My name is Manolis Kaniadakis, and I am an oud maker based in Heraklion, Crete, Greece.
My relationship with the oud began when I was fifteen years old. I discovered the instrument by chance while passing by a shop where a musician was playing. The sound immediately captured my attention and stayed with me.
During the following days I returned to the same place simply to listen and ask questions about this unfamiliar instrument. Very soon I decided to buy my first oud and begin lessons with Giorgos Stavrakis.
The musician who first introduced me to the instrument, Stavros Tsagkarakis, and my teacher Giorgos Stavrakis later became close friends and important influences in my musical life.
At that time my family encouraged me to study classical guitar at the conservatory, but I never felt connected to that instrument. The oud felt completely different. Its sound, shape and musical language immediately stood apart in my mind.
During those early years I spent much of my free time practicing and listening to music that included the oud: Armenian, Greek, Arabic and Turkish traditions.
Outside music I studied Geology and worked for many years in my family’s marble and granite processing factory, where I developed a deep familiarity with materials, tools and craftsmanship.
At the age of twenty-nine I decided to move toward something quieter, more personal and creative. Because the oud is not widely represented in the Greek music scene, I chose to approach it not only as a player but also as a maker.
Since 2017, I have been dedicated to the construction and study of the oud. I later established my own workshop, where each instrument is built individually.
My Story
Philosophy of Construction
For me, a good oud is first of all an instrument that moves the musician emotionally.
From the player’s perspective it must feel comfortable in the hands, respond easily and possess both visual balance and musical depth.
My goal is to build ouds that are technically refined while remaining faithful to the tradition of the instrument.
A large part of my work focuses on studying how the instrument functions acoustically and structurally. I examine the behaviour of the soundboard, the internal bracing, the distribution of forces and the materials used in construction.
My work includes experimentation with:
• traditional and modern tonewoods
• approved exotic woods
• different bracing patterns
• acoustic and structural studies
• extended designs such as 7-course and 8-course ouds
Through this ongoing research I aim to better understand the mechanics of the instrument and gradually develop what every maker ultimately seeks: a recognizable personal sound.
Each instrument is built individually in my workshop in Crete.
