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At present the more popular of the two is the "Short-Neck(ed)" version[4], due to two main reasons: the presence of influential "Alevî" musicians and singers —who prefer and religiously advocate it— and the inherent, albeit initial, simplicity in playing technique(s).However, it is without doubt that the "Long-Neck(ed)" version —the original variant of instrument— is the richer of the two. While the "Short-Neck(ed)" version essentially has one main tuning style, the "Long-Neck(ed)" version effectively has dozens and is grossly more flexible and transposable.With the "Long-Neck(ed)" version you are able to play all regional styles[5].I (badly) play both variants together with their different tunings and styles (although not "şelpe"[6]).INFLUENCES & SOURCES OF INSPIRATIONHere's a partial list ;-)Eastern~~~~~- Abdullah Papur- Ahmet Yamacı- Ali Asker- Ali Mahmut Baran- Ali Ekber Çiçek- Ali Ercan- Ali Ersan, "Çekiç Ali"- Ali Yılmaz, "Motor Ali"- Ayşe Şan- Bahri İlhan- Barış Manço- Bayram Aracı- Belkis Akkale- Bengi Bağlama Üçlüsü- Beyto Can- Birol Topaloğlu- Cahit Berkay- Cuma Ulusan- Çetin Akdeniz- Djivan (Ciwan) Gasparian- Emel Taşçıoğlu- Ercan Irmak- Erdal Çakıroğlu- Erdem Şimşek- Erkan Oğur- Ertan Erçelik- Ertuğrul Bayraktar- Ferhat Durmuş- Gökhan Coşkun- Gülçin Günduğ- Gülşen Kutlu- Hacı Taşan- Hakan Kutlu- Hasan Genç- Hasret Gültekin- Hesen Zîrek- Hisarlı Ahmet- Îbrahîm Rojhilat- İhsan Mendeş- İnan Karakış, Master Luthier- İsmail Hakkı Demircioğlu- Kamkar(an) Ensemble- Kayhan Kalhor- Kazım Koyuncu- Kazo, Dengbêj- Kemal Yılmaz- Kenan Özdemir- LÂL Bağlama Dörtlüsü- Levent Keskin- Lütfü Haydaroğlu, Master Luthier- Mahsunî Şerif, Aşık- Mehmet Erenler- Mehmet Seske- Mehmet Üçer- Metin Kemal Kahraman- Mikis Theodorakis- Meryem Xan- Moğollar- Muammer Kuzey, "Hammer Muammer"- Muazzez Ersoy- Muharrem Neşet Ertaş- Muhlis Akarsu- Murat Bektaş- Mustafa Açar- Mutlu Torun- Muzaffer Ertürk- Muzaffer Sarısözen- Naser Rezazî- Nazım Özbek- Necmi & Tülin Berbergil- Nida Tüfekçi- Nilüfer Akbal- Nizamettin Arıç- Nuray Hafiftaş- Nuri Erkaya- Okan Murat Öztürk- Olgun Sahtiyan- Orhan Hakalmaz- Ömer Orhan İlhan- Özay Gönlüm- Özay Önal- Qadir Elyasî- Refik Başaran- Reşo, Hunermend- Reyhanî, Aşık- Sabahat Akkiraz- Selda Bağcan- Serdar, Hozan- Serdar Yayla, "Hayalet Parmak"- Seyfettin Topçu, "Divan Seyfi"- Shams Ensemble- Şivan Perwer, Hozan- Süleyman Yıldız- Talip Özkan- Tehsîn Taha- Tekin Karabey- Yedi Karanfil- Yücel Paşmakçı- Zara- Zeki Adsız, "Sarı Zeki"- Zülfü LivaneliWestern~~~~~- Akira Ifukube- Aretha Franklin- Bedrich Smetana- Bernard Herrmann- Bill Justis- Camille Saint-Saens- Diana Ross- Don Ellis- Ennio Morricone- Erich Wolfgang Korngold- Florence Ballard- Frank & Nancy Sinatra- Gioacchino Rossini- Henry Mancini- Jean Joseph Mouret- Jennifer Holliday- Jerry Goldsmith- Jerry Reed Hubbard- John Williams- Lalo Schifrin- Luther Henderson- Mark Goffeney- Mary Esther Wells- Mary Wilson- Max Steiner- McLaughlin- Michael Kamen- Miklos Rozsa- The Marvellettes- The Supremes- Tony Melendez...and many more!++++++++++FOOTNOTES+++++++++++1) "Patukuzunkol" means "long arm (made) of patuk". Here the word "arm" is in reference to the "neck" of the instrument. "Patuk" is a type of wood originally known as "palo rojo".2) "Local" is the region spanning from Anatolia to the Western Zagros Mountains.3) This is not the typical "Lute" that you might be accustomed to. The body is deeper, the fretboard narrower, the neck is considerably longer and there are a number of extra frets for micro-tonality.4) Since circa the 1980's.5) Regional styles are distinguished (mainly) by their "picking" techniques. They often have complex trilling techniques and require great skill to perform!6) "Şelpe" is a playing technique using the fingers instead of a plectrum. This technique has been "revived" (in Turkey) and developed by: Ramazan Güngör, Hasret Gültekin, E Erzincan and E Parlak. "Revival" was not necessary in the Western Zagros region. For authentic "şelpe" look no further than Aliakbar Moradi!+++++++++++++++++++++++++++++