I have a Morgan story that I LITERALLY lose sleep over to this day! Years ago when I was shopping for my first handmade alto, a musician colleague invited me her home to show me her late husband's recorder collection. In a vault was a nearly unplayed Morgan Bressan alto. I played it for a while, and it was just incredible. She offered to sell it to me for $2800. At the time, I didn't understand the significance of Fred Morgan or how much of a bargain that was. I passed up the offer, and when I had realized my mistake, she had already auctioned off the collection! 😱😭
I love my mollenhauer dream descant. I bought it on a trip to the early music festival Greenwich with my late father, ten years ago. It was an odd one out in a long row of them, being a bit darker in wood colour than the rest, which I liked the look of. And it’s been played to death in pubs, ensembles, castles, on stage, inside, outside, for Morris dancers, been trodden on, scratched, it’s been on a journey with me while I’ve collected lots of other recorders, some much more expensive, but remains my favourite, it still plays beautifully.
My favorites for some years but then I bought the plumwood edition of this amazing instrument. It is at least twice as good as a regular Dream pearwood descant. I'm in the seventh heaven when I play it. Is this what you have?
Hi Sarah, I recently took up the recorder again👍🏻 In childhood I had lessons: soprano first, alto layer on. I must admit I wasn't too thrilled, I wanted to play the guitar, which I did when I was about 20. But now I see how important the lessons in my early years really where! Priceless when it comes to music education. Without realising I picked up a lot along the way, and I still benefit from it. I bought a Mollenhauer alto and an Aulos soprano and tenor. My husband bought your book as a present for my 55th birthday next week❣️ So, my plan for 2024 is taking up the recorder again, and be proud of it! Your great and enthusiastic channel will help me along the way. Thanks for promoting the recorder, a rich and rewarding instrument with lots of possibilities. Keep up with this great channel👍🏻🎵🎶
If you played an a=415 sixth flute at the EMS in 2005, it was probably a von Huene Stanesby copy. My records show we had sold one to them at the Early Music Festival in 2004. It is a pretty spectacular instrument (and still in production). Of course, the problem is that no instrument will ever match your memory of THAT one...
My favourite is a 440 Moeck in boxwood. When I was a student I was lucky enough to know Fred Morgan as I lived close to him. I took it to him to see if he could put in a thumb bushing and he played it and said something like "Well I think we could make this sound a bit better" and seconds later the block was out and adjustments being made. So a week later I picked up a recorder that didn't really play much like a Moeck anymore. Such a kind and friendly man, I too, wish I had ordered one of his.
Most will probably laugh, but my favorite recorder is my Moeck Rottenburg Alto in Grenadilla from the 1980's. Love the full range and power of this recorder. My second favorite is my Moeck Meisterstuck Rosewood Soprano from the 1950's. It is a great recorder with a sweet tone (the Moeck Meisterstuck was replaced by the Rottenburg line).
Handmade recorders are just something else. I'm the happy owner of voice flute in bloodwood (even the wood is cool!) After Bressan Made by Tom de Vries and GOD I love it so much! Besides, Tom is REALLY nice and talks a lot to you about how you want your recorder to sound, what do you play, etc etc
I played a Morgan once, and yes, it was so lovely! The upper register spoke effortlessly. On both high F and high G, the sound just floated out easily, no matter the air speed or articulation. F is a "bugaboo" note that can break if you don't blow it just right with the right articulation and exactly precise thumb position. Not on this Morgan--It was as effortless as the D a third below. The lower register spoke beautifully, too, but it was the top of the range that I found most remarkable.
I have at least 7 soprano recorders including 2 that cost over $1,000 each, but my favorite is a Moeck 4205 Rottenburgh in rosewood (about $340). It is not only my most beautiful looking recorder, but also the best sounding. I love to play it!
Hi Sarah, just thinking about what you said about Morgans being mostly collected and rarely played; you know that virtuoso violinists like Nicola Benedetti and Hilary Hahn have exquisite Stradivarius violins which are on endless loan from the (collector) owners. It's common practice in the violin world. Now, I wonder if a similar culture could be cultivated between collectors and virtuosic recorder players? Can I also just say that you bring little added sparks of happiness into my life with your vids, your music, your teaching, your thoughtfulness. You're just great. They should commission a freakin' marble statue of you right in the middle of Amsterdam! I'm a total Sarah J fangirl! 😃🤣💖⚧🏳⚧🏳🌈
Somehow I don't think will happen because wooden wind instruments are gradually damaged by being played unlike violins, and if the goal of a collector is to maintain the value, they won't want it played regularly. That said, it may depend on the specific collector.
wind instruments wear out unfortunately. If you see a historical orchestra performing, the string section will likely all have period instruments, but the winds will all be direct copies of specific historical instruments.
