soundboard instrument. In our double soundboard construction, two thin wooden layers are separated by Nomex, a lightweight material used in composite structures.
This design offers several potential benefits.
Greater resistance to changing humidity and air conditions. The construction is designed to provide greater stability when environmental conditions change. This can be useful for musicians who travel with their instruments or move between different climates.
More consistent performance across climates. The double soundboard design aims to help maintain a more stable response in varying conditions, whether the instrument is used in a hot or cold environment. As with any wooden instrument, however, sensible care and storage remain important.
More balanced harmonics. The Nomex material used in our double soundboard construction helps achieve a more balanced harmonic response, contributing to the overall tonal character of the instrument.
A double soundboard is not automatically the best choice for every guitarist. Your preferred tone, playing style, budget, and the particular instrument’s response should all be considered before making a decision.
Not necessarily. A beginner needs an instrument that is playable, properly set up, and suitable for regular practice. A high price does not automatically make an oud the right choice, just as a low price does not necessarily make it a good bargain.
If you already play guitar, you may be tempted to buy an inexpensive oud simply to see whether you enjoy the instrument. That can be understandable, but a poorly made or badly set-up oud may make learning more difficult than it needs to be.
Pay attention to string height, intonation, comfort, and the instrument’s general condition. If you plan to continue learning seriously, choosing a well-made instrument can make the experience more rewarding.
Some guitarists are accustomed to comparing tonewoods when buying an instrument. The same curiosity often carries over to the oud, where different woods may be selected for the bowl, soundboard, and other components.
Rare woods can have distinctive appearances, but rarity alone does not determine sound quality. The properties of the wood and how it is used in the instrument’s construction are important considerations.
If you are looking for a particular rare wood for your oud, contact us before placing an order. Availability varies, and we can discuss the options currently available and whether a particular wood is suitable for the design you have in mind.
At Faruk Türünz, our approach to handmade oud making places emphasis on the relationship between materials, construction, and acoustic response.
Buying an instrument online requires more care than simply choosing a photograph. Before ordering, ask the maker about the instrument’s construction, tuning, scale length, setup, and sound.
If you are a guitarist, explain your musical background and the styles you want to explore. Tell the maker whether you prefer a warm or bright sound, whether you have experience with fretless instruments, and whether you have a preference for Turkish, Arabic, or Iraqi oud.
You can also ask for an audio or video recording of the actual instrument, if one is available. This may help you understand its tonal character, although recordings cannot fully reproduce how an instrument sounds in person.
For international orders, confirm the production timeline, shipping costs, packaging arrangements, and any import requirements that may apply in your country.
For guitarists considering their first oud, the work of an experienced maker can be a useful starting point when exploring the instrument’s distinctive acoustic qualities.
I have been making ouds in Istanbul since 1984, with attention to soundboard design, construction, and the relationship between the instrument’s components. Our workshop makes Turkish, Arabic, and Iraqi ouds for musicians with different needs and musical backgrounds.
We also offer double soundboard designs for players interested in their particular construction and potential benefits. If you have a specific wood in mind, you are welcome to contact us to ask about availability.
Choosing an oud should involve more than comparing photographs or decorative details. Tuning, playing comfort, tonal character, construction, and the musical tradition you want to explore all matter.
Moving from guitar to oud can open up new musical possibilities. Your experience with strings, rhythm, and phrasing gives you a foundation, while the fretless fingerboard and risha technique introduce new skills to develop.
Take time to consider the music you want to play and the instrument that will support your progress. Learn about the different oud traditions, pay attention to construction and setup, and ask questions before making a purchase.
If you would like to explore handmade Turkish, Arabic, or Iraqi ouds, contact Faruk Türünz in Istanbul to discuss the instrument that best fits your musical goals.