Two playing positions are shown below:

In the first picture the instrument is resting on a small stand.  The second picture shows it being placed in the lap.  Sometimes it is placed directly on the floor.  The small wooden mallets are placed lightly between the index and middle fingers.  This is facilitated by two finger sized cut-outs in the mallets.  The mallets are shown below:

Tuning styles are extremely variable.  They are usually tuned to the particular rag and must therefore be retuned for each piece.  Furthermore different artists have their own styles of tuning.

The origin of the instrument is clear.  The name, structure, and technique point solidly to the Middle East.  Yet, there are those who attempt to trace its origins to an ancient Indian harp like instrument known as "Vana Veena".  There is absolutely no evidence for this latter view.  If we are to accept this proposition, then how are we to explain its 2000 year disappearance, followed by a miraculous reappearance in a form and usage that, by mere coincidence, is similar to the middle eastern santur?  It is clear that attempts to link the santur with this Vedic instrument are mere wishful thinking.  There are many people who cannot accept the concept of something great developing outside of India.