I make copies after the early triple or double fretted clavichords up to late 18th century unfretted instruments. They have an excellent touch and sound, giving the player the possibility to express the whole dynamic range, from pianissimo to fortissimo.
After late 17th century German Instruments
C/E-c3 (with split keys for F♯ and G♯), double fretted
Sound sample: Matthias Weckman – Toccata vel praeludium d-moll – Siebe Henstra
After Donat, 1700
C-c3, double fretted
Sound sample: Carlos Seixas – Sonata 75 (Largo) in A minor – Private recording
After Swedish instruments from the first half of the 18th century
C-e3 (C-c0 with extra 4' string), unfretted
Sound sample: Johann Jakob Froberger – Partite “Auff die Maÿerin” (6 variations) – Menno van Delft, live recording
After Johann David Gerstenberg, Geringswalde, 1760
After Christian Gottlob Friederici, Gera, 1765
Sound sample: Carl Philipp Emanuel Bach – Preussische Sonate I, 2nd and 3rd movement – Pieter-Jan Belder
After Spath & Schmahl, Regensburg, 1787.
AA-f3, double fretted
Praceta Dom João I, loja 57A, 2785-379 Caparide, Portugal