Description
The Professional Turkish Oud by Feramis Aktas (Maple body) is the entry point into the Feramis Aktas line — the most accessible price in the workshop’s professional range, without compromise on materials, build, or maker pedigree. Built by Feramis Usta in his Izmir workshop, this oud has the bright, fast voice that maple bowls produce, and is aimed at musicians moving from a student-grade instrument to a first professional Turkish oud.
Materials and Construction
The bowl is built from maple, a hardwood prized in stringed-instrument construction for its even density and quick acoustic response. Compared to the warmer character of walnut or the midrange presence of padouk, maple emits a brighter, more articulate tone with clear note separation — useful for fast plectrum work and classical maqam repertoire where each note needs to land clearly.
The soundboard is Eastern Spruce (Picea orientalis), the standard top wood for classical Turkish ouds, chosen for its sensitivity to plectrum dynamics and quick response to right-hand articulation. The pegs are rosewood, stable enough to hold tuning through long sets and changes in stage humidity. The rosette uses a traditional mother of pearl cage, cut and set by hand into the soundboard — not a printed inlay.
Tonal Character
A maple bowl produces a more forward, articulate voice than the warmer walnut or hybrid padouk-walnut variants in the same Feramis line. In practical terms this means clearer note separation in fast taqsim passages, a quicker decay that keeps phrases from blurring together, and strong projection in small to medium acoustic rooms. The trade-off is less low-end bloom than walnut — for players whose work emphasizes warm sustained chords or ensemble blend, the walnut sister model with pickup or the padouk-walnut hybrid may suit better. For solo and lead-voice maqam work, the maple build is often the first choice.
The Maker — Feramis Aktas
Feramis Aktas — known to the Turkish oud world as Feramis Usta — was born in 1965 in Izmir. He started in woodworking workshops as a child and changed direction in 1981 when he met his teacher, Sinai Ozkan, one of the recognized authorities on Turkish instrument construction. Under Sinai Usta’s guidance, Feramis trained in the full range of traditional string instruments: oud, tanbur, lute, and qanun. His ouds are now in regular use by recording and concert-stage musicians across Turkey and the wider region. The full Feramis Aktas line covers maple, walnut, and padouk-walnut bowls — three tonal options at three price points, all built to the same workshop standard.
Specifications
| Specification | Detail |
|---|---|
| Body | Maple |
| Top (Soundboard) | Eastern Spruce (Picea orientalis) |
| Pegs | Rosewood |
| Rosette | Mother of Pearl cage (hand-set) |
| Pickup | None — fully acoustic |
| Skill Level | Professional |
| Maker | Feramis Aktas, Izmir, Turkey |
| Origin | Made in Turkey · Ships from Italy |
Who This Oud Is For
This is the workshop’s entry into professional oud territory — built for players moving up from a student-grade instrument and for established musicians who want a maple-voice oud without the higher cost of premium hybrid builds. The price point reflects materials, not compromise: the same maker, same Eastern Spruce soundboard, same hand-set mother of pearl rosette as the more expensive sister models. Players whose primary work is solo taqsim or lead-voice classical Turkish playing will find this oud’s articulate maple voice well-matched to repertoire. Players doing ensemble or fusion work that needs more low-end presence may prefer one of the heavier-bodied variants.
Musical Traditions
Built first for Turkish maqam repertoire, the maple bowl’s articulate response also serves Arabic classical lead-voice work and the more melodic strands of Mediterranean folk music. The bright projection helps the instrument cut through unmiked acoustic settings — small ensembles, intimate concerts, recording contexts where a clear lead line matters more than ensemble blend. For amplified live work or fusion projects, the pickup-equipped sister model is the more practical option; this oud is at its best as a purely acoustic voice.
Care and Maintenance
Maple is moderately sensitive to humidity. Keep the instrument in a hard case when not in use and avoid extremes — dry indoor heating in winter and sudden temperature swings can stress the bowl seams. A small in-case humidifier helps below 40% RH. Clean the soundboard and bowl with a dry microfiber cloth only; avoid solvents on the mother of pearl rosette. Rosewood pegs benefit from a yearly application of peg compound. The maple’s natural light color may darken slightly over time with light exposure — this is normal and does not affect tone.
Frequently Asked Questions
What does a maple body bring tonally?
Maple gives the bowl a brighter, more articulate voice than walnut or padouk-walnut variants. Notes separate clearly in fast plectrum passages, the attack is quick, and the decay does not linger long enough to blur phrases. The trade-off is less warmth and low-end body than the heavier-wood variants — maple is the choice when clarity and projection matter more than tonal weight.
How is the all-maple oud different from the walnut or padouk variants?
The all-walnut Feramis is warmer and rounder, with a softer attack — better for ensemble blend and slower repertoire. The padouk-and-walnut hybrid sits between, with more projection than walnut but more body than maple. The all-maple build is the brightest of the three, with the quickest response. All three share the same soundboard, pegs, rosette, and maker — the bowl wood is the variable, and the choice is about which voice fits the music.
Is this oud loud enough for live acoustic performance?
Yes for solo concerts and small acoustic ensembles. The maple bowl combined with the Eastern Spruce soundboard projects clearly without amplification in small to medium rooms. For larger venues or amplified ensembles, a clip-on or external microphone is needed — this model has no built-in pickup. The walnut sister model with internal microphone is the more practical choice for amplified live work.
How should I care for a maple-body oud?
Keep the instrument in a hard case when not in use and avoid humidity extremes. Maple is moderately humidity-sensitive — a small in-case humidifier helps in heated rooms below 40% RH. Wipe the soundboard and bowl with a dry microfiber cloth; avoid solvents on the mother of pearl rosette. Rosewood pegs benefit from a yearly application of peg compound.
What musical traditions does this oud serve best?
It is built first for Turkish maqam repertoire — particularly solo taqsim and lead-voice work where the maple’s articulate response helps each note land clearly. The construction also serves Arabic classical lead-voice playing and the more melodic strands of Mediterranean folk. For ensemble blend or amplified fusion, the warmer walnut or padouk variants in the same line are usually a better tonal match.
