I commend to your attention this short documentary on a superb three manual Hass:
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Beautiful. From the recording it seems to sound better than the Puyana original (which I don’t know where is at the moment, I only know it was sold at an auction some years ago).
I don’t like the original so much, even though a renowned harpsichordist who did play it in Puyana’s house has told me its real life sound is much better. The Goble-Gotto copy tone seems beautiful. The 16’ solo is good as well, no?
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I have heard quite a few recordings of modern 16’ harpsichord stops and found their sound mostly awful. This one is a very interesting exception: the excellent sound quality, both alone and mainly in combination, is probably achieved by avoiding “covered/overspun” strings as much as possible (a movie frame shows clearly that only the lowest six strings are overspun).
By the way: excellent idea to use the magnificent CPE Bach’s Folies as an example! (Although we all are aware that, with original dynamic markings p, f and ff in Var. 8 and the very late date, this is clearly a piece conceived not just for the unfretted clavichord but most likely for the fortepiano).
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Are there commercial recordings on this instrument? It is the most successful 16’ I have heard. Who owns the beast?
Whoever owns it, I hope they have a permanent maintenance technician. It sounds fabulous.
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I listened to the video right after Andrew posted the link and was impressed by everything about ‎the instrument — and particularly the sound of the 16′. But I was listening through very small ‎speakers attached to my computer, so I didn’t quite trust what I thought I heard. But reactions from others ‎confirm my impression of the sound quality.‎
This is definitely the best-sounding 16′ I have heard, either on recordings or in person. As an ‎undergrad I played a Herz Model F owned by the college. I scarcely ever used the 16′ because it ‎tended to muddy the waters, so to speak. ‎
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You can hear what one of the bottom notes of the 16foot (overspun strings) sounds like (muddy) in the very last note of the d’Anglebert Prelude at 2:01: https://www.youtube.com/watch?v=DCa5Fziv8M4