The Innova Console is a study in elegant engineering and timeless form, uniting to produce a place for artistic interaction between the organist and the instrument.
Through careful integration of design elements, the same basic console shell can accomodate two, three, or four manuals without sacrificing either its grace and beauty or its utilty.
The console is based around the keydesk, a massive unit made of select, solid hardwoods, with biscuited joints to assure stability. The two legs of the console are likewise made of solid wood with a full-width plywood floor to keep it from shaking as you play. All the other console parts are made using frame-and-panel construction - including the lid - for stability and beauty.
The nameboard and stop jambs are veneered with high-grade, figured hardwoods, carefully matched to give an elegant appearance. Each music rack is a "one-off" creation using two-way book-matched stripe or burl veneers.
Optional decorative profiles are carved out of the frame pieces, rather than being made of nailed-on polyfoam or vinyl-coated pressboard.
The entire console is hand-rubbed with multiple coats of matte finish
polyurethane, proven to withstand hard use and resist marring and scratching.
Our keyboards are custom made in Germany to exacting BDO and AGO recommendations. The individual keys have wood bodies, with maple naturals and rosewood sharps standard. Other precious hardwood sharp and natural playing surfaces are an available option.
The depth and weight of touch of each key is individually adjustable. "Tracker-touch" is standard, with the speak point and toggle point simultaneous and fully adjustable.
Keying is accomplished using self-diagnostic Hall-effect transistor circuitry. There are no physical contacts to get bent or dirty.
Our pedal keyboards are made to AGO standards. Side rails are of solid hardwood, and the curved sections are of stable, laminated hardwood construction.
The key sticks are of oak, with maple naturals and rosewood sharps. Leaf springs at the heel and coil springs at the front of each key insure positive response with no bouncing.
Keying is by means of encapsulated magnetic reed switches, and the speak point of each note is individually adjustable.
Our standard control is a 1" square luminous touch, or button. It's like a giant combination piston, an elevator button, or an avionics switch. Its form says "Push me" to the user. Push it once, it lights up and whatever it controls begins to function. Then it beckons again "Push me", to turn the function off. The motions are perfectly natural...
The touches are placed on angled and canted jambs at each side of the manuals, and positioned so that they follow the natural arc of the organist's arm when seated at the console. The divisional stop groups are located according to AGO standards.
Because it is such a compact unit, our touches are close enough together that an organist can easily turn on or off (or both at once) as many as five stops with one hand motion.
When you push a piston, the response is instantaneous. Nothing moves, but the lights change and with them the sound.
The luminous touch is a natural successor to the moving drawknob or rocking tablet. It is a good example of space-age technology applied to a centuries-old instrument.
