Another interesting blurb from A.J. Racy’s Making music in the Arab world: the culture and artistry of ṭarab
Notably, the aesthetic of individuality is consistent with timbral specialization within the traditional ensemble. The takht specifically is a collection of khāmāt ṣawtiyyah, “sound timbres,” that are individually distinguished as well as imbued with ecstatic connotations. Incorporating one of each type of instrument, for example one ‘ud, one qanun, one nay, one violin, and one riqq, the takht amounts to few layers of discernible timbral-acoustical lines. Thus, it can be contrasted with such “unitimbral” but register-separated combinations, such as Europe’s Renaissance recorder of viol consorts, or for that matter the classical string quartet.