DEDICATION

I dedicate this work to:

My mother Karimah and father Samir, who always

encouraged me to be the person I am.

My dear friend Rami Yaasoub, who was my first music

teacher.

Maestro Geza Burghardt,

my mentor who opened
my mind and eyes to the world of luthiery.

ACKNOWLEDGEMENT
Canada Council for the Arts
Ahmad Khatib
Youssef Hbeisch
Mark Wolfe
Hung Nguyen
Sean Ryan
Dr Nickolas Kahwaji
Sabine Kahwaji
Ibrahim Mantoufi
Richard Chapman
James Averi
Rafic Adly
Dr Tarek Abdallah
Georgies Local Kitchen and Bar
Dwayne Morgan
PREFACE
Many years ago, I aspired to master the craft of
instrument making. Despite numerous attempts to find
a luthiery mentor, my search proved futile. Determined
to pursue my artistic dream, I decided to immigrate to
Canada. Here, luck was on my side as I encountered
Master Luthier Geza Burghardt on Granville Island, under
whom I studied. Starting as a complete novice, Geza
opened my mind and eyes to a luthiery world beyond
my imagination. After four years of study, I established
my own luthiery shop in 2017—a journey for which I am
immensely grateful.
In my shop, I meticulously maintain, repair, and restore
instruments of the violin family to the highest standards.
I also handcraft violins, classical guitars, and ouds, using
traditional methods dating back centuries and materials,
glues, and varnishes that are almost entirely organic.
This sense of accomplishment carries a profound
responsibility, especially when reflecting on my early
days of eager learning and scarce resources.
My experience inspired an all-inclusive concept covering
the journey from wood to music, culminating in a music
album, blueprints, a video, and this booklet. The initial
step involved thorough research, drafting blueprints,
and building three stringed instruments—a violin, a
classical guitar, and an oud. This process took about
eight months. The next step was collaborating with
Sweden-based composer and oud virtuoso Ahmad al
Khatib. I commissioned him to compose and arrange an
instrumental album tailored for these three instruments.
Ahmad, a renowned oud composer and player of quality
world music, blends the classical school with the ancient
roots of the orient.
Once the music was ready, we convened in Paris to
assemble the musicians, rehearse, and record the album.
Four musicians were involved: Ahmad from Sweden on
the oud, Youssef Hbeisch and Basil Khoury from France
on percussion and violin respectively, and Joan Aznar
from Spain on the guitar. Rehearsals and recording
spanned a week, and after recording, the album was
edited in Sweden and mastered in Canada. The final
release of the album, booklet, video, and blueprints
occurred in Vancouver and across Canada. It was a truly
interdisciplinary and cross-cultural project, bridging
wood to music, east to west, and traditional to modernity.
This booklet aims to cover the full journey from the initial
stages of research and blueprints to the final musical
experience, encompassing composing, recording, and
performing. I find joy in making this material accessible
for people to learn about the complete experience. It is
my hope that it proves beneficial for the art community—
both professionals and enthusiasts alike—to observe
the process and enjoy quality music composed for and
played on expertly crafted handmade instruments.
Karim Hourani
CARVING
Table of Contents

About the Luthier 1

Conception & Grant Application 2

Blueprint 2

Oud Making 5

Collaboration with Composer 21

Musicians Assembly 21

Rehearsals & Recording 23

The Music Album 25

Post Production 25

Album Design, Poster, & Booklet 26

Registering & Label 27

Video Production 28

Release 29
ABOUT THE LUTHIER
Karim Hourani, born in Beirut, Lebanon, in 1987, has a rich and restoration business. He continued learning from
familial background steeped in music and craftsmanship. Geza, delving into classical guitar building techniques,
His maternal grandfather, a singer and oud player, from blueprint reading to French polish application.
contributed to Lebanon’s national radio station during
the 60s and 70s, while his father honed his skills as a Currently based in New Westminster, Karim runs his
leather craftsman, specializing in custom-made and violin repair and restoration business. He revels in the
repaired leather goods. The household ambiance was satisfaction of breathing life back into once-damaged
filled with classical oriental music, world music, and art- instruments and creating new violins, classical guitars,
related shows. and ouds from raw pieces of wood, a testament to his
unwavering passion for craftsmanship and music.
Karim attended the Beirut Baptist School from
kindergarten to grade 12, participating in various
extracurricular activities such as playing on the basketball
team for six years. Additionally, he engaged in folklore
dance groups and annual theater productions under
the guidance of actor Peter Semaan, creating lasting
memories.

Despite majoring in business management at the

Lebanese International University, Karim’s professional
trajectory shifted. From 2008 to 2015, he immersed
himself in linguistics, translation, and editing. In 2015, he
briefly explored archaeology at the Lebanese University
in Beirut.

A pivotal moment occurred in 2012 during a trip to Cairo

for the Arab Music Festival. This experience connected
him with influential artists like oud virtuosos Rami
Yaasoub and Hazem Shaheen, cartoonist Anas El Deeb,
writer Ibrahim Dawoud, and actor/director Youssef Ismail.

