Ensar, I smelled tuberose absolute only a few times, and it was a while back, so I would be pressed to remember its scent! Very interesting that you picked up on this in Oud Yunus. I will have to check it out for myself. That oil has so many facets, and every time I return to it, there is a new aspect of its character emerging.
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We live and learn. Like I said in the revised description of Khao Yai, ‘That oud could smell like this hadn’t even occurred to me in my wildest dreams... It’s beyond oud. Smelling it fills one with wonder and regret about all the other ouds that could’ve been done this way and just weren’t, out of sheer carelessness, or ignorance, or lack of inquisitiveness on the distillers’ part.’
One of the things I learned from the Khao Yai Experiment is that I want my oils to be ultra translucent, almost as see-thru as water. Yes, as you correctly deduced, doing this does take away from the ‘body’ of the oil. It makes for thinner oils. It makes for cleaner oils. However, if the oils age properly, some are naturally going to become thicker as time passes. Another connoisseur I recently discussed the issue with had this to say about it:
‘In Iran they make a soup called ash-e-reshte. It’s kind of a peasanty soup – with big chunks of yummy veggies and meat. It’s peasanty but it’s also full of taste and flavor because it hasn’t been strained. Same with boulliabaise. On the other hand there’s the opposite spectrum of French and Japanese that are admired for the opposite reason – one appreciates the artistry as well as the taste. The only problem is – with those foods many people say there’s not enough to eat. They’re not as satisfying in the same way as the peasant stuff. Some people would rather have a hearty meal that fills them up (and costs less, because not as much labor has gone into it) as a beautiful presentation – higher price, but less hearty.’
At the end of the day, it’s all about style. Every artisan has their signature style that imbues their distillations. As you smell more and more oils, you can’t but recognize this in each batch. But style evolves. As our knowledge and experience broaden, our style changes to reflect newly acquired knowledge, newly refined taste. When I started, I was all for the ‘peasant soup’ distillations. Oils that are pure bottled gubal, such as Oud Idrees, attest to this. After seeing the way Khao Yai turned out, I’d like for things to be done a little differently across the board. What exactly I mean by this will become more and more apparent as we launch today’s distillations a few years down the line, in sha Allah.
One of the things I learned from the Khao Yai Experiment is that I want my oils to be ultra translucent, almost as see-thru as water. Yes, as you correctly deduced, doing this does take away from the ‘body’ of the oil. It makes for thinner oils. It makes for cleaner oils. However, if the oils age properly, some are naturally going to become thicker as time passes. Another connoisseur I recently discussed the issue with had this to say about it:
‘In Iran they make a soup called ash-e-reshte. It’s kind of a peasanty soup – with big chunks of yummy veggies and meat. It’s peasanty but it’s also full of taste and flavor because it hasn’t been strained. Same with boulliabaise. On the other hand there’s the opposite spectrum of French and Japanese that are admired for the opposite reason – one appreciates the artistry as well as the taste. The only problem is – with those foods many people say there’s not enough to eat. They’re not as satisfying in the same way as the peasant stuff. Some people would rather have a hearty meal that fills them up (and costs less, because not as much labor has gone into it) as a beautiful presentation – higher price, but less hearty.’
At the end of the day, it’s all about style. Every artisan has their signature style that imbues their distillations. As you smell more and more oils, you can’t but recognize this in each batch. But style evolves. As our knowledge and experience broaden, our style changes to reflect newly acquired knowledge, newly refined taste. When I started, I was all for the ‘peasant soup’ distillations. Oils that are pure bottled gubal, such as Oud Idrees, attest to this. After seeing the way Khao Yai turned out, I’d like for things to be done a little differently across the board. What exactly I mean by this will become more and more apparent as we launch today’s distillations a few years down the line, in sha Allah.
Thank you Ensar for the reply. The issue of translucency and clarity is it simply a matter of presence of impurity or is it also a style of distilling, for i read somewhere that distillers can control how dark or light the resultant oil through control of temperature and other tweaks? Evolution and growth in your taste buds and creative impulse is a sign that you are alive and well 
It will be interesting to see how your new oils will be received by the Public because some of us might like to cling to that "ash-e-reshte"
It will be interesting to see how your new oils will be received by the Public because some of us might like to cling to that "ash-e-reshte" Rather than 'impurity' it's a thorough removal of wood, resin, and oil residues. Most folks wouldn't even dream of doing such a thing, as it means less weight, and hence less oil; i.e. loss. I lost several tolas of oil in the process.
