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>> New built up / new design

>> Restorations

In this rubric you find dates of exhibitions and concert rows of our instruments as well as information about restorations or new constructions momentary dealt with in our workshop.


17 - 18 January 2015
„Historischer Instrumentenbau“ of the festival „Resonanzen“
in the Wiener Konzerthaus, Vienna, Austria

22 - 25 May 2015
Exhibition of the
„Tage alter Musik Regensburg“
in the Salzstadel at the Steinernen Brücke, Regensburg, Germany

1 - 4 August 2015
Exhibition of historic keyboards in
„Mafestivals“ in Belford/ Bruegges

September 2015
"Early Music Exhibition"
Utrecht in the "Nationaal Museum van Speelklok tot Pierement", Utrecht, The Netherlands

October 2015
Exhibition of the
„Berliner Tage der alten Musik“
in the Konzerthaus/Gendarmenmarkt, Berlin, Germany

New built up / new design

Organ Percussions

Using soundbars of named suppliers we build Organ percussion in divers layouts.

If prickling Xylophones or soft-voluminous Marimbas in wood– –

Xylophon, 46 notes, electric action

Marimba, 49 notes, electro-pneumatic action

If brilliant Glockenspiele or gentle-beating Celestas in metal –

Celesta, 39 notes, electric action

Glockenspiel/Celesta, double use, 61 notes, electric action

Mostly we realize the sensitive actions needed for a good repetition – with or without dampers, sostenuto and reiteration - in electric-electronical or elektropneumatical way. Depending to the layout of the tracker ways in the organ pure mechanical action often is possible, too.
The bars and resonators are individually measured concerning to the special character of the organ, the compass being fitted to musical intension.

Bach_10k – a soundscape in a gasometer
-initiated and conceived by the artist Dr. Jürgen Sciba / Hamburg - –

It transforms the huge disused gas storage tank in Augsburg, Germany, into an ever-changing soundscape. The hypnotic swing of the 70m-long Foucault pendulum sets the beat for a very slow rendition of Bach's prelude in C. Chords build up note by note conducted by this gargantuan metronome. At a pace of one note every 17 seconds the piece runs about 10,000 seconds. That's how the project got it's name. Starting and ending in pure C-major the progression through tensed or even dissonant chords can be felt bodily as organ pipes make the air inside the towering steel cylinder resonate.

As the planet revolves, seemingly making the pendulum change its orientation in space the harmonies follow their tracks hidden in time.
The Foucault pendulum inside the Augsburg gasometer is among the world's largest installation of this kind (it is several meters longer then the famous one at the Panthéon in Paris). As a consequence, the pace of its movement is very slow. It takes 17 seconds to complete one swing.
Watching the illuminated ball float through space is a hypnotizing experience - unfortunately, the significance of the elegant physics experiment goes mostly unnoticed: As the earth and we rotate around the swinging pendulum, the pendulum seems to change its orientation over time. However, as it take about 32 hours on our latitude for a full rotation of the pendulum's plane, the change is just a tiny 0.05 degrees per swing. It takes quite a while until deviations show up that are visible to the naked eye. Listening to the soundscape, the perception changes: Knowing that the earth will turn five hundredths of a degree with each note, your ear becomes a very precise measuring device.

Following this conception of the artist we took over acoustical and architectural outline and technical construction and implementation. Using 58 pipes from several dismantled church organ ranks we combined them to an instrument of changing timbre spanning almost five octaves. Sound character is changing from a Prinzipal 16´ via Hohlflute 8´to a very wide scaled Horn in 4´and 2´octaves. 32´- octave is created as "Resultant".

These pipes are distributed throughout the space, splitted into ten sections , each section being planted on a chest of its own. Their robust electro-pneumatic valves are built to withstand years of continuous use in the extremely variable climatic conditions of the unisolated metal structure. As the acoustics of the gasometer show extremely long reverb (around 16 seconds), various distinct echos on the walls and the ceiling as well as diffuse reflections on the inner structures, the soundscape has amazing harmonics generated by the interference of the various sound sources.

Incidentally, the reverberation time is very close to the pendulum's period. Therefore, the tempo of the music, the visible beat of the metronome and the dynamics of the soundfield which can be physically sensed match perfectly.

Bach's prelude (BWV 846) is part of the famous pieces for "the well-tempered piano". Paradoxically, we had to resort to ancient natural scales to do justice to the composer's rather modern concept. As the pronounced resonance effects apply all over the frequency range, pure major chords don't sound well-tuned at all when "tempered" scales are used, which are the norm for modern instruments like the piano.
In the end, we settled for a diatonic C-Major scale. As higher harmonics (and even sub-harmonics) amplify each other strongly inside the gasometer, the contrast between pure major chords and strained or dissonant chords used in Bach's ingenious modulations becomes a bodily experience.

As the music is slowed down about 100 times compared to the original, its structure completely disappears. Nonetheless, you will sense that the notes sounding are definitely not arbitrary. The harmonic plan laid out by the brilliant composer prevails. There is no need for musical background knowledge or familiarity with the piece to experience the harmonic progression.

Find more about concept, location, opening times at: or

Reed stops

From the model of the "Welte"-trumpet stop - described within the "restorations" - we developed a new half - stopped Oboe 8´; in its tembre very tight to the real orchestra instrument and by this especially appropriate to large symphonic organs.


Restoration of a „Cottage No.6“ organ - orchestrion build by Welte & Söhne/Freiburg 1905

Compass F G – a3


Bass / Accompaniment F,G - h "Zinn" /= Gedackt 16´ (open 8´ from tenor e)
Trombone 8´(c´-f´ labial 8´)

Melody c1 -– a3 Waldflute
Zinn (Prinzipal)
Clarinette 16´

Percussion Kettle Drum
Tympani (2 beaters)
Pauke with Cymbal piano/forte

Please find more informationen at "Mechanical Instruments"