Pascal Taskin

He is credited with introducing genouillères (knee-levers) with which to control the stop combinations, and a new register of jacks using peau de buffle (soft buff leather) plectra, instead of the usual quill, in 1768.

Like other makers of the time, he resorted to selling 'Ruckers' harpsichords which had very few original parts, or none at all, such was the premium associated with the name by then; his last known instrument, a double dated 1788, has a rose signed "Andreas Ruckers" and a Flemish-style painted soundboard.

None of his early pianos survives; the earliest date from the late 1780s and have a very simple action without escapement, which he devised in order to reduce friction.

Another instrument he made was the Armandine, a large psaltery with gut strings resembling a harpsichord without a keyboard, in 1790 for Anne-Aimée Armand (1774–1846); a surviving example is in the Musée de la Musique, Paris.

His 1769 double and the 1763/1783–1784 Goermans/Taskin (which Taskin tried to pass off as a Couchet by filing away the initials 'JG' to 'IC') have both been praised as ideal instruments for the late French baroque repertoire such as the works of Rameau and Armand-Louis Couperin.