About the workshop

The Maison du Clavecin (or L'atelier Le Pin Lyre) handcrafted musical instruments according to historical models.

A short documentary film on the workshop was produced by Alain Barlatier in 2016. It traces the making of a harpsichord over the months. The spirit of the workshop is very well described there, smelling of chips and happiness. To see it click HERE.

The models we present here are available to order. Specific manufacturing requests are studied. This can be an instrument specifically suited to the musician, or a particular copy of an old instrument.

Important note:

There are absolutely faithful copies of harpsichords according to historical models, that is, an instrument that reproduces everything that is in the original model, including its flaws. It seems to me that in order to be able to make such an instrument we must first know perfectly the instrument that we are trying to reproduce, and this supposes that we have or have had the said instrument available (or have been able to at least participate restoration). This greatly reduces the number of qualified factors that can make fully faithful "historical copies". I also think it is important to have worked in museums and to have had direct contact with old instruments. In summary, ninety percent of existing instruments are not exact copies. To be fairer, it is more correct to say that a factor makes "performed" versions based on the originals (like a musical performance). For example, most older instruments did not have a transposing keyboard, and also often had fewer notes than a modern harpsichordist would expect on his harpsichord. For example, if you are looking for a Flemish double harpsichord, I think no one is allowed to call it a Ruckers or Couchet if the instrument has more than 54 notes and keyboards lined up. it should be called a "Flemish-inspired" double harpsichord. We have gained at the change over time with technical advances. Good instruments are undeniably more reliable today.

This is why I offer two very distinct types of instruments called respectively STORIA and ARIATA. The Storia collection are copies of the originals, and Ariata are MY interpretations of harpsichords, inspired by the ancients. In the Ariata range, I have given names to my instrument models. For example, the Dauphin, study harpsichord, Venus, small Italian renaissance harpsichord, Orlando, large Italian harpsichord, Alcione, large Franco / Flemish single, or Louisiana, double French harpsichord.

In spite of everything, there are design and manufacturing characteristics common to all instruments in the workshop. Here they are :

- 440/415 transpositor without loss of notes

- Wooden clamps (with adjustment screw on the foot)

- Silent guides in beech covered with leather

- The points of the nut, the bridge and the grip points are gilded with fine gold to prevent oxidation

- Fixing of the marquee with our eccentric screw system, allowing precise adjustment of the sag without resorting to cardboard shims

- Ease of maintenance is ensured by the Italian-style marquee, sliding backwards you can discover the jacks with the lid open or closed

For instruments with several sets:

- The register levers are the zippers in front of the sign

- 4 mm diameter tuning plugs, for the 8-foot sets and 3.5 mm in diameter for the 4-foot set. The anchors are all in hardened steel with rectangular head and hole for the rope

- 3-point folding base and desk included

Optional keyboard: ebony steps and inlaid feints.