@@LEgregius @mixedstaples8030 Thank you for sharing that perspective. I'm surprised that violins don't "wear out" sooner than recorders because they have so many moving parts (the pegs, bridge, tailpiece, chin rest) and are made of more delicate wood than recorders. I know that Nicola Benedetti's Gavriel Stradavarius (on loan from Jaime Laredo) has undergone maintenance and restoration work at least twice during her tenure of the instrument. Incidentally, it's valued at several million dollars and travels on tour with her constantly!
@@mixedstaples8030 This, indeed, is true! But I'd still have thought that with proper care and attention (oiling, drying, careful storage, etc.) it could be done. But as a relative newcomer to the instrument, I'm happy to concede the argument to you. It was just a thought! 🙏😊
Im learning the ocarina at the moment, but I’m already lusting after another one…a Synesthesia one from Songbird Ocarinas. It lights up! It looks so beautiful and pearlescent. I can only imagine the sound.
Nice video, as always. For me, it’s my Rafi Tenor by Joachim Rohmer. Lovely, big sound, with a great upper register. Perfect for van Eyck and contemporary alike.
Thanks for this video, I love story time :) my overall favourite is my Kynsecker tenor recorder from Mollenhauer, although flavour of the month is my Küng basset recorder, since I only bought it last week after spending a lot of last year learning to read bass clef. I went to the actual Küng workshop to try out the different variations and also fell in love with a Marsyas alto in boxwood... so gorgeous! Time to start saving up! I had a go on the sub-bass too, which was great fun, if a little out of my league :)
This is what I like about musical instruments we love (or don't love) - it's the stories they come with. I sometimes wonder if maybe I should record a video one day and talk about my favourite instruments, their history and what they mean to me. It's the stories that come with them that are most lost when we're gone.
Hi I really like old Moeck consort recorders though I do not own one anymore. The ones build in the 80s were quite robust and very loud, with a somewhat unshaped tone, kind of modern actually. Another old recorder from Moeck I do like is the Tuju range, very underestimated school instruments that are actually good.
Last fall I heard a Ganassi alto in G live in a concert, and my heart exploded with fireworks ans shooting stars! So when I learned that Vincent Bernolin released a resin Ganassi alto in G I could not resist. Now I am impatiently waiting for it, practicing pieces on my baroques altos using the Ganassi fingering - yes, it sounds out of tune 😅
Cool.😎👍The trouble I have been having is that some of the music shops I have been to don't stock recorders and if they do they only have the cheap Yamaha ones, not much variety. It's much easier to buy guitars, keyboards and drums. Recorders, not so much, even harmonicas are easier to get. But my cheap little Yamaha has proved to be a great bit of fun and even got my friend to get back into playing his saxophone because we were having fun working out songs on recorder and ukulele. He got nostalgic about his saxophone and pulled it out of storage after we were playing The Lion Sleeps Tonight.
Hi Sarah Thank you for your kind reply I have a Moeck alto in rosewood and it has a lot of condensation unlike the olive one which really has much less, I bought a used Fehr type 3 alto in rosewood and it makes less noise as well as having a better sound in my opinion, however I will do as you say for 10 minutes in contact with the body. For me it is a pleasure to follow your videos as well as being a very nice woman and equally good teacher, I have been following you since 2019 when I started playing the recorder, my first musical instrument. Thanks again
Mijn eerste blokfluit was een adler, gelakt en schel klinkend... ik hoorde er ook iets aan wat stoorde. Daarop heb ik eraan geschuurd in het mondstuk, bij het labium gesneden, de fluit vanbinnen geschuurd, geolied de lak eraf gehaald... en daarna beste vriendjes geworden❤ Hij was heel dynamisch hard/zacht klonken beiden goed, vol en rijk! Ik speelde werkelijk alles op hem, Herb Alpert’s trompet muziek, Telemann Susato, Abba, Robbie Williams.... alles op gehoor! Melodie of tweede stem. Ik had de draden opnieuw omwikkeld en in was gezet zodat ik meer grip had als ik de fluit wat langer wilde maken om toon aan te passen. Veertig jaar mijn kameraad! Uitgeleend aan mijn muzikale dochter voor uitvoering in kerk. Omdat hij harder kon spelen dan de hare... Dit is ‘the one that got away’ 😭😭😭😭 Nooit meer zo’n klank gevonden😢 Proefspelen op hele dure merken/ houtsoorten...mijn man en dochter die door misverstand de fluit kwijtraakten zijn stad en land met mij afgereist voor een vervanger... maar zo was er maar één!
