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Voicing and tuning

It is the voicer that defines the scale adopted for each instrumwnt. This complex work requires great experience and a profound knowledge of organ styles. This is begun after a visit to the proposed site in order to determine, given the limits of the style of the organ intended, the scale proportionate to the acoustics of the edifice. This phase of conception also takes into account the past works achieved by our firm and those of other manufacturers.

Only the pre-voicing is accomplished in the workshops (trial notes, cut up the mouth, manual blowing). For the reed stops a pre-equalization is done on the voicing chest.

The on-site voicing is executed with particular attention, taking care to make each pipe speak in a clean and equal manner in the attacks and the character. The voicer gives each stop a personality and a particular equilibrium permitting solo usage.

The research of fundamentals and clarity permit the harmonious and lucid mix of all stop combinations. The flue chorus is upright and brilliant, without being aggressive.

The voicing of the reeds is done with particular care; seeking a correct fundamental, an optimum tongue curvature, while keeping the pipe body as long as possible. All this in light of the stability of the stops is particularly impressive.

The tuning is done with great care by setting the temperament on a diapason of each division. Our firm proposes different types of temperaments, more or less characterized according to the style of the instrument and the repertoire one wishes to play. Some actual sound recordings or visits to different instruments can offer direction to the final choice.

The exceptional quality of our voicing is attested by a number of renowned organists.