At the age of 25, Karim decided to pursue his passion

for luthiery. In 2015, he relocated to Vancouver, Canada,
and had the privilege of studying under Hungarian
Master Luthier Geza Burghardt. Geza, renowned globally
for traditional classical guitar building, became Karim’s
mentor. Starting with violin family repair and restoration
lessons, Karim eventually launched his own violin repair
CARVING 1
CONCEPTION AND
GRANT APPLICATION
My introduction to the Canada Council for the Arts
emerged during research on financing further education
alongside Maestro Geza Burghardt. This initial curiosity
propelled an in-depth exploration of various grants,
encompassing their types, prerequisites, timelines,
budgets, and insights from past recipients.
Initially contemplating a smaller grant for local or
international studies with Geza, I eventually gravitated
towards applying for the Concept to Create category.
The envisioned project, titled “Carving: from wood to
music” aimed to document the entire journey — from
selecting raw wood to crafting a musical instrument and
releasing a corresponding album.
This all-inclusive endeavor spans drafting blueprints,
engaging in luthiery and fine craftsmanship, progressing
through music composition, performance, recording,
sound engineering, and collaborations with graphic
designers and fellow creative artist.
The practical realization involved printing out grant
application forms and dedicating approximately six
weeks to meticulous filling, researching, and data
collection. While the process and questions were
generally straightforward, they demanded time, focus,
and unwavering consistency. The budgeting aspect
posed a particular challenge, emphasizing the potential
benefits of seeking assistance from a professional.
This journey, navigated through the grant application
process, bore fruit in the form of a music album,
blueprints for the Oud, the creation of this booklet, and
a concise video encapsulating pivotal moments and
frames throughout the entire project.
BLUEPRINTS
The term “luthier” or “luthiery” originates from the
French language, initially referring to lute makers and
later encompassing creators of all stringed and plucked
instruments. The craft has been methodically documented
and taught throughout Europe and the world and detailed
blueprints derived from the instruments of great masters
are available for most classical instruments. However,
the Oud stands as an exception, lacking comprehensive
blueprints, making it the focus of this chapter.
The Oud, considered the immediate predecessor of the
Lute, arrived in Europe through Andalusian influence
in Spain. Resembling a tear-shaped plucked stringed
instrument with a deep back bowl, the instrument’s
history is subject to speculation, potentially tracing back
to old Mesopotamia or Egypt.
Unlike other stringed instruments, modern Oud making
relies heavily on oral tradition passed down through family
or close friends apprenticeship. Limited documentation
and resources exist, making the quest for Oud blueprints
particularly challenging. To address this gap, I engaged
with friends and colleagues knowledgeable about the
instrument and drew inspiration from the outlines and
measurements of Syrian luthiers’ Nahhat family.
Despite challenges in acquiring detailed measurements, I
opted to design my own blueprint, blending mathematical
precision and aesthetic appeal. Employing a traditional 1
to 3 scale ratio and drawing inspiration from the Fibonacci
sequence spiral for the body and bowl, I deviated from
the common Oud arch but found satisfaction in the
result. Seizing the opportunity, I experimented with a
new bracing pattern, combining elements of ladder and
fan patterns to enhance both structural integrity and
acoustic properties.
The result was a hand-drafted full-scale blueprint,
encompassing all necessary measurements and details
for Oud construction. Collaborating with Hung Nguyen,
a friend, musician, and engineer, we transformed the
hand draft into a digital format suitable for printing.
The process involved scanning the draft and making
necessary adjustments using design software, a
meticulous undertaking that ensured the final plan met
the desired specifications.
CARVING 2
 FULL SCALE PLAN FOR 6-COURSE BY KARIM HOURANI (V.S. MODEL )2020)
Materials:

· Soundboard: Canadian spruce

· Bowl: English yew
· Neck: Spanish cedar
· Fingerboard: Honduran mahogany
· Bridge: maple/ebony
· Bindings: maple veneer dyed black, brown, yellow
· Pegbox: English yew outside, maple inside
· Braces, internal blocks, linings: Canadian spruce
· Nut: bone
· Pegs: ebony
· Glue: hide glue throughout
· Finish: shellac based varnish. Orange/brown color

Dimension:

· String length: 58.7 cm (scale 58.5 cm + 2 mm compensation)

· Instrument total length: 69 cm
· Body length: 49.5 cm
· Neck length: 19.5 cm
· Body width: 37.5 cm
· Bowl depth: 19 cm
· Top thickness: varies between 1.8 - 2.4 mm
· Rib thickness for bowl: 2mm
· Sound hole diameter: 9 cm
· Linings: 12 mm (H) x 7 mm (W)
· Cross braces: #1: 12 mm (H) x 8 mm (W) #2: 16 mm (H) x 6.5 mm (W)
#3: 14 mm (H) x 6.5 mm (W)
· Fan braces: 3 mm (H) x 4-6 mm (W)
· Bridge brace: 5mm (H) x 6.5 mm (W) x 24 cm (L)
· Neck thickness: At 1st position: 2 cm. At neck joint: 2.4 cm
· Neck width: At nut: 3.8 cm
· Neck angle: 2 degrees
· Fingerboard thickness: 6 mm
· Pegbox length: 17.5 cm
· Pegbox width: At nut: 3.8 cm at rear: 2.4 cm
· Pegbox thickness: cheeks: 5 mm backer: 4 mm
· Binding: 4x4 mm
· Peg hole diameter: 1.5 mm
· String hole diameter at bridge: 1.5 mm
· Sound hole support: 1.2 mm (thk) X 26 mm (W) X 90 mm (L)

CARVING
3
 FULL SCALE PLAN FOR 6-COURSE BY KARIM HOURANI (V.S. MODEL)2020)

CARVING
4
 Photo 1
OUD MAKING
TEMPLATES
Having a blueprint for crafting the Oud proves
invaluable, primarily for replicating templates crucial to
the instruments construction. The initial step involves
creating templates for various parts, including two half
templates for the forming mold and soundboard, as well
as templates for ribs, neck, fingerboard, pegbox pieces,
nut, and bridge.
Selecting the right template material is crucial, requiring
strength, sturdiness, and resistance to shrinkage,
warping, and dimensional changes over time. Materials
such as bakelite, plastic, plexiglass, brass, and hardwood
are suitable, with the choice depending on the specific
build. Bakelite, brass, and thin plastic are often preferred
for their stability, flexibility, and malleability.
The template-making process begins with producing a
disposable copy of the plan. Each piece is cut, taped onto
the selected material, and meticulously shaped to exact
size. Careful measurement and cross-referencing with
the blueprint ensure precision, and prevent discrepancies
caused by pencil contours.
Once the templates are cleaned, labeled, and ready,
attention turns to preparing the necessary jigs and
forms for constructing different parts of the instrument.
The meticulous creation of templates ensures accuracy
and reusability for future builds of the same model.
This thoughtful approach to template preparation
lays a foundation for consistent and high-quality Oud
construction. (Photo 1)
CARVING 5
MOLDS & JIGS
Following are some molds and jigs that
could be useful in the oud construction process:

