About my work

6 reasons
why you want to order Max Doronin harpsichord
Totally hand crafted instruments
Every harpsichord is totally hand made. I make every part of my instrument in my workshop. There are NO outsourced elements in my instruments. Keyboards, jacks and registers are made only by me.
Unique
When you order harpsichord from me you will get one of a kind instrument. Deep understanding of antique construction and acoustical principles allows me to build exceptional instruments with great sound. It's not going to be a copy, it's going to be unique instrument based on certain school of building.
Quality
The quality of sound and touch of my instruments is unique. The quality of craftsmanship will guarantee that your instrument will last for decades and if you take care of your instrument, for centuries.
Flexibility
I can make any type of historic keyboard instrument. I can even design a unique model for you, something like Lautenwerk or 16' harpsichord. I can make a tailored keyboard with octave span which is comfortable for your hands, any type of jack, any stand or decoration you wish.
Inspiring
The sound complexity, flexibility and colour, overtonal profile and responsiveness of the action will give you inspiration to play literature and to improvise not unlike on any other modern harpsichord.
Service and support
Since i often travel around Europe i can perform service of your instrument. Highest quality of repair, regulation, or revoicing can be offered at an hourly rate.
What i do.

I build any type of historic keyboard instrument.

3 times a year i make a tour around Europe with my instruments. If you want to try my harpsichords please contact me and i can visit you in your city for you to try my instruments.

I use a method which possibly was used by ancient music instrument makers. I have studied with Keith Hill, a pioneer of acoustics, but not in the sense of using computers, physics formulas and all sorts of electronic measuring equipment, but in the sense using set of principles and attitudes which give a predictable outcome of sound. For the last 15 years i have been using Hill's acoustic technology, sometimes very exactly, sometimes using my own findings in extremely complex field of wood acoustics, recreating the method which allows me to make instrument without measuring or copying original instruments and still achieve great sound and touch on every instrument i build.

Ancient makers didn't make copies, every instrument, even if it was a certain "model" was unique. Ruckers' double manual instruments could differ in lengths as much as 7cm. Every aspect of their instruments was different. They used certain principles which were not related in any way to mathematics or geometry. Those principles were related to the material density, the changes in density in 3 dimensional space in any given piece of material and how the three main parameters(lengths, width and thickness) are related to each other. All those parameters can't be measured but can only be heard or felt after some years of training. So the main tools of music instrument maker are those which can perceive the sound and vibration: ears, body, skin and bone.

I "tune" or manipulate every part of my instruments to make sure that the acoustical energy transferring is not impeded and that flow of energy is continuous from one part of the instrument to another part. This makes my instrument sound not like any other modern harpsichords. The overtone character of my instruments is unique. The sound of my harpsichords is pure, colourful, resonant and inspiring. Very often my customers say that "they bathe in the sound" of my instruments.

I do use some power tools. Only for resawing, drilling and rough planing. Everything else is finished by hand tools.

Every instrument i build is unique and has it's own character but the same great sound qualities which i can recreate on every instrument i build using my method.

I am very passionate about my work. If you know what you want i can build it for you.


What i don't do.
I don't make copies.

I don't care what are other makers think about my work. Only opinion of the musician or listener is important to me.

I don't care what musicians who never played or heard good antique harpsichord think about my work. Every violinist knows what good violin is about. Only about 10% of harpsichord players know what a good harpsichord is about.

I don't make shallow keyboards on double manual instruments. The well functioning double manual harpsichord should have lower manual keyboard with depth of touch about 8mm.

I don't care about meaningless details like hinges, wooden inlays and all sorts of pointless features which are not related to the sound.
Harpsichord first and foremost IS about SOUND and FEEL!
If you want to have a beautiful hinges, special detailing of keyboard blocks or wooden inlays you will have to pay for it, and it's not included in the price of the instrument. As a standard feature i put very simple rectangular hinges on my instruments. My harpsichords are made very robustly. My instruments are made to last and to be inspired by the sound of them.

I don't include stands into the price of the instrument. If you think my prices of stands are too high you can order a stand from someone else.

I don't care if there is a knot on the wood i use. Ruckers, Stradivari, Amati and other great makers of the past used wood with knots, remains of bark and sap pockets.

If you want to have a strict deadline for the delivery of your instrument you can order it from someone else. It takes a lot of work and dedication to build a great sounding instrument. I have no intention of cheating my customers, so if i am delayed with the delivery of the instrument by a months or two, it is not because i don't want to deliver it and keep the money. It is because i want my customer to get the best sounding instrument they can ever get and it takes a lot of time and energy to do it. Sometimes i need some time to think what i am going to do next with the soundboard in order to make it sound better then on the previous instrument. Sometimes i will have to replace the soundboard if i am not happy with the result. So please, be patient and wait for your instrument. Deadline will only stress me out and instead of thinking about quality of my work i will be thinking about deadline.



About me
I am music instrument maker, surfboard maker, amateur surfer and meat eater. I have studied the art of acoustics and harpsichord making with Keith Hill. He is one of the most fascinating persons i have ever met. Incredibly knowledgeable about historic keyboard instruments and how to make them sound great, look fantastic and feel amazing. I am forever grateful to him for his generosity to share his knowledge with me.

Gallery of my recent works
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