It is in the saw family of Thai fiddles, which also includes the saw u and saw duang, but unlike the other two, it has three strings and a bow that is separate from the instrument.

It has a three-lobed coconut bowl for a body, covered on one end with animal skin, and a hardwood or ivory neck that is cleaned and polished with wood varnish.

It is believed to have been used since the Sukhothai period, and is related to a very similar Cambodian instrument called tro Khmer.

Its similarity to other stringed instruments[1] suggests it may have originated from Persia, the Arab world, Cambodia, Indonesia, or Thailand.

[1] The saw sam sai is virtually identical to the salo, a bowed string instrument from Northern Thailand.

[1] The saw sam sai has been played since at least the Sukhothai Kingdom, when it was utilized in royal rituals and incorporated into mahori ensembles.

This suggests that saw sam sai was highly popular among Thai people throughout the Ayutthaya period, until the Rattanakosin phase of King Rama II's reign.

Because of King Rama II's passion for saw sam sai, he reimagined the instrument as exquisite, elevating is social status.

After studying the origin of saw sam sai, the research found that Middle East countries are more advanced in their musical instrument culture.

[1] Other instruments that resemble the saw sam sai are the kamancheh from the west of Persia, the rebab from Egypt and Turkey, the rebab from Indonesia and Malaysia, the saw Khmer from Cambodia, the saw rung-kee (sarangi) from India, and the saw mon from Myanmar.

[1] Thanit Yuupo (ธนิต อยู่โพธิ์) explained that the saw sam sai is similar to the Japanese shamisen and the Chinese sanxian, both of which are also fretless stringed instruments.

[1] Jenjira Benjapong (เจนจิรา เบญจพงศ์) stated her opinion that the saw sam sai ultimately derives from the kamancheh, a Persian instrument.

[1] Udom Arunrut (อุดม อรุณรัตน์) said Thailand obtained the saw sam sai from Persia and used it in numerous rituals and royal events in the same way as the Persians.

[1] Suksant Puangklad (สุขสันต์ พ่วงกลัด) explained that the Islamic cultural group has a musical instrument that resembles the Thai saw sam sai, which has since diversified into numerous instruments, including the masenqo of east and west Africa, goje of Niger, rebab soussi of Morocco, joze of Iraq and Iran, kamaicha of India, ghaychak of Afghanistan, rebab of Java's gamelan ensembles, rebab of Malaysia, saw Khmer of Cambodia, and salo of Lan Na of Thailand.

[4] For tuning, each peg is turned to the front of the fiddle to tighten its string, while the bridge is kept stationary.

[5] If holding the saw sam sai correctly, the pinky finger will not reach the string comfortably.

[5] The most important thing the performer needs to commit to memory is that harmony is at the heart of playing as a band.

[5] When conducting with a lead singer, it is crucial that the performer can recognize or sing the lyrics.

[5] The main role of the player is to support the lead singer, primarily with the instrument and possibly with singing accompaniment.