Bowl forming mold (Photos 5, 6, 7, 8)

Bending jig and curing rack (Photo 9)
Top gluing jig (Photo 10)
Squared and shaped working boards (Photo 11)
Shooting and planing boards (Photo 12)

Photo 8

Photo 9

Photo 5

Photo 10

Photo 6

Photo 11

Photo 7 Photo 12
CARVING 6
TOP AND END BLOCKS proceed with assembling the intricate bowl structure of
the Oud. This meticulous foundation work sets the stage
Top & End Blocks: Foundation of the Oud Body for the instrument’s overall construction. (Photos 18, 19)

The top and end blocks play a pivotal role in supporting

the Oud’s body structure, acting as the gluing surface for
the ribs at the neck joint and tail. The choice of material
for these blocks, which can include spruce, Spanish
cedar, mahogany, or maple, depends on the instrument
and specific requirements. Personally, I prefer quarter-
sawn straight-grain spruce, aligning with traditional grain
positioning where the end grain of the block meets the
soundboard’s surface. (Photos 13, 14)

Photo 13

Photo 15

Photo 14

To craft these crucial components, I trace the templates

onto the chosen wood, employing either a hand fret
saw or a band saw for precision. Cutting about 1 to 2
mm outside the traced line, I then refine the blocks to
size using hand tools such as a plane, rasps, and sanding
blocks. Shaping the blocks in two dimensions is crucial
for a proper fit. (Photos 15, 16, 17)

With the blocks prepared, I dry fit them into the bowl-
making jig. Once satisfied with their positioning, I apply a
Photo 16
small drop of hide glue and secure them to the mold using
clamps. The modest amount of glue ensures stability
during rib assembly, and it can be easily loosened with
lukewarm water when needed.

Maintaining precise centerlines and alignment is

crucial during these initial stages. I mark centerlines on
templates, wood, and jigs, consistently realigning them
as necessary. Tracing rough rib spacing on the blocks aids
in maintaining alignment during the rib gluing process.
Photo 17
Once the blocks are securely affixed to the mold, I
CARVING 7
Photo 18

Photo 19
CARVING 8
THE BOWL
The Bowl: Crafting the Oud’s Resonant Core

The Oud’s journey begins with the careful selection of

wood for its resonant bowl. Common choices include
walnut, oak, rosewood, mahogany, and ebony, with
options for quarter-sawn or slab-cut grains to showcase
unique wood figures. The process kicks off by cutting
the wood into strips that fit the rib template and shaving
them to approximately 2.2 mm in thickness for effective
bending. Having a few extra strips prepared is a prudent
measure for unforeseen circumstances. Each strip is
meticulously cleaned, and the rib template is traced onto
them. (Photo 20)

Photo 22

The use of a damp towel creates steam during bending,

facilitating the process and preventing burn marks on the
wood. Once all the ribs are bent uniformly, they are left to
dry on a rack for a few days.

Upon complete drying, the ribs are shaped and cut to

match the traced template. This involves a combination
of hand saws, knives, block planes, and sanding boards.
(Photo 23)

Photo 20

Bending the ribs is a critical step, accomplished with a

heating iron either freehand or aided by a bending jig for
consistency. (Photo 21, 22)

Photo 21 Photo 23
CARVING 9
A beveled angle on each side of the rib is established
using a sanding block clamped to another block cut at
the desired angle.

Crafting gluing cauls that match the bowl’s shape is

essential for securing the ribs to the top and end blocks
on the mold. Using hide glue, I initiate the gluing process
by attaching the center strip to the top block and then
the end block. Subsequently, the ribs are glued in pairs on
either side of the center rib. (Photos 24, 25, 26)

Photo 26

After the bowl is assembled, a metal scraper is employed

to remove excess glue and smooth the surface. (Photo 27)

Photo 24

Photo 27

The bowl is then taken off the mold, and its underside is
sanded flat to ensure even contact with the soundboard.
Two strips of Spanish cedar or spruce are cut and shaped
to serve as linings, bent using the bending iron, and glued
to the inside of the bowl with hide glue.
For added reinforcement at the seams between the ribs,
linen dipped in hide glue can be applied from the inside.
This meticulous process lays the foundation for the Oud’s
resonant core. (Photo 28)

Photo 25 Photo 28
CARVING 10
PEGBOX, NECK,
AND FINGERBOARD
Crafting the Oud’s Neck Assembly

The pegbox, a distinctive feature of the Oud, is

meticulously crafted from five pieces of preferably
hardwood. After preparing and cleaning the selected
wood, I trace and cut the five templates from the same
piece to ensure grain alignment. (Photo 29)

Photo 29

Drilling peg holes using a drill press guarantees straight

and symmetrical holes on both cheeks. (Photo 30)

Photo 31

Photo 30 Photo 32

Bending the bottom of the pegbox to match the outline

of the cheeks follows, achieved with a bending iron and
form. (Photo 31)

Assembling the pegbox involves gluing the cheeks to

the back and front blocks and subsequently attaching
the bottom curved piece to finalize the unique pegbox
Photo 33
shape. (Photos 32, 33)

CARVING 11
For the neck, a resilient hardwood like walnut, Honduran
mahogany, maple, or oak is chosen to resist warping
under string tension. I select quarter-sawn walnut, trace
the neck template, and remove excess wood to establish
the taper. Cutting the dovetail joint on both the neck and
the block follows, ensuring a clean, tight fit.
(Photos 34, 35, 36)

Photo 34

Photo 37 Photo 38

Photo 35 Photo 36

The neck angle, crucial for string height and projection, is

established through tapering the fingerboard thickness
in this case.

