Compared to other organ builders, like Mortier, Hooghuys built relatively few instruments. The construction of a new instrument was only started after careful consultation of the client and his wishes; moreover, also Louis Hooghuys' benevolence played a role: he didn't want to build just anything! Clients always had to pay a small advance. This whole ‘procedure' helps to explain the small number of new instruments. On the other hand, Hooghuys quickly gained a good reputation in Belgium and abroad, which is proved by e.g. the fact that he delivered a new organ to the Dutch carousel owner L.Vincken; furthermore, organ builder Chiappa in London ordered several instruments from Hooghuys. The man who was responsible for the assembly of these instruments (which were usually delivered without a façade) in England was Julius Bartholomeus Vander Beken; later on, he would start a (small) organ building firm himself in Edingen (Enghien, B). He probably built only a few instruments (anyhow, only a handful of them have survived …)

There was never any mass production in the Hooghuys firm: almost every part was made by hand, and not two organs were ever the same. Some parts – like drums, carvinds and metal pipes – were ordered from external suppliers, like Laukhuff from Germany (for lead tubings), Devos (for carvings) and Moeremans (for drums) in Gent, … It is striking that for the same parts, Hooghuys sometimes chose another supplier: this indicates that Louis François not only always wanted the best products but also the most profitable ones. In the same way, he was always looking for a better combination and disposition of the pipework, which resulted in the fact that each organ was a masterpiece in its own right. It is also certain that Hooghuys had contacts with foreign (esp. German) firms, particularly orchestrion builders like Imhof & Mukle and Hupfeld.