In 2000, Jakez reworked our lever harp catalogue to make it clearer, particularly with regard to the names of the harps. Models before this time can still be a source of confusion. The harps were worked on a lot, which resulted better harps, but also in a rather complicated list of models often with the same strings and ranges, yet different.
To help with any confusion particularly regarding second-hand models from our earlier ranges, David Rescher of the Harfengalerie Camac Berlin has written a German-language explanation of the background to the present-day Mélusine and Korrigan, plus a summary of our current range, in response to questions on the German harp site harfenforum.de. I've made an English version for Harpblog. Never do any work someone else has already done, better than you would.
The Morgane, with its thirty-four strings, was the first larger lever harp made by Camac, in the 1970s (prior to this, we manufactured a leverless Bardic harp with a four-cornered soundboard and in quasi-Guinness style. It was also available in kit form, and very popular throughout the 1970s). The Morgane was built to be strung in nylon (A01 – D26), with bass wires (C27 – C34), offered with a choice of flat feet or taller legs, and a four-cornered soundbox. The Morgane remained in production until 2001.
At the end of the 1970s, Camac added their Mélusine model to their range. This harp had 36 strings, 2 more than the Morgane, in the bass (H35 and A36). It was also strung with nylon and wires and had a similar four-cornered soundbox. The Mélusine came into being following requests from Breton harpers, who wanted a greater bass range.
The Mélusine de Concert, developed in the 1980s, had a round and bigger soundbox, and a correspondingly bigger sound. The first Concert Mélusines still had a carbon fibre soundboard, with which Camac’s founder, Joël Garnier, had been experimenting in this decade.