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Organtone IV Musette Organtone III - Charming Artist IV - Musette Artist III - Charming |
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ORGANTONE IV MUSETTE See photo above 41
tasti, in quarta al canto con una voce in cassotto (ottava bassa) senza
ottava acuta e con vera musette francese, 11 registri al canto + mastro
alla tastiera. 120 bassi in quinta con 7 registri. Voci di nostra speciale
lavorazione per musette. 41 treble keys,
four sets of treble reeds (one in cassotto) without piccolo voice and
with real french musette sound. 11 switches + master behind the keyboard,
120 basses with five sets of bass reeds and 7 bass switches. The finest
reeds of our special manufacture for musette sound. |
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ORGANTONE III CHARMING 41 tasti, in
terza al canto con una voce in cassotto (ottava bassa) 7 registri al canto
+ mastro dietro la tastiera. 120 bassi in quinta con 5 registri. Voci
di nostra speciale lavorazione. 41 treble keys,
three sets of treble reeds (one in cassotto)controlled by 7 switches +
master behind the keybard. 120 basses with five sets of bass reeds and
5 bass switches. The finest reeds of our special manufacture. |
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ARTIST IV - MUSETTE 41 tasti, in
quarta al canto sul fondo piano (senza cassotto) senza ottava acuta e
con vera musette francese. 11 registri al canto + mastro alla tastiera.
120 bassi in quinta con 7 registri. Voci di nostra speciale lavorazione
per musette. 41 treble keys,
four sets of treble reeds (without cassotto) without piccolo voice and
with real french musette. 11 switches + master behind the keybards. 120
basses with five sets of bass reeds and 7 bass switches. The finest reeds
of our special manufacture for musette sound. |
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ARTIST III - CHARMING 41 tasti, in
terza al canto sul fondo piano (senza cassotto) 7 registri al canto +
mastro dietro la tastiera. 120 bassi in quinta con 5 registri. Voci di
nostra speciale lavorazione. 41 treble keys,
tree sets of treble reeds (without cassotto) controlled by 7 switches+
master behind the keyboard. 120 basses with five sets of bass reeds and
5 bass switches. Special reeds of our manufature. |
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