The instrument pictured here is a recent copy of "The Ham House Ruckers". (An English instrument from the beginning of the 18th century; heavily influenced by the "Rucker" tradition.)

I specialise principally in the those harpsichords, which came from the Ruckers workshops in Flanders in the seventeenth century. They were renowned for their extraordinary quality of tone and were celebrated throughout Europe, holding a high price even when altered to suite the musical tastes of later schools.  I include in the range the magnificent `Revalement' harpsichords which were `modified' by such great French makers as Blanchet, Hemsch and Taskin.  In addition I cannot leave out Sébastien Garnier, Donzelague and Goujon who have left us a very few extraordinary examples of the French School of harpsichord building which was noted for its refinement in construction and depth of sound.

For a continuo instrument the Italian harpsichord offers a brilliance and clarity of tone which is often keenly sought by ensembles and orchestras. The light case is made of Italian cypress and sometimes from maple depending on the original, the soundboard usually of spruce.  This gives an immediacy of tone which, while dying away quickly adds a richness of texture to the other instruments.

The woods used in the instruments are only from extremely carefully selected stock which has been air-dried and then acclimatised in the heated workshop where humidity is carefully controlled.  Casework usually consists of quarter sawn wood, of poplar, lime, pine, fir, French walnut or oak depending on the instrument.

Keyboards of lime, bass wood or pine .  Touch plates can be of African ebony, bleached and seasoned bone, boxwood (Italian instruments) for the naturals and for the accidentals, stained pearwood topped with bone, ebony, solid bone, maple or boxwood.

Jacks are made from pearwood with holly tongues.  Black wild boar bristle is used for the tongue spring. There  is a choice of either Delrin or natural quill for plectra.

Finally but probably most important of all, each instrument is given the maximum amount of `playing-in' time to make absolutely certain that no aspect of reliability and detail has been overlooked before it leaves the workshop.  Each instrument is fully guaranteed for the quality of materials and workmanship and a full after-sales service is assured.