weight: 48 kg
dimensions: 25x75x137/90 cm
range: C- a3
weight: 48 kg
dimensions: 25x75x137/90 cm
range: C- a3
The treble strings are made of a steel music wire of the highest quality. High level of precision in the production of this wire prevents the occurrence of deviations in its perimeter, and thus ensures a bright and clear tone. Its surface is mechanically polished. The strings stay smooth and glossy for a longer period of time, and their durability and sound constancy are thus also prolonged.
The core of the wound strings is made of a steel music wire of the highest quality. Its profile is hexagonal, which ensures a perfect bonding of the core with the winding, and thus improves the tone qualities. The surface of the core is mechanically polished. The winding is made from top class material. We use soft, copper wire, designed specially for musical purposes, which gives the bass tones a nice, balanced sound.
The pinblock—which, together with the spruce-fir wedge, forms the so called “head” of the cimbalom—is made of beech plywood. This plywood does not break (breakage being the most common and most serious damage with old cimbaloms). The individual layers of the plywood intersect each other, which enables a better hold of the tuning pin than solid wood. Besides, plywood also reacts to the changes in humidity less than solid wood.
The whole “head” of the cimbalom is glued and screwed (with five stainless screws) to its bottom part. The nuts of the screws, situated on the bottom part, have to be checked regularly, and kept tightly screwed on (see The Guarantee). The screws prevent the “head”, which is exposed to a constant, enormous pull of the strings, from being torn off.
The tuning pins, made of high-class steel, have a conter-clockwise thread, which allows an easy and precise tuning. The pins are protected against corrosion by a nickel surface treatment. Their diameter and length are selected in such a way that they ensure the pin both a firm hold, and an easy turn during the tuning of the instrument. Precisely calculated distribution of the individual pins on the pinblock eliminates a mutual contact of the strings, thus preventing undesirable buzzing.
The diameter and length of a holding pin is selected in such a way that the pin is able to withstand the forceful pull of the strings (800 N). A maximum of solidity is ensured by a material made of hard steel. The possible bending of the pin is further prevented by attaching the loop ending of the string to the lowest point of the pin, on a cashmere pad, and by pinning down the loop ending to the surface of the pinblock. The nickel surface of the pin prevents corrosion.
The damper bridges are made of the finest maple wood with a regular texture, which is resistant to bending, thus ensuring that the felt segments fit tightly on the strings. The segments are made of a 100% carbonized wool of a density and thickness that guarantees the best damping effect.
The soundboard, its inner ribbing, and its supporting bridge pins are all made of high-class resonating spruce wood, which is known for its high density and regularity of texture, as well as its total flawlessness. The thickness of the board, and the distribution of the ribs and the bridge pins are one of the most important factors that influence the sound quality, and are therefore subject to our ceaseless research and developement endeavours.
The legs of each of our cimbaloms are furnished with a trapezoidal thread made of ertalon. The smooth surface of the thread, together with its steep degree of twist enables quick and easy assembly, and dismantiling of the legs. The material has a high durability—breaking of of the threads, quite common with wooden screws of older cimbaloms, is eliminated.
One of the legs of the cimbalom has an adjustable length, to ensure a maximum of stability on uneven floors. The screw is inside the leg, and therefore the look of the leg does not differ from the other legs. We recommend placing the leg within the reach of the player who can easily adjust the length of the leg simply by taking hold of its lower part and pulling.
A thorough attention has been given to prevention of undesired noise, caused by multiple transfer of movement between the pedals and the dampers. All points prone to friction are padded with ertalon segments, which ensure a smooth and completely silent movement. This system does not require regular maintenance or greasing.
Our Light, Classic and Standard cimbaloms have a traditional range (C-a3) and tuning. The tuning system is depicted in the picture.
The structure of a freshly constructed instrument needs some time to settle down. During this process, a lowering of the pitch of the tuning occurs. Therefore, the cimbalom has to be tuned frequently during the first few months after its purchase. To achieve the best results with a new cimbalom, a special attention has to be paid to its tuning, and the correct pitch of the tuning has to be observed (a1= 440 Hz).
The highest quality of tuning is undoubtedly secured by a certified tuner. In the area of Brno and its surrounding, we recommend tuners, with whom we frequently cooperate:
Jiří Pavelka, tel.: 737 488 405
Tel.: 603 427 171
We grant a 5 year guarantee for our instruments (beginning with the date of purchase). Our company commits itself to fix (free of charge) any defects that are found on the instrument after the expiry of the guarantee period, that are caused by faulty design, second-rate material, or by an error that occured during the manufacturing of the product. Terms and conditions of the guarantee are that the instrument be placed in a room with a relative air humidity of 40-60%, and a temperature of 18–25°C (64,5 – 77°F).
The cimbalom should never be exposed to such effects of the environment, which do not correspond with the conditions described above (never place the cimbalom near a radiator, under direct solar radiation, or in a damp place etc.).
The tightness of the „head“ screws at the bottom of the cimbalom has to be checked regularly.
The guarantee does not apply to any damages caused by the owner, or by a third person, brought about by violation of the above mentioned conditions, or by an unqualified manipulation with the instrument. Nor does it apply to ordinary wear and tear, and the effects of regular tuning.
The purchaser is requested to claim an incidental damage without an unnecessary delay, as soon as they find the damage.
The travel and transport expenses, connected with the guarantee repair, are at the expense of the purchaser.