Camac Harps remain committed to domestic production, for reasons both of quality control, and social and environmental responsibility. We use only woods that are certified sustainable-source, polyester-free varnishes, minimal solvants, and recycling policies. These considerations are an integral part of our company ethos.
Unique qualities of Camac pedal harps
We are proud to continue the French tradition of the finest luthery, combined with a thirst for technical innovation. Our New Generation pedal harps see every element of traditional harp build re-designed, for a rich, clear sound coupled with the greatest ease of playing.
Ergonomic string angles, more comfortable for the hands
Unique pedal mechanism, using (practically) unbreakable cables instead of traditional rods
The Camac “rod tuner” allows harpists to improve the intonation of their instrument between professional regulations. This also prolongs the longevity of the instrument, bykeeping the mechanism in good shape
Special disc counter-movement, for better intonation and minimal buzzes and noises
Roller wheels at the base of pedal harps, for easy moving
Silicon cushions instead of traditional pedal felts. These hardly wear out; traditional felts need annual replacement
Camac and the Lever Harp
The lever harp, too, has a powerful French tradition. The Camac Society was founded in 1972 in the French region of Brittany – where all our instruments are still made.
Brittany is a Celtic land along with Ireland, Scotland, Wales and Cornwall. The new generation of Breton harpists are personalizing their heritage, and sharing it with the world. We have always seen the lever harp as an instrument in its own right, and not only a “starter” or student harp. All Camac concert lever harps are made in close collaboration with a lever harp soloist, and our range spans all possible string types and tensions.
Camac levers are widely accepted as among the best in the world. We are proud to supply many artisan harp makers with our levers.
They put their trust in us:
Dusty Strings – Thormahlen – Triplett Harps – John Pratt – Rees Harps – Riedel Konzertharfenbau – Starfish Harps – Frank Sievert – Silver Spear – Marin Lhopiteau – Alison Wylie – Larry Fisher – Killarney Harps – Peter Mürnseer – Musicmakers – Musikhaus Fackler – Stoney End – Violaine Alfaric – Sergio Alonso – Alexandre Anushat – Paraguayan Harps – Artefakt Instrumentenbau (Klaus Regelsberger) – Keith Beechey – Lutz Bonisch – Neil Brook – Marc Brulé – Brian Callan – John Delorme – Jonathan Dentler – Derwent Harps – Dunham Harps – Eala Harps – Elvenkings Harps – Enchanted Harps – Eric Harps – Fields of Athenry Harps – Gippetto Harpbouw – Timothy Habinski – Hands on Harps – Hans den Brok – Harfonie Harps – Harps and Harps – Hedvall Stränginstrument – Heritage Harps – Hurdy Gurdy Crafters – Hüttel Harfen – Joseph Jourdain – Rick Kemper – Burkhard Kleiner – Ulrich Knopp – Petr Kopeček – David Kortier – Lampe Harfenbau – Prokhor Lapin – Patrick le Boulge – Jeff Lewis – Giovanni Lonardo – César Loureiro – Philip Lourie – Bernard Louviot – Magus Harps – Norbert Maier – Christoph Mani – Marini Made Harps – Julio Martínez – Vicent Ferrús Mascarell – Fran McGaughey – Tomás Mac Uileagóid – Sergey Medvedev – Claudia Mellenthin – Benoît Meulle-Stef – Moore Wood Products – Rubén Morales – Morgan Harps – Mountain Glen Harps – Gabriel Müsebeck – Gerd Müller – Narrow Water Harps – Newson Harps – Bragg Creek – Jan Nijp – Ernst-Ludwig Noé – Mark Norris – Andrea Novella – Albrecht-Richard Nüchter – October Mountain Harps – Sergii Onishchuck – Marco Pagani – Christoph Pampuch – Uwe Paulsen – David Pearcy – Don Peddle – Christoph Pesch – Craig Pierpont – Pilgrim harps – StealthArp – Joseph Porter – Proma Prag – Pat Quinn – Lorena Reinaldo – Ribo i Mor – Rose Harps – Russell Harps – Sandpiper Harps – Franz Santner – René Scheier – André Schubert – Henrik Schupp – Jon Lechter – Stanley and Stanley – Shane Stewart – Davy Stuart – Durih Stuppan – Telynau Teifi – Antoine Theunissen – Thurau Harfenmanufaktur – Alexander Tremer – Valentyn Tsitsey – Turmennan Harps – Jean-Luc Vaillant – Philippe Volant – Gerhard Wanney – Robin Ward – Webster String Instruments – Pepe Weissgerber – Wickford Harps – Woodsong Harps
External microphones, as anyone who has tried to amplify a harp with one will know, cause all sorts of problems. You cannot confine the amplification to the harp alone, and the feedback can be terrible even at quite low volumes. It is necessary to use contact microphones. The best way, with or without a soundbox, is to put one on each string.
Camac’s blue harps – so-called because their launch models were electric blue! – feature a high-quality, piezo pickup on every string. This system of pickup is very different from a magnetic microphone of an electric guitar type, and we use it for its natural sound and round timbre.
Our electric and electroacoustic blue harps have become a benchmark for amplified instruments across all genres, from jazz and variety, to the most avant-garde new music. They can be connected to effects racks and a wealth of other sound processing; their palette of musical possibilities extends into infinity, from a discreet bolstering of the sound, to the wildest sonic experiences.
Camac sponsorship: supporting harpists throughout the world
Giving back to the harp community is one of our greatest sources of professional satisfaction and pleasure. Camac’s sponsorship is focused on a vision of both artistic and business concerns, and on a relationship between the two dimensions that is rooted in integrity and trust.
Our sponsorship activities are energetic and wide-ranging. International and national competitions, all-genre festivals, individual artists, and innovative projects all feature in our work. It is important to be diverse and open-minded, because diversity creates the greatest number of thriving musical careers.