Designer of euphones since 1997

Since 1997, Frédéric Bousquet has designed and built more than 60 concert euphones, and maintained and restored historic collections, under the French brands Cristal, Cristal Baschet and Titanium Euphone, within Sons & Structures Baschet SARL, Structures Sonores Atelier Bousquet and TitaniumSound, notably for musicians, composers and sound designers:

Sébastien Apert (FR), Artman (FR), Nèl Audouard (FR), Lou Barraud (FR), Ruben Bekx (NL), Bernard Baschet (FR+), Thomas Bloch (FR), Catherine Brisset (FR), Cyril Cambon (FR), Sébastien Chladni (FR), Xiaogie Cristau (CN), Filip Degrott (FR), Vincent Dionne (CA), Bruno de la Salle (FR), Michel Deneuve (FR), Karin Helbert (FR), Christian Henson / Spitfire (GB), Vincent Jacq (FR), Jean-Michel Jarre (FR), Grégory Marteau (FR), Cliff Martinez (US), Antoine Mas (FR), Marc-Antoine Millon (FR), Philharmonie de Paris (FR), Jonny Ong (SG), Martine Pernound (CH), Mike Sheridan (DK), Ingeborg Stein (DE), Dean Shostak (US), Johan Söderqvist (SE), Jesse Stewart (CA), Vincent Velazquez (US), David Walters (FR).

Since the invention of the euphone in 1789, there have been only 84 concert instruments in the world. The complexity of its playing technique, the cost of the materials needed to make it and the lack of repertoire make it a rare instrument. Without it, there would be no need for concert instruments or education, no need for musicians, no need to pass on the savoir-faire involved in making it - hence the need for creative music-making if it is to survive.

Technology & acoustics

Dr. Frédéric Bousquet's thesis ‘An approach to the instrumental construction of the Titanium Euphone through the study of the Lasry Baschet glass organ and the Cristal Baschet, extended to that of the Euphon by E.F.F. Chladni‘’. forms a corpus of more than a thousand pages intended for euphone instrument makers, scientists and musicians.

It gives TitaniumSound access to all the technologies used in the design of all euphone models since the 18th century. TitaniumSound was awarded the Entreprise du Patrimoine Vivant (Living Heritage Company) label by the French government in 2006, and can manufacture models from the 90s as well as contemporary models, because innovation is continuous right up to the present day.

For example, the non-obsolescence of instruments is a determining factor. Lightweight materials such as aluminium alloys, which are highly polluting and corrodible, have been replaced by marine stainless steel or aeronautical titanium. Acoustic horns now allow great adaptability to the playing environment, creating a visual signature and increasing the homogeneity of the instrument, if desired.

Models

The euphone can be likened to a construction set with multiple choices:

• Type and colour of keyboard,
• Resonator and soundboard materials,
• Shapes (centred or off-centre circular, pointed, quadrangular, zoomorphic, etc.) and materials of acoustic horns (fibreglass, Kevlar, wood),
• Integration of effect systems (plate, spring and filament reverberations; distortion; dampers, etc.).

Apart from the 6-stem ‘Ludophone’ euphone, a variety of tessituras are available, modal or chromatic, depending on the pitch required:

• 1 octave, 1½ octave (e.g. stage music, DJ),
• 3 octaves, 3 ½ octaves (e.g. learning, storytelling),
• 4 octaves (e.g. music),- 3 octaves (e.g. music). learning, storytelling),
• 4 octaves (e.g. ensemble music),
• 4 ½ octaves (e.g. Recital),
• 5 octaves and 6 octaves (e.g. Studio, sound design).

There are standard productions in stock or the possibility of creating your own unique model. Approximately, for a keyboard on a stand with a reverberation plate, prices range from €8500 to €100,000.

Configurator

Each artist is encouraged to configure his specific model, to choose precisely, in direct link with Dr. Frédéric Bousquet, the type of keyboard, resonator, soundboard and diffuser materials, their shape and additional effect systems, harmonization, tuning, etc.