A mitered lap joint is cut at the top of the fingerboard to

fit the pegbox. (Photos 37, 38)

The pegbox is then fixed to the lap joint using hide glue,
and after some initial rounding to the back of the neck,
it is left to cure overnight. The neck is finally glued to
the bowl using hide glue and one long clamp, left to dry
overnight. (Photo 39)
Photo 39
CARVING 12
Fingerboards, preferably made from hardwood like
ebony, rosewood, or walnut, follow a similar process.
Tracing the fingerboard template, cutting it slightly
larger, and tapering the thickness ensures a suitable
projection angle. The fingerboard is temporarily attached
to the neck with a drop of wood glue, leaving a square
nest for the nut. After finalizing the neck’s shape and
the fingerboard’s fit, the fingerboard is removed once
satisfaction is achieved. This intricate process ensures the
solid construction of the Oud’s neck assembly.
(Photos 40, 41)

Photo 40

Photo 41
CARVING 13
SOUNDBOARD
Crafting the Heart of the Oud’s Melody
The soundboard, or top plate, holds a pivotal role in any
acoustic stringed instrument as it is where the enchanting
sounds are born and radiate. Optimal wood for this
crucial element is old growth, perfectly quarter-sawn,
and air-dried for approximately 10 to 15 years. Spruce,
cedar, cypress, pine, and fir are commonly used woods
for soundboards. While two book-matched pieces are
often glued together to form a centerline, one-piece
soundboards are possible but may be slightly weaker
structurally.
Rosettes, available in various patterns, become part
of the Oud’s aesthetic. In this case, it’s highlighted that
gluing the bridge before the rosette is advisable for fixed
bridge styles. After cutting the traced shape from the
larger soundboard, attention turns to crafting the bracing
pattern. The chosen pattern, a combination of ladder and
fan patterns, requires cutting braces to the desired length,
thickness, and height. These braces are then glued to the
soundboard using hide glue and shaped meticulously with
planes, chisels, and sanding blocks. (Photo 44, 45, 46)

The selected soundboard for this Oud is planed and

scraped clean, measuring between 2.2 to 2.4 mm thick.
Using a soundboard gluing jig, the two halves are
meticulously glued together with hide glue.
Precision is crucial in ensuring a nearly invisible seam at
the meeting edges. The soundhole, marked by a traced
Photo 44
template, is cut using a hand circle cutter. (Photo 42, 43)

Photo 42 Photo 45

Photo 43 Photo 46
CARVING 14
Aligning centerlines, tracing the bowl on the soundboard,
and marking brace locations on the linings follow.
Trimming the soundboard and braces accordingly,
creating nests in the linings for a snug fit, and ensuring a
tight fit with the bowl complete the preparation. With the
soundboard dry-fitted to the bowl and neck assembly,
any final work inside the instrument, including gluing
labels, is undertaken. The gluing process involves priming
the top and end block end grain, applying a thin layer
of hide glue on the bowl edge and internal linings, and
securing the soundboard to the bowl with low-adhesion
masking tape. (Photo 47)

Photo 47

After overnight drying, careful removal of the tape and

trimming and cleaning the soundboard edges result in a
perfect flush fit with the bowl.

With the soundboard securely glued to the bowl/neck

assembly, the prepared fingerboard is installed and
glued to the neck and soundboard. A quick clean-up of
edges and surfaces using a scraper and sanding block
concludes this intricate phase, bringing the Oud one step
closer to sharing its melodic soul.

CARVING 15
BINDING AND INLAY

Crafting Artistry in Wood

Bindings, the strips that embrace the contours of the

instrument, and inlays, intricate designs and shapes
that adorn the surface, serve as the maker’s signature Photo 50
and avenues for artistic expression. These elements,
whether crafted from wood veneer, abalone, bone, or For inlays, the pieces to be inlaid are traced, the
other materials, add a unique touch to each instrument. designated space is carved, and the inlay is glued using
While they are available for purchase in various colors wood glue. The cleaning process mirrors that of bindings.
and combinations, crafting them by hand allows for (Photos 51, 52, 53)
customization to suit the individual instrument. In this
instance, colored veneer strips are used to create the
bindings.

The process begins with cutting thin strips of veneer to

form the desired pattern. For this instrument, a simple
black and white binding with three black and three white
stripes is chosen. These strips can be glued together
before fitting them to the instrument or glued to each
other during fitting. Once the bindings are ready, a
purfling cutter is set to the thickness, and a slow scribe
cut is made around the instrument. Multiple cutting runs Photo 51
ensure a clean surface free of chipping. Once satisfied
with the depth of the cut, a chisel is used to clean the
binding channel, and wood glue is applied to secure the
binding in place. A plane is then employed to trim the
binding flush to the soundboard surface after it cures.
(Photos 48, 49, 50)

Photo 52

Photo 48

Photo 53

After installing all the bindings and inlays, the entire

instrument is meticulously cleaned using a metal scraper
and sanding blocks to ensure a flawless finish without
scratches or dents on all surfaces. This final touch adds
an artistic dimension to the craftsmanship, making each
Photo 49
instrument a unique work of art.
CARVING 16
BRIDGE, NUT, & PEGS
Precision in Tuning and Artistry
The Oud setup encompasses the pegs responsible for
tuning the strings, a nut supporting the strings at the top
of the neck, and a bridge anchoring the strings near the
bottom of the soundboard.
Peg fitting initiates with fine-tuning the taper of the peg
shaver and hole reamer to ensure a perfect fit. Each peg’s
length is marked, and they are individually worked on. The
pegbox hole is reamed, and the peg is shaved to achieve
a tight fit, ensuring proper tuning without loosening
under pressure. After fitting all pegs, drill locations for the
strings are marked, and the pegs are drilled using a jig to
prevent tear-out. (Photos 54, 55, 56, 57)
Photo 54
Photo 55 Photo 56
Photo 57
The nut, made from materials like wood, bone, or
synthetic bone, is crafted by cutting a rough blank slightly
larger than the neck’s nest. Using a rasp and file, the nut is
shaped to exact measurements. String spacing channels
are traced, and needle and nut files are employed for
precision. Attention to detail is crucial to ensure accurate
width, depth, and spacing of the channels matching each
string set. (Photo 58)
Photo 58
For the bridge, the template is copied from the blueprint
onto a hardwood blank. String holes are drilled while the
blank is still square, and shaping commences with a detail
Japanese saw, rasps, a small planer, and metal scrapers for
cleanup. Gluing the bridge demands precision for proper
position and intonation. Measurement of the string length,
marking, and adding compensation precede gluing with
two long U clamps. Taping around the bridge location aids
in accurate positioning. (Photos 59, 60, 61, 62, 63)
Photo 59
Photo 60
CARVING 17
Photo 61

