The early Hochbrucker instruments depart from previous designs in several important ways. The body of the instrument was now staved rather than square, and the soundboard now made of soft wood, much like the soundboards of bowed string instruments, increasing projection and possibly decreasing the likelihood of breakage thanks to the more pliant and far less brittle nature of soft wood. The soundboard was made with a single large piece of quarter-sawn resinous wood, with the grain running vertically.
On later instruments by Hochbrucker, the arrangement of the mechanism was inverted. The pedal rods were relocated to the now hollowed pillar, and the spring moved to the kneeblock. Two additional pedals were added for a total of 7, one for each note of the scale. This basic arrangement, including the order of the pedals (from the player's perspective and from left to right: D, C, B, E, F, G, A) became the basic model on which all subsequent harps are based. A late instrument by Hochbrucker now housed in the Kunsthistorich Museum in Vienna (inventory no. SAM 565) also proves that Hochbrucker finalized the basic design of the pedals that would be used on all harps until 1820. In this design, a detachable wooden base called the pedal box was added to the bottom of the body. The pedals passed through L-shaped slots cut into the pedal box. Small wooden plugs were installed next to each pedal which served to hold the pedals in the engaged position. Shown in figure 4, the pedal rod, now housed in the column, passed through a small hole in the inner lever and was secured on the other end with a threaded rod-coupling. The portion of the pedal operated by the player, the outer lever, was mounted onto a fulcrum such that, upon depression of the pedal, the outer lever activated the inner, pulling the pedal rod downward. This pedal mechanism can be seen in use below in Video 1 on a French harp using the Hochbrucker design.