Jan Kalsbeek - KlavecimbelsJan Kalsbeek - KlavecimbelsJan Kalsbeek - KlavecimbelsJan Kalsbeek - Klavecimbels

Jan Kalsbeek Harpsichords
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Jan Kalsbeek harpsichords shared InZutphen's photo. ...

FOTO-EXPO 'EEN ANDERE KIJK OP ZUTPHEN' #17 Preview deelnemer Paul Collombon. Bekijk alle foto's van Collombon bij: Music All In (Beukerstraat 24). De fototentoonstelling 'Een Andere Kijk op Zutphen' is t/m 22 september (gratis) te bezichtigen op 25 plekken in Zutphen. Haal je routekaart bij VVV Zutphen. Een project van: Zoom-in-Zutphen en Kunstfotograaf Hettema.

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Some time ago there was a discussion on the difference in sound and playability of quill versus Delrin. I think the problem lies in the fact that we copy of the original measurements of the jack and use it not with quill but with Delrin. Delrin reacts differently in a classic jack from quill. In the description of the working of real quill one often finds the remark that the quill seems to “grab” the string. This property prohibits the tongue to flip back during the pluck, while with Delrin, which is more slippery, you can clearly see that this happens.
Inspired by Bill Jurgenson I started experimenting some years ago with a change in the jacks. I diminished the distance between the plectrum and the axis from 13 to 11 ½ mm. This resulted in a stable position of the tongue during the pluck. Result is that no energy leaks away during the pluck and the touch gets lighter and subtler. It is also one of the changes that Michael Johnson makes in his jacks.
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On March 23, 2013 I gave a workshop during the "Vlaamse klavecimbeldag" in Mechelen. It was about the difference between harpsichords from different regions of Europe in the past and how this difference is reflected in the design and the actual building process.

It was great to do but I was so preoccupied with it that I quite forgot to take pictures myself. You can find more pictures of this event on: galerij.vlaamseklavecimbelvereniging.be/#4.0

There were four harpsichords available, French, German, Italian and Flemish which illustrated in sound what I told about the physical differences. The harpsichords were played by Eline van Garsse.
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To be sent off to Tokyo tomorrow. ...

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Next phase. ...

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Gluing on the sharps. ...

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Recently I talked with a colleague about voicing. He voices in birds feather and his instruments are very quiet to my taste. When I said something about this he stated that undoubtedly the harpsichord was developed to imitate the lute so it should sound like a lute. I have another colleague who states that since harpsichordists also played organ in the old times it is clear they expect the same touch for both instruments, so he voices his instruments rather loud to my taste. I myself listen to the instrument what is wants and I voice so the touch is pleasant to my taste.
What do you, as harpsichord builders and players think?
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This was yesterday the last concert of the three concerts of the London Baroque in Holland, this time at a wine merchant in Vlaardingen. Good acoustics. With my rental harpsichord. ...

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