Philosophy

We are convinced that classical organbuilding is the best method for producing good sounding, and long-lasting instruments.

Our aim is achieved through the commitment of our well trained craftsmen. A team of master organbuilders and specialised craftsmen work out the appropriate instrument for the building in question. Exact planning, the best materials, and precision handwork are the basis for building "the queen of instruments".

We exclusively use natural materials, and only materials that are suited for the building of instruments. By this we understand timber that has been seasoned for several years, the use of pure tin and lead, and the best quality chrometanned sheep leather. The materials are worked accordingly, for example traditional methods of jointing are employed instead of screws. The surfaces are handplaned or finished with a cutting tool and are not sanded so that the pores are closed.

Particular attention is paid to the accessibility of all parts of the instrument in order to facilitate the servicing (tools are not required for servicing). By these means the cost of maintenance is reduced to a minimum and the long life of the organ is guaranteed.

• Every instrument is individually planned according to the proportion and volume of the room for which the organ is to be built.

• The organ considered as the largest wind instrument requires well dimensioned bellows. For this reason we build cuneiform bellows. These bellows produce a steady and quiet quality of wind which permits the pipe to speak clearly.

• The precise execution of the action and action part produce a light and exact touch, which considerably enhances the contact of the organist with the instrument.

• The windchest, the heart of the organ, is made out of solid oak with self-sealing groves.

• Greatest care is taken in measuring and making the pipes. A tin/lead cast alloy is hand drawn into plates from which the pipes are made. 

• A stable frame and panel case construction in solid timber is necessary for reflecting the sound into the surrounding room. 

• The voicing is carried out entirely in the room in which the organ is placed. Only by this method is it possible to take into account the acoustical properties of the room. In order to avoid the instrument going out of tune, the pipes are cut to lenght, and the hats are soldered to the stopped pipes.