It's also a style of distilling, which we employed first in the Khao Yai Experiment. State-of-the-art equipment followed by an extremely rigorous filtration immediately post-distillation.
Distillers can control how dark the oil they get is by doing two things: using stainless steel equipment, and cranking up the cooking temperature. As a matter of fact, the only way to get a 'black' or 'dark' oud oil is by cranking up the cooking temperature. It's as simple as that, and in no way does it indicate the use of higher grade raw materials.
We did this with Thai Encens, where the first batch was cooked at a normal temperature, and the second at a somewhat higher temperature. The folks who got both batches will know the differences I'm talking about. Thai Ambre smells almost like an Oud version of Ambre Sultan by Serge Lutens, with a smoky, deep, dark temperament; while Thai Encens No 1 possesses floral & fruity traits that are absent in the higher-temperature-cooked second batch.
The only two strains of agarwood that possess an intrinsic 'dark' character are Merauke and certain Assamese varietals coming from North Cachar and neighboring Tripura. And so, although cooked at normal temperatures, both Oud Khidr and Assam Black possess the 'dark' oud character. As for Cambodis, Borneos, Jayapuras etc – they don't become 'black' unless you cook them at high temperatures, i.e. burn them slightly during the distillation process.
It's also a style of distilling, which we employed first in the Khao Yai Experiment. State-of-the-art equipment followed by an extremely rigorous filtration immediately post-distillation.
Distillers can control how dark the oil they get is by doing two things: using stainless steel equipment, and cranking up the cooking temperature. As a matter of fact, the only way to get a 'black' or 'dark' oud oil is by cranking up the cooking temperature. It's as simple as that, and in no way does it indicate the use of higher grade raw materials.
We did this with Thai Encens, where the first batch was cooked at a normal temperature, and the second at a somewhat higher temperature. The folks who got both batches will know the differences I'm talking about. Thai Ambre smells almost like an Oud version of Ambre Sultan by Serge Lutens, with a smoky, deep, dark temperament; while Thai Encens No 1 possesses floral & fruity traits that are absent in the higher-temperature-cooked second batch.
The only two strains of agarwood that possess an intrinsic 'dark' character are Merauke and certain Assamese varietals coming from North Cachar and neighboring Tripura. And so, although cooked at normal temperatures, both Oud Khidr and Assam Black possess the 'dark' oud character. As for Cambodis, Borneos, Jayapuras etc – they don't become 'black' unless you cook them at high temperatures, i.e. burn them slightly during the distillation process.
@Ensar, I would generally agree with you - in fact, for 99% of cases. However, I have seen some exceptions as well.
For example, Sheikh's Borneo is one of the 'darkest' smelling and also color-wise darkest Borneo oud oil. And yet, anyone who's acquainted with distillation can tell from one whiff that it was not cooked under pressure (i.e. high temperature). That burnt rubber note isn't present which a distiller can in now way avoid had the oil been cooked under high temperature/pressure.
The same is the case with Borneo Noir. I have no idea why the oil turned out almost pitch-black. It was cooked without any pressure whatsoever. In fact, the first batch is one of the lightest colored ouds I have ever seen - you'd think its a sandalwood oil. And it was the 'happiest' Borneo too. But when the full batch was cooked, it was just about the deepest and darkest Borneo oud I've experienced.
Papuan Filaria ouds are also always black or dark dark brown, no matter how gentle the distillation.
I agree that blackness has nothing to do with quality - like I said, the first batch of Borneo Noir was just about the lightest colored oud you ever saw. I think the blackness = quality misconception is something that is more rife in the Middle East. I don't think people in the west have that notion.
But for 99% of the cases, I do agree with you, and also with what you said: that truly 'black' smelling ouds are only certain Indian and Papuan (specifically, only Filarian) oils.
For example, Sheikh's Borneo is one of the 'darkest' smelling and also color-wise darkest Borneo oud oil. And yet, anyone who's acquainted with distillation can tell from one whiff that it was not cooked under pressure (i.e. high temperature). That burnt rubber note isn't present which a distiller can in now way avoid had the oil been cooked under high temperature/pressure.