I have to say that the favorite of the instruments I own is my Mollenhauer Elody in satinwood. Simple varnished finish, none of the crazy paint schemes. It is the only alto I have played that doesn't fight me - even a little - on the upper D. I have not (yet at least) made any real use of the built-in pickup and all the possibilities there. Maybe someday. I have never experienced a true handmade recorder in any size. Maybe someday.
I am happy for now with my Yamaha alto which I got for Christmas. Especially when you tell me a wooden handmade will cost me 2700 bucks. Maybe I'll make my own instead... By the way, thanks so much for your content. It's thanks to you that I managed to lay groundwork on which I could build my recorder skills. And also you inspired me to get an alto, it really is much nicer to use, the range is more suitable and it has such a warm sound!
I am lucky to have owned a Morgan Bressan alto (1978), pitch 415/440. Yes, really wonderful instrument. Two other recorders that I love the most are the Ganassi recorders made by Adrian Brown (2000) and Bob Marvin (2001). A. Brown no longer makes Ganassi. B. Marvin’s Ganassi (pitched 411) has a very nice sound, but it’s difficult to play.
My favorite recorder is my first handmade recorder, a Bressan model by Guido Hulsens in a=409 hz. 409Hz.? Yes, for some reason, the community I played with all had recorder and baroque flutes in 409 Hz. That is in fact the pitch of the original instrument. As far as I know most original recorders were not pitched at 415. I believe the Denner is the closest, pitched at about 413 Hz.
My favorite recorder is a Ganassi alto made by Guido's daughter Marie. I also have a baroque soprano by her. The Hulsens seem somhow less popular than other makers among recorder players, but they make quality instruments at reasonable prices.
Concerning the mystery 6th note flute you missed out on, it wouldn't surprise me that one day the current owner will reach out to you, remember.....your channel is popular😀
Ti avrei voluta come insegnante, per come presenti in modo chiaro e leggero, le difficoltà tecniche e musicali del flauto. Sei brava e molto simpatica! Complimenti sinceri! 🙏
I love my Prescotts and my Von Huenes so much. And yes, I play them all the time! I am sad to learn that people collect recorders and don't play them. That reminds me of the huge law firms and other corporations that warehouse paintings and treat them as a comodity.
Thanks for this video I really enjoyed it would love the equivalent for books. Also would love a book recommendation video for levels (beginner, intermediate and advanced( or grades but not grade books by exam boards)) thanks so much
Hi Sarah, I need some advice from you, I would like to buy a Moeck alto made of boxwood, do you think this type of wood produces less condensation than the rosewood alto? I have two rosewood ones and they both produce a lot of condensation and I have to stop playing and blow in my head. What do you suggest? Thank you
Hello Sarah, today I placed my first wooden recorder order which is Moeck 4208 Rottenburgh Soprano Recorder in Rosewood. I can't wait to receive it. Are there any good apps for ipad that I can use while learning how to play? Maybe an app for notes & scales, and another for just teaching... I hope to hear any useful app that would help me :) Thank you.
Hello Sarah, thanks for this video! I'm interested in recorders with the B (or E) key. I don't like having to use my leg to cover the bottom hole. However, recorders with the bottom key are really a rarity compared to normal baroque recorders. The wooden ones are very expensive. Are there any factory-made plastic recorders with the bottom key?
I wonder if i like the native american flute sound, should i get 1 of these high spirit ones or is that just a matter of playing style and a recorder is just as good at those same sounds? like i noticed the rennessaince recorder you showed seems similar to my ear
Hi, I'm a returning player after a very long time, I wondered if I may ask a quick question. I've just been given an Aulos 209B and my intention was to get a 709B in a few weeks. However, after spending a couple of days messing around and working my way down to low B it sounds horribly out of tune to the rest of the instrument. I'm just wondering, is the B out of tune on all 209's or is it down to poor technique? A G and F are great, but the minute I lift my index finger for the B it's horrible. Just wondering if I need to get the 709 now instead of waiting a few weeks. I apologise if this is the wrong place to ask
@@Team_Recorder Well, as you know, the recorder is pretty cool. I was lucky enough to attend some recorder making classes with Alec Loretto, and I made a Bressan alto and voice flute, a Ganassi descant, and a couple of medieval things. I'm hoping to get my big lathe up and running and trying to make some more soon. Thanks for your great work. Cheers from icy Vienna, Scott
Hi Sarah, I wanted to know from you how long they need to be warmed up before playing rosewood flutes since mine produce a lot of condensation, I have two flutes from Moeck and Fehr but they are difficult to play because they produce a lot of condensation compared to an olive wood flute. I would like to purchase a boxwood alto as it is the most used wood.
