درباره من بیشتر بدانید و با من بیشتر آشنا شوید.

Mahmoud Sadegh Mohammadi Langarudi, born in 1981 in the city of Rasht, spent his educational years in this city and graduated in wood industries. He became acquainted with the wood industry and the profession of instrument-making through his father's work from an early age. As he began playing the Setar, he started his initial experiments in instrument-making in 1996, when he was just fifteen years old.

He began self-learning Setar-making with the help of the book "Setar Maker" by Master Javad Chaychi in Rasht. In 1997, he became acquainted with Salim Sokouti and benefited from his guidance in understanding the masters of Setar making. His passion for playing the instrument simultaneously ignited his love for crafting it. He took his first professional steps at the age of sixteen under the guidance of several masters in the field.

In 2002, he became acquainted with Master Hamid Sokouti and began learning the Setar-making techniques of Masters Mahmood Hashemi and Mahdi Kamalian, while also engaging in playing the Setar. His encounter with Master Masoud Shoari in 2004 marked a turning point in his instrument-making career, leading him to adopt a more precise and deeper perspective on the craft, as well as on various styles of Setar making and playing. This transformation made him more determined in his chosen profession.

From 2010 to 2012, he also worked with the renowned Tar maker, Master Youssef Purya, but due to his special interest in the Setar and tar making, he set aside the construction of the Tar. The insights offered by other masters of Setar playing, such as Dariush Talai, Hamid Motebassem, Davood Azad, Dariush Pirniyakan, and others, revealed thousands of finer points to him.

In addition to Setar-making, he has participated in various concerts, including his performances in 2011 and 2014 alongside Master Masoud Shoari in the group Hamsaz. Since 2002, he has been specializing in research on the Setar-making techniques of all past masters, including Farajollah, Haj Tayir, Hashemi, Kamalian, and Eshghi, and has presented articles and lectures on this subject at various universities.

In recent years, he has devoted himself to exploring and researching Setar-making techniques, taking innovative steps toward improving and innovating in the construction and sound production of the Setar. He is the first Setar maker to use modern and non-native woods in crafting the Setar, creating a new method for the instrument's sound production. He can rightly be considered the founder of modern Setar-making in Iran.