Photo 62

Photo 63

With the setup completed, test strings are installed to

bring the instrument to tune and check for sound quality
and playability. The instrument is left strung and in tune
for a few days, allowing for observations and adjustments.
After removing the strings, any necessary changes are
made, followed by a thorough instrument scraping and
cleanup, ensuring both precision in tuning and an artful
Photo 64
finish. (Photo 64)

CARVING 18
FINISH
Crafting Elegance in Every Detail
Surface preparation and applying the finish mark the
concluding stages of crafting an instrument, demanding
meticulous attention for an even and smooth result.
The varnish application begins with a 60/40 shellac ratio.
After drying for 4 to 6 hours, fine sanding precedes the
second coat with a thicker 50/50 ratio. A 2-day interval
follows before the third, even thicker, 40/60 ratio coat is
applied. Mineral oil aids in spreading, and this process is
repeated twice before allowing the instrument to cure.
(photos 67, 68)

Inspection precedes surface scraping and sanding using

220 and 320 grit papers. Different-sized sanding blocks
match various surfaces. Dust removal precedes wet
sanding, systematically progressing from soundboard to
back, neck, and pegbox. Room temperature water, a flat
sponge, and 320 grit sandpaper eliminate raised grain
and fuzz through multiple wet sanding cycles.

Sealing, the final step before varnish, involves a choice of

natural or synthetic sealers. For this Oud, a shellac-based
sealer is utilized. Shellac, derived from lac bugs, is melted
into liquid form with denatured alcohol. Initial sealing in-
volves a diluted coat, followed by fine sanding with 400
grit paper. Two additional sealing coats, interspersed
with sanding, complete this phase. (Photos 65, 66)

Photo 67

Photo 65

Photo 66 Photo 68
CARVING 19
Cleaning and polishing commence with 600, 800, and Here are a few pictures of the three finished instruments
1000 grit sandpaper. Pumice stone in water, a soft pad, (Photos 72, 73, 74)
and a final wet sanding achieve an even opaque coat.
Polishing compound application and buffing bring the
instrument to its desired shine. With strings installed, the
final setup ensures cleanliness at the nut and lubricated
tuning pegs, concluding the crafting journey with an in-
strument tuned to perfection and radiating elegance in
every detail. (Photos 69, 70, 71)
Photo 72

