1769 Taskin Copy Click here for a Sound Sample* This particular harpsichord was made in 2000. The sound is both refined and very loud. The bloom is large and generous. It has a clear sweet colorful timbre which is both singing and dry, if you can imagine that. It supports you to do anything you can desire in terms of playing around with time and articulation. No matter how many notes you can hold down or for how long the sound never degenerates into a muddy effect. The touch is crisp, light, easy to play, flexible, articulate, repeats well, and is delightful to work with. Built after the Edinburgh 1769 Taskin, this instrument has an FF - f''' compass, ebony naturals, bone topped sharps, transposing from A-415 to A-440, a buffstop, wooden jacks, leather covered registers, and is covered with decoration. You can see from the picture that the exterior is decorated in Chinoiserie, as well as the interior lid and keywell. The inside rim of the harpsichord also has a decoration painted on it. This instrument was decorated not to imitate European imitations of Chinese decoration. I took my inspiration directly from some exquisite pieces of antique Chinese furniture. So it could be said to be an original Chinoiserie in the American style. The soundboard is also decorated in the 18th century French manner. One of the most distinctive aspects of the appearance of this instrument is in how much it looks like an antique harpsichord, rather than looking new. This appearance is not a result of "antiquing". It comes from my understanding of the nature of the relationship between the Soul and, for lack of a better word, "dirt". I noticed on the wonderful antique chinese furniture that the surface was clean but very dirty. It was clear that the Chinese artist who decorated that piece understood exactly what he or she was doing. Because on other parts of the cabinet, the surface was indeed grimy and worn from being touched constantly. However, elsewhere the "dirt" was clearly applied for a specific reason. Being an antique, the dirt could have accrued with age. But that is not how it appeared. the owners had clearly kept this piece cleaned, except for the handling and wear where the cabinet was opened and closed all the time. No, the dirt was applied, I believe, to create an affect of "no barriers" to being or living with this object. Indeed, when I have shown decorated instruments in the past, I have found that the cleaner and more spanking new an object appears, the more it makes people feel nervous about damaging the object by touching it. Applying a film of glazing to the surface and then carefully removing some of that film creates a surface which removes all barriers from a new object and actually makes the observer feel invited to interact with the object. When I have taken this instrument on tour to show, everyone who viewed the instrument wanted to play it. Clearly, the relationship between the Soul and dirt is that that which is pristine sends the message to the Soul: "Thou Shalt Not Touch!" That which is filthy sends the message to the Soul: "Please clean me up?" And, that which is slightly dirty sends the message to the Soul: "Come on and have fun!" How little children relate to dirt is indicative of the truth of this. They must usually be taught to revile dirt. In the end, that which is slightly unkempt and dirty is exceedingly user friendly. That which is prim and pristine is exceedingly user unfriendly. I prefer to make instruments that are decidedly user FRIENDLY. for the Price of this instrument, please inquire. *(Here's a trick to hear the sound sample and view the site at the same time. 1.Click on the sound sample to download it. 2.Then, download one of my other sites on your browser, in effect, opening a new window. 3.Click on the SITE button, at that site, relating to this site. 4. Once you have this site accessed from the new page and window, you can to view the site and listen to the downloading sound sample for it.)