A harpsichord is only as good as its constitution. That’s why there are a lot of things that can be improved and optimized after completion. Over the years a harpsichord changes. That’s why it makes sense to follow the alterations up so that the instrument is always in full possession of its abilities and the musician is given all playing possibilities one can imagine. That’s why I offer all kind of regulations.

When working over different harpsichords I regularly find with regret quills that have the form of a pencil point. Such quills lead to a sharp and rather superficially argentine timbre: it’s the timbre that corresponds to the ideal of the 60ies, 70ies and 80ies. Especially harpsichords which – due to their construction – have too little fundamental sound could gain a much rounder sound thanks to larger and longer quills.

There is also a problem with quills that are to short (less than 4 mm for a 8 foot register): they do not produce a good timbre, and furthermore don’t feel good on the keyboard. Moreover they repeat very irregularly.

Another disadvantage of all these points is that they produce much noise and mobilize only too little a sound out of the instrument.

Then there is another point too: the damping. Next to its function as a damper, the damper should also allow the jacks to get into a good starting position.

And then there is of course the important aspect of the placing of the registers. In the end, it depends on their placing if a harpsichord feels difficult or easy to handle.

All these parameters and much more which I have been lucky to collect in my long-standing experience and the close contact to exceptional harpsichordists flow into my regulations work.

These experiences can also incredibly improve your harpsichord.