Photo 69

Photo 73

Photo 70

Photo 71 Photo 74
CARVING 20
COLLABORATION WITH COMPOSER
Collaborating with Ahmad al-Khatib, a virtuoso Oud
player and composer, brought a rich and inspiring
dimension to the project. His music, a blend of traditional
roots and contemporary vibes, resonated deeply with my
vision. Over a decade of virtual friendship evolved into a
tangible collaboration as we navigated the intricacies of
the grant application together.
Ahmad’s insight and rational perfectionism fueled the
creative process. Zoom calls became our meeting
grounds, discussing details, timelines, and budget
considerations. Simultaneously, he composed the music
while I crafted the instruments. Our collaboration was
seamless, with frequent updates, discussions, and a
shared dedication to excellence.
His life journey, from a Jordanian Palestinian refugee
camp to becoming a musical force in Sweden, added
layers of depth to our project.
The collaborative journey with Ahmad al-Khatib
transcended the artistic realm, offering mutual inspiration,
education, and a shared passion for the profound
language of music.
AHMAD AL KHATIB BIOGRAPHY:
COMPOSER/OUD VIRTUOSO
He was born in 1974 in a Jordanian Palestinian refugee
camp. He learned to play the oud as a child and then
received instruction from the Palestinian musician Ahmad
Abdel Qasem. He subsequently studied musicology and
Western classical cello music at Yarmouk University
(Jordan) with Japanese Cello teacher Moto Takao. In
1990 and 1991 was awarded first prize in multiple Oud
(Oriental Lute), solo competitions.
He graduated with honors in 1997 and moved to Ramallah
in Palestine, and joined the Edward Said National
Conservatory of Music in East Jerusalem. He taught
in the Department of Oriental Music and then became
director of the Department. In 1999, Ahmad formed the
group Karloma, which comprises other teachers from the
Conservatory.
In April 2002, the Israeli army reoccupied many Palestinian
towns and cities, tightening restrictions on movement.
Ahmad composed music during the curfews. In the same
year, the visa enabling him to live in Palestine was not
renewed. Forced to leave, he continued to work for the
Edward Said National Conservatory of Music, forging
links with other conservatories in the Arab world.
He published five innovative instruction books for the
Oud and five works of musical transcription for modern
Arabic composers (Sharqiat), which have now become
references for musical instruction. Ahmad has been living
in Sweden since 2004, where he obtained a master’s
in Musical Education Methodology. He teaches Modal
Music and Composition Theory, and Ensemble Music at
the University of Gothenburg’s Academy of Music and
Drama.
His dignified modesty is therefore even more impressive,
as are his rectitude and flexibility, and the quality of his
sound complemented by the depth of his thought. And
these personality traits are found in his music, as his
musical quest has the grave nobleness of an imperative
quest for meaning. The son of a poet, he has always envied
their ability to play with words, and admired their aptitude
to formulate visions and sentiments for themselves and
others; he has attempted to achieve this in his music. But
although he uses music to express himself, he also uses
it to communicate, and give precedence to the emotion
generated in the listeners.
MUSICIANS ASSEMBLY
Navigating the challenges brought by Covid-19, the initial
plan to assemble four musicians faced setbacks. Howev-
er, with Ahmad and Youssef’s resourcefulness, a violinist
and a guitarist were brought on board, showcasing their
commitment to the project. The group, dispersed across
Europe, converged in Paris for rehearsals and recording.
Despite the initial uncertainties, the musicians’ dedication
and care became evident as we connected through a
group chat and Zoom meetings. Ahmad shared insights
into the music’s intricacies, fostering a collaborative un-
derstanding. The group, consisting of Youssef in Paris,
France, Ahmad flying from Gothenburg, Sweden, Basil
residing in Anges, France, and Joan flying from Valencia,
Spain, united for a unique musical endeavor.
The instruments, carefully packed, accompanied me to
Paris, where Youssef welcomed us. Meeting him in per-
son for the first time was a delightful experience. Youssef,
a talented and knowledgeable musician, engaged in con-
versations about the project, art, and life over a shared
dinner.
CARVING 21
As Ahmad, Joan, and Basil arrived in Paris, we met
at my rented place to build connections and discuss
the upcoming days of rehearsals and recording. Each
musician received their instrument, setting the stage for
the collaborative journey that lay ahead.
YOUSSEF HBEISCH BIOGRAPHY:
PERCUSSIONS AND RHYTHM
He was born in 1967 in Galilee, he started drumming at the
age of seven then quickly became a prodigy child playing
in weddings and events. He later studied philosophy and
musicology, and did research on rhythm in different
cultures (Indian, Cuban, African, & Latin). Now a specialist
in oriental percussion, this variety of musical traditions
tinging his playing style makes it praised by connoisseurs
as unique, both
sophisticated and creative.
Hbeisch taught for seven years at the Edward Said National
Conservatory of Music (East Jerusalem, Ramallah and Bet
Lehem) and for ten years at Beit Al Musica (Galilee). He
gives academic seminars in France and Europe and He
holds workshops in schools and youth centers in order to
introduce young people to different styles of music and
promote both local and cultural music.
He performed with partners of various styles: Simon
Shaheen (classical oud and fusion), Süleyman Erguner
(classical Ottoman and sufi music), Aka Moon (modern
jazz), L’Ensemble de la Paix with Marie Keyrouz (sacred
music), the occitan group Lo Cor de la Plana, Rula Safar
(baroque music), Issa Hassan (kurdish buzuq), the
Saltanah ensemble with Dorsaf Hamdani (classical arab),
Ibrahim Maalouf (fusion), Bratsch (gypsy, balkanic),
Elie Maalouf’s Quintet (oriental jazz), Abed Azrie
(contemporary Sufi), Karloma (actual Palestinian), the
Oriental Music Ensemble (traditional and contemporary
oriental), with the group sirventès and Lila Box...
Since 1998 until now Hbeisch has performed with the
master of Oud and great composer Ahmad Al khatib
through the group Sabil in Duo and in many other projects
and other groups like Quatuor Béla/ France since 20102
and Ensemble Samara/ Sweden since 2016.
Since 2007 until now he has accompanied the Trio
Joubran.
Furthermore, Hbeisch has an outstanding experience in
theater and cinema. He composed, acted and performed
in theaters of Al Midan (Haifa), Al Nikab (Usefia), Al Laz
(Akka) and the Alternative Theater Festival of Akka.
And he composed and recorded for movies: Le dernier
vol (by Karim Dridi), Adieu Gary (by Nassim Amaouche),
Fix me (by Raed Andoni).
BASIL KHOURY
BIOGRAPHY: VIOLIN
Basil Khoury is an internationally acclaimed virtuoso
violinist. He was awarded the Associated Board of the
Royal Schools of Music’s Advanced Level Diploma at
the age of 16 and completed his BA Degree in Music
Performance in 2007. He mastered a broad range of
violin styles: classical, Arabic, and other Middle-Eastern
styles, as well as gypsy, and jazz. Basil has forged a new
identity and invented new techniques and interpretations
for the violin. During his musical career he has run many
workshops and master classes, and participated in
various international violin forums and music festivals all
over the world.
CARVING 22
JOAN AZNAR REHEARSALS & RECORDING
BIOGRAPHY: GUITAR
Youssef’s generosity extended to offering his house
for rehearsals, creating an ideal environment for the
musicians to collaborate over three intense days. The
gratitude for Youssef’s contributions throughout the
project is immeasurable.

Each day began with a French breakfast, setting the

tone for productive rehearsals. Ahmad distributed music
sheets, guiding the musicians through the compositions.
Although initial coherence and synchronization needed
refinement, witnessing the musicians interpreting
Ahmad’s motifs and dynamics was a brilliant experience.
Rehearsals spanned eight hours each day, covering three
to four compositions.

The second day mirrored the first, encompassing all

eight pieces and fostering discussions among musicians
on various sections and dynamics. The third day marked
an epic culmination, as the musicians achieved great
synchronization and harmony, rendering the music
Joan is a Valencian flamenco guitarist and composer. He refined and lively. Ahmad’s satisfaction signaled readiness
was born in Potries in 1989 and his journey with music for recording, leading to a celebratory French dinner.
began in the town’s wind band like most Valencian
children, playing oboe. Joan’s guitar brings together
elements from many different traditions, as it has taken
shape through his travels. The flamenco beat and the jazz
melody are the main elements of his touch. His character
as a guitarist combines both academic training and street
training. His work as a musician focuses on deepening
and enriching his Valencian roots through the wisdom
and richness of all the traditions that live together in that
land.

Joan has studied in three prestigious conservatories in

Europe, the Conservatori Superior de Música de les Illes
Balears, the Hochschule für Musik Franz Liszt in Weimar
and the Academy for Music and Drama of Gothenburg,
where he graduated in the specialty of flamenco guitar
and arabic oud in 2019.

The idea that music is born from the community and must
be at its service is central to Joan’s career. This is how he
created community projects like the “Jota de Potries”, a
project in collaboration with the Llidonera dance group
that brought back the jota dance in the town of Potries.

With his band Aayaam, he and his two bandmates Shafeeq

Alsadi (Palestine) and Prabhat Das (India) organized a
series of concerts in the suburbs of Gothenburg. The tour
was called “A world of music” and intended to inspire
young people to find in music a way to communicate
their feelings beyond cultural barriers.

