Setup on an oud is a short list and a serious one, because an unmarked fingerboard with a floating bridge and no adjustment rod gives you very little to change and hides nothing you get wrong.
Action, with nothing to hide behind
A bare fingerboard tolerates low action well — there is nothing for a string to rattle against — so ouds are usually set lower than a marked-neck instrument of the same size. What limits it is the string slapping the fingerboard under a hard stroke from the risha. Set for the attack you actually use, and remember that the same instrument set for gentle playing will buzz for a loud player and feel stiff for a quiet one.
The floating bridge
It is held by string tension alone. Do not move it casually and do not let it move on its own: mark its position before any full string change, and check it afterwards. A bridge that has crept even slightly puts every note on the instrument out, and on a fingerboard with no reference marks you will feel it as your own playing going wrong.
Pegs that hold
Friction pegs work by fit, not by force. Pushing harder is not the fix and is how pegboxes crack. A peg that slips wants refitting; a peg that jumps in quarter-turns wants its bore and taper cleaned and, usually, a proper reaming by someone who has done it before. Peg compound helps a well-fitted peg and does nothing for a badly fitted one.
The real setup is your ear
Nothing on this instrument marks a position, and no adjustment will put a note where your finger is not. Check intonation the way the instrument demands: play an open course, then the same pitch stopped on the course below it, and listen for the beating between them. Do that at several points up the neck with the tuner nearby, and you will learn the instrument's geometry faster than any measurement would teach it.