The same is the case with Borneo Noir. I have no idea why the oil turned out almost pitch-black. It was cooked without any pressure whatsoever. In fact, the first batch is one of the lightest colored ouds I have ever seen - you'd think its a sandalwood oil. And it was the 'happiest' Borneo too. But when the full batch was cooked, it was just about the deepest and darkest Borneo oud I've experienced.
Papuan Filaria ouds are also always black or dark dark brown, no matter how gentle the distillation.
I agree that blackness has nothing to do with quality - like I said, the first batch of Borneo Noir was just about the lightest colored oud you ever saw. I think the blackness = quality misconception is something that is more rife in the Middle East. I don't think people in the west have that notion.
But for 99% of the cases, I do agree with you, and also with what you said: that truly 'black' smelling ouds are only certain Indian and Papuan (specifically, only Filarian) oils.
While the tree type might be the same but we have seen how just simply changing the ground water from farm to farm over a certain long distance produces agarwood that is different from each other. So I would hazard a guess that the stocks of chips coming from Cambodia would be different than the ones you would find in Thailand even though they both would be Crassna.
I have recently tried the Hindi Oud oil from Agarwood Consulting at http://www.agarwoodconsulting.com The re-seller is Alan Mahaffey whom I first noticed in an earlier video with Ensar. The Oil come from a plantation cultivated batch and as such it shares a lot of common traits with other oils from cultivated sources that is not artisnaly produced. This is not to say that this is an inferior oil but rather it is an easy oil to wear once and if you can get over the fecal/barnyard notes. There is a strong varnish note and rubber scent in there too but what a Hindi oil without them There is an absence of the yammy and plum notes but instead there is plenty of camphor, Hay and dryness. This would be a good oil for cooler climates. This oil would be comparable to Ouds by Oudimentary, Oudline and the lower cost of the Oudhassi Indian Oils. The cost runs around the $170 and shipping is additional $25. A friend of mine tried some of his Cambodi oils and I was told that one of them in particular was quite nice but the stock was already sold out by the time I got around to it. As I understand Alan keeps his stocks small and they move fast so one we'll have to check periodically to see what's on offer. I am glad t see an additional new honest and knoweldgable player to our already highly esteemed group of vendors
I am back and this time with a great find. It was actually another Oud Enthusiast that had brough to my attention this web site http://www.arhamm.net/ where there is an Indian Oil being sold for $155/Tola, yes that is Tola. So I was naturally a bit skeptical about it, however the vendor seemed forth coming and admitted that this oil comes from Plantation Oud and that the trees were about 12 years old and that it was Pure. I got myself a 1/4 tola at $57 including shipping and I figured I have nothing to loose. Well, I was pleasantly surprised when the Oil arrived and I gave it a try. The Oil has a dark Brown/Dark Green color with a medium oily body. Very nice opening notes of spicy notes mixed in with dark henna notes and dried figs. a bit of Tobacco and warm bovine smell mixed in with Old leather book binding. The Barnyard/ fecal notes are no so pronounced and not a bother. There is absolutely no off-putting notes. The dry down is smooth and powdery with a good level of Incense smoke in the back ground. It is really hard to believe they managed to make an oil at this level for so little. hats off. Again this is not a legendary oil or something to rave about to your friends but it's a perfect oil for casual everyday use, not a big event special. It will also serve perfectly in Mukhalates for those that like to mix. I'll try it for another couple of weeks before deciding on purchasing a Tola but definitely worth taking a look. There used to be a MrP on the BN thread who always advocated affordable Ouds, he would have been very happy with this find.
and I figured I have nothing to loose. Well, I was pleasantly surprised when the Oil arrived and I gave it a try. The Oil has a dark Brown/Dark Green color with a medium oily body. Very nice opening notes of spicy notes mixed in with dark henna notes and dried figs. a bit of Tobacco and warm bovine smell mixed in with Old leather book binding. The Barnyard/ fecal notes are no so pronounced and not a bother. There is absolutely no off-putting notes. The dry down is smooth and powdery with a good level of Incense smoke in the back ground. It is really hard to believe they managed to make an oil at this level for so little. hats off. Again this is not a legendary oil or something to rave about to your friends but it's a perfect oil for casual everyday use, not a big event special. It will also serve perfectly in Mukhalates for those that like to mix. I'll try it for another couple of weeks before deciding on purchasing a Tola but definitely worth taking a look. There used to be a MrP on the BN thread who always advocated affordable Ouds, he would have been very happy with this find.