Professionally, he has also toured the folk scene of

Catalonia, the Valencian Country, Denmark, Sweden,
Belgium among others with his project Aigua, together
with the accordionist Lies Hendrix. Aigua released its first
album, Noninó, with Segell Microscopi in 2021.
CARVING 23
Ahmad and Youssef played pivotal roles in securing
Studio Piccolo in Paris for recording. Vincent, the studio
owner, an eclectic and musically educated professional
in his early 60s, facilitated the recording process. Setting
the studio layout, microphone configurations, and sound
checks consumed half of the first day.
Dinner at a nearby bistro marked the project’s celebratory
conclusion. Gratitude permeated the air as everyone
acknowledged the collective effort invested over the past
week. With farewells exchanged, the musicians departed,
each enriched by the collaborative experience.

The second day proved highly productive, recording three

tracks within the allotted time. Engaging in conversations
with Vincent, ranging from music to style, added a jovial
touch. The third day saw the recording of three more
tracks, leaving six of eight completed. The fourth and
final day unfolded with a relaxed pace, finishing two
hours early and capturing the last track.

CARVING 24
THE MUSIC ALBUM

The album was titled Carving and contains eight tracks,
and Ahmad was generous to give me permission to name
four of the eight pieces and choose the order they are
presented in. I can’t be happier and more grateful for that.
The music is a fusion between traditional oriental,
modal, contemporary, and classical composition styles.
Following is a list of the tracks and some insight on each
composition.
1- If I - Major scale
4/4 rhythm
2- Conception - Hijaz mode
10/8 rhythm
3- Carving - Hijaz Kar mode
5/4 rhythm
4- Short Distance - Bayati Husseini mode
7/8 rhythm
5- Ceremony - improvised session medley of scales and modes
4/4 rhythm
The final touch before the music journeyed into its
printable form was mastering. Marc, a trusted sound
engineer, took charge of this critical step. Mastering
involves enhancing the overall sound quality, optimizing
levels, and addressing any remaining imperfections.
Marc’s expertise in this realm, coupled with his previous
collaborations with the project team, added a layer of
refinement to the recordings.
As Marc diligently worked on the mastering process
through December 12, his commitment to delivering a
polished and sonically rich final product underscored
the collaborative effort invested in bringing this musical
endeavor to fruition.
Since starting in the mid 1990s, Marc L’Esperance has
mastered releases for Alpha Yaya Diallo, Linda McRae,
Farnaz Ohadi, Orchid Ensemble, Uzume Taiko, Viper
Central, Brandon Isaak, Herald Nix and Robert Sarazin
Blake to name just a few. He operates his recording
studio called Heavyosonic World Headquarters in East
Vancouver, BC.
Since st)rting in the mid 1990s, M)rc LʼEsper)nce h)s m)stered rele)ses for
Alph) Y)y) Di)llo, Lind) McR)e, F)rn)z Oh)di, Orchid Ensemble, Uzume T)iko,
Viper Centr)l, Br)ndon Is))k, Her)ld Nix )nd Robert S)r)zin Bl)ke to n)me just )
few. He oper)tes his recording studio c)lled He)vyosonic World He)dqu)rters in
E)st V)ncouver, BC.

6- Almond Bloom - Nahawand mode (minor scale)

6/6 rhythm

7- Hanin (Nostalgia) - Kurd mode

4/4 rhythm

8- Lullaby - Nahawand mode (minor scale)

3/4 rhythm

POST PRODUCTION

The audio post-production phase marked the final steps

in shaping the recorded music for release, encompassing
editing, mixing, and mastering.

The editing process involved meticulous attention to

detail as Ahmad, the composer and oud player, fine-
tuned the raw recordings. With an acute understanding
of his musical vision, he worked to achieve seamless
transitions, optimal balance, and a cohesive flow
throughout each track. This phase not only focused on
technical adjustments but also sought to capture the
essence of the compositions as intended by the artist.

In the mixing stage, the raw recordings were artfully

assembled into fully realized compositions. Ahmad’s dual
role as composer and performer uniquely positioned him
to guide the mixing process, ensuring that every element,
from individual instruments to harmonies, resonated in
harmony. The goal was to create a sonic landscape that
authentically reflected the emotive depth and nuances
embedded in each piece.

CARVING 25
POSTER, ALBUM,
AND BOOKLET DESIGN
Collaborating with Ibrahim Mantoufi, a childhood friend
and talented designer, proved to be a harmonious en-
deavor. The project’s poster, a visual introduction to the
musical journey, swiftly took shape. With a thoughtful
blend of layout, colors, and content, the poster encapsu-
lated the essence of the collaboration, requiring minimal
adjustments to reach a mutually satisfying result.

The album art design unfolded as a meticulous process,

encompassing the cover, back cover, and complementary
black and white sketches. Weeks of brainstorming led to
a set of sketches that resonated with the artistic vision.
Crafting the album cover demanded dedicated attention,
ultimately resulting in a captivating visual representation
that mirrored the depth of the musical compositions.
The back cover and additional sketches harmonized
seamlessly with the overall aesthetic.
Crafting the booklet, a visual companion to the musical
narrative, posed a comprehensive challenge. Two months
of disciplined writing and meticulous organization of
multimedia elements laid the foundation. Ibrahim, with his
keen eye for design, navigated through the complexities,
creating a layout that seamlessly blended text and
visuals. The collaborative effort transformed the booklet
into a compelling narrative, enhancing the audience’s
engagement with the project.

Through this creative journey, the synergy between

artistic expression and visual representation culminated
in a cohesive design that complemented the profound
musical odyssey captured within the album.

CARVING 26
IBRAHIM MANTOUFI assistance and support added a layer of professionalism
BIOGRAPHY to the project, ensuring that the visual and auditory
components of the album were presented with the
utmost quality.

The collaborative spirit with Richard Chapman and the

Northern Electric label not only enriched the project
but also exemplified the power of local connections and
shared passions in the realm of music and art.

