He continued the common French practise, pursued successfully by Blanchet, of making "ravalements" of Ruckers and Couchet harpsichords, which involved rebuilding the 17th century Flemish instruments, which were highly valued for their sound quality, to suit the modern French tastes. 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. Unlike other makers, his instruments were always of excellent quality, whether passed off as Ruckers or not.