If you are interested in learning more about harpsichord care, The Harpsichord Owner's Guide, A Manual for Buyers & Owners by Edward L. Kottick provides an informative and enjoyable source of well-illustrated information.
The old adage: "If it isn't broken, don't fix it." applies here as anywhere else. But, there are two situations where it may be necessary to replace and voice all of the quills in an older harpsichord. After several years of constant playing, they just plain wear out. When this happens you will experience quill breakage. Then you know it's time to see the technician. The other case is where an instrument was not carefully voiced in the first place. You will notice this if several of the notes do not play all of the time or at all. You may also notice the tendency for uneven volume and feel to adjacent notes.
For the last thirty or so years, most plectra (the material that picks the string) were made of a white plastic called Dupont delrin. In the old days, they used quills made from the feathers of various birds. Some builders still honor this fine tradition. Plastic has two advantages over feathers. It requires no regular attention and lasts for years. Recently, a new material called Celenese celcon has become the new standard for plectra. This black plastic produces a fuller sound that more closely approximates that of natural bird quill. Celcon quills also lend a more gradual pluck that improves the touch of the keyboard.
The relationship between the feel of a harpsichord action and the overall volume level represents a trade off. In other words, if you want an action that feels very light, you must sacrifice loudness. If you desire a big sound that is capable of being heard with the band, you will have to play on a stiffer action. There are infinite levels between these two preferences.
Quills start out at a uniform thickness. Using a surgical scalpel, the technician carves a small slice from the underside. The resulting quill will produce less intensity and be easier to play. If you can take one cut, you can take two. If you can take two cuts, you can take three and so on until there is nothing left of the original plectrum. Voicing is a matter of taste versus need. It is no more difficult to voice a soft, light action than a loud, heavier one. Your input is all that is necessary. The material cost for this task is practically zero. It amounts to a labor intensive, labor of love. According to my file system, I have completely voiced or revoiced at least one-hundred and twenty-seven instruments as of March 2008 and have "cleaned up" the voicing and regulation on dozens more. I no longer work on actions voiced in either leather or bird quill.
Since the 1960's, harpsichords can be divided into two distinct categories: scratch built instruments and kits. They can be further broken down into sub-categories: good scratch builts, not so good scratch builts, good amateur kits, not so good amateur kits, good professionally built kits and not so good professionally built kits. This is just human nature. Quality and discipline are not mandated but rather distributed among harpsichord makers in proportion to the overall population.
As one who is asked to perform a lot of early keyboard repair and restoration, I get to see representative samples from all the above categories. My decision to either perform a restoration or reject a potential job is based upon a value judgement. If an instrument can be made into one that is efficient of action, sound quality and reliability, I will gladly accept the task.
NOTE: For each individual client all in-shop work, all repair visits, all materials, all appraisals and all estimates will be charged for. There is a minimum $100.00 charge for the initial out-of shop hour and any part of that hour. Subsequent hours are $80.00 per. In-shop work will be $70 per hour. There will be an additional charge for clients beyond a one hour driving radius of my shop. This may seem high to some but I am significantly more efficient time-wise than the "wanna-be" techs and will not do unecessary work unless asked. In other words, you get what you pay for.
Who knows what percentage of early keyboard instrument kits were ever completely finished? I do know that there are hundreds of them under beds, in attics, basements and garages in various states of completion. One of my most rewarding endeavors is to see the delight on a clients face when I present them with their long delayed but realized dream.
The Flemish double pictured here is an example. This instrument sat in a basement with very little done to it for thirteen years. I finished it for a client in Birmingham, Alabama. If you have been putting off this dream for whatever reason, get in touch with me.
I do not purchase or sell older finished instruments. I have on occasion however, acquired kits that are either completely unbuilt or nearly so.