Northern Electric is an artist-run collective spearheaded

He completed his BA in Graphic Design at the Lebanese
University in 2013, after which he continued his MA in
Design from the University of New South Wales, Sydney.
His experience in arts, graphic design and art direction
were translated in the commercial field, working with
several international marketing and advertising agencies.
He also has experience in the noncommercial field, as
he’s worked with non-for-profit institutions as well.
Ibrahim leverages his extensive expertise in theater,
design, and visual communication to transform written
briefs, ideas or data into engaging visuals for diverse
dissemination platforms.
by artist/impresario Richard Chapman and based in
New Westminster. This coming year will be the record
label’s 20th Anniversary celebrating over 50 albums and
two books released, with several of its bands touring
internationally to Europe, Japan and across North
America. Over these past two decades the label has
garnered much critical acclaim and has established a
reputation for top quality releases - with The Province
newspaper dubbing it “Canada’s coolest record label.”
Musically diverse, the independent collective covers
everything from the power pop of the Pointed Sticks to
the country blues of Herald Nix; from rockabilly kings The
Bughouse Five to the glittering glam rock of Polly; and
from the haunting soft introspection of Great Aunt Ida to
the space pop psychedelia of The Strange Magic, even a
lullaby album from our half human/half deer Lily Fawn.

REGISTERING & LABEL

Collaboration with Richard Chapman:

A serendipitous encounter at the Heritage Grill and Bar

on Columbia Street, New Westminster, paved the way
for a significant collaboration with Richard Chapman.
Bonding over discussions about music and the local
history of New Westminster, our shared interests laid the
groundwork for a fruitful partnership.

In contemplating the release of the album, I approached

Richard with the idea of joining forces. His enthusiastic
acceptance of the offer led to a collaboration under the
umbrella of his collective, Northren Electric label. This
collaboration not only provided a platform for the album’s
release but also opened doors to valuable support and
expertise.

Richard’s involvement extended beyond the label

collaboration. He played a pivotal role in the printing
process of the posters, album, and booklet. His hands-on

CARVING 27
RICHARD CHAPMAN
BIOGRAPHY
Richard Chapman has been shaking up the music
business since the 1980’s overseeing the Toronto based
label Moose Records from 1992-1988 (documented by
PolyGram via 2 compilation albums), Nod Records in
Vancouver (1995-1992) and currently with the Northern
Electric collective (2004 to present).
As an artist he’s created over a hundred album covers
(Geoff Berner, Jim Byrnes) and well over a thousand rock
posters for everyone from April Wine to the Tower of
Power. His poster art has been featured in both Applied
Arts and BC Musician magazines. As a manager, his acts
have been awarded 4 Juno nominations over the years
(The Grievous Angels (x2), The Rheostatics, Lost &
Profound) and he currently tours with the Pointed Sticks.
Richard’s contributions were recently recognized with
the Bernie Legge ‘Artist of the Year” Award at New
Westminster’s 2022 Platinum Awards.
VIDEO PRODUCTION
Embarking on the visual storytelling aspect of the project,
the video production unfolded in two distinct parts, each
contributing to the narrative and behind-the-scenes
glimpse of the artistic process.
Workshop Recording Session:
In the heart of the creative space, my workshop, a full-
day recording session took place. Sabine Kahwaji, a
brilliant producer and camera virtuoso, directed this
segment. The connection with Sabine was established
through her father, Dr. Nickolas Kahwaji, the Lebanese
Consul in Vancouver. This collaboration brought a unique
perspective to the video, showcasing the intricate details
of my craft, from instrument making to repairs and
restorations.
Unveiling the Artistic Journey:
The second part of the video delves into the visual
chronicle of the entire project. A slideshow crafted by
Ibrahim Mantoufi, the talented graphic designer and
collaborator on this endeavor, encapsulates the essence
of the artistic journey. From the meticulous making of the
instruments to the rehearsals and recording sessions in
Paris, this segment weaves together pictures and video
clips, offering viewers a comprehensive glimpse into the
multifaceted nature of the project.
Collaborators and Creativity:
The collaborative efforts of Sabine Kahwaji and Ibrahim
Mantoufi added layers of creativity and professionalism
to the visual representation of the project. Their
expertise and dedication ensured that the video not only
complements the musical experience but also provides an
immersive journey into the intricate world of instrument
craftsmanship and artistic collaboration.
CARVING 28
RELEASE

The culmination of the project found its celebration in a Appreciation Speech

carefully curated event, bringing together elements of A heartfelt speech expressed gratitude to everyone
music, craftsmanship, and artistic expression. involved in the project. It acknowledged the collaborative
spirit that fueled the endeavor.

Video Introductions
The event featured a video introduction, offering insights
into the artisan, the workshop, and the intricate process
of instrument creation. The visual storytelling added
depth to the attendees› understanding of the project.

Music Album Intermissions

The musical experience unfolded in two intermissions.
Attendees had the opportunity to immerse themselves
in the compositions, creating a dynamic and engaging
atmosphere.

Dance Performance
A carefully choreographed dance performance during
one intermission added a unique and captivating element
to the celebration, infusing movement and rhythm into
the artistic tapestry.

Slideshow Presentation
The second intermission featured a slideshow video,
presenting a visual journey through the various stages
of the project. This multimedia approach enriched the
overall experience.

Professional Coverage
To capture the essence of the event, a professional camera
person documented the celebration, ensuring that the
memories created would be preserved and shared.

Gratitude and Future Endeavors

The evening unfolded with overwhelming support and
Venue Selection love from attendees, marking the realization of two years
After thorough consideration, Georgie’s Local Bar and of dedicated work. Acknowledging the collaborative
Kitchen on Columbia Street, New Westminster, was effort, the artist expressed gratitude to everyone who
chosen as the venue for the release celebration. The played a part in bringing the project to fruition. As this
warm ambiance and inviting setting provided an ideal chapter concludes, there›s anticipation for future projects
backdrop for the event. that will continue to weave together the threads of music,
craftsmanship, and artistic exploration.
Program Highlights
Reception and Instrument Display: The evening began
with a reception, allowing attendees to enjoy drinks
and explore the craftsmanship firsthand. The three
instruments took center stage, providing a tangible
connection to the artistic journey.

CARVING 29