This isn't a recorder but a whistles. I have a collection of Irish whistles from not so good sounding ones to very good ones and some harder to play than others. One I have wanted since I found out about them is a Pat O'Riordan whistle. Pat knew the key to a good sounding Irish whistle was how the mouthpiece fipple was designed and that was more important than the body. You can make the body well but without a well designed mouthpiece, it won't be the best it could be. I once heard someone playing on a nickel body C whistle which had a O'Riordan mouthpiece that Pat made specifically for the whistle. It sounded a lot better than with the plastic mouthpiece the whistle came with. Since he stopped making whistles, they have become hard to find and I only found out about his whistles a few years after he stopped making them. Maybe one day I'll be able to get one.
Yes, this! I've been making my own Irish whistles and it has been a long learning process. While the material and thickness of the pipe has some influence on the tone, it is primarily the fipple that defines the sound, volume, air required and the range. I had a lot of trouble finding information online and much of what I did find was wrong, or misleading. I'm starting to wonder if there actually is a set of physics "rules" for designing fipples, or if the makers do much as I do, learn what works by experimenting. My journey started with some cheap tin whistles found at a music camp, They were really awful, hard to control, glued on fipples, one of which was at about 457Hz. I bought some more subsequently and found them as bad or worse. Some of the worst appear to be the most common 'D' whistles which seems to lend credence to the thought from many players that the injection moulds for the fipples that have been made for decades are just worn out. So here I am, obsessing over fipple design. What I am making now sounds far better than the cheap instruments, but I just can't leave it alone or shake the feeling that I can make something even better.
@@Chrisamic In the mid 2000s with my dad we made an Irish low D whistle. I wanted to see what it would be like to make my own as I was sure changing the mouthpiece design would make a better whistle. I based it on designs on how to make an Irish low whistle I found online as well as my Chieftain Low D V3 whistle. I decided to change the mouthpiece design to a slightly different one than my Chieftain has. There was a workshop near our house so we used it. My dad was good at carpentry and joinery since my grandad was a joiner and passed on his skills to my dad. We found a lot of bits of copper pipe in the workshop that were not being used and decided to use one of those as the body tube. My dad made the mouthpiece fipple out of wood based partly on the fipple of my Susato A whistle but one that would work on a low whistle. I unfortunately lost the whistle when moving house, but I remember it sounded OK for a first attempt. Due to using a copper pipe, it was a bit heavy and I don't think the tone holes were 100% the right size and a couple may have been the wrong distance apart for the best tuning. As I have gotten more tools recently, I have considered trying again if I have time and making a high whistle rather than a low one.
I have a Morgan story that I LITERALLY lose sleep over to this day! Years ago when I was shopping for my first handmade alto, a musician colleague invited me her home to show me her late husband's recorder collection. In a vault was a nearly unplayed Morgan Bressan alto. I played it for a while, and it was just incredible. She offered to sell it to me for $2800. At the time, I didn't understand the significance of Fred Morgan or how much of a bargain that was. I passed up the offer, and when I had realized my mistake, she had already auctioned off the collection! 😱😭
I love my mollenhauer dream descant. I bought it on a trip to the early music festival Greenwich with my late father, ten years ago. It was an odd one out in a long row of them, being a bit darker in wood colour than the rest, which I liked the look of. And it’s been played to death in pubs, ensembles, castles, on stage, inside, outside, for Morris dancers, been trodden on, scratched, it’s been on a journey with me while I’ve collected lots of other recorders, some much more expensive, but remains my favourite, it still plays beautifully.
My favorites for some years but then I bought the plumwood edition of this amazing instrument. It is at least twice as good as a regular Dream pearwood descant. I'm in the seventh heaven when I play it. Is this what you have?
Hi Sarah, I recently took up the recorder again👍🏻 In childhood I had lessons: soprano first, alto layer on. I must admit I wasn't too thrilled, I wanted to play the guitar, which I did when I was about 20. But now I see how important the lessons in my early years really where! Priceless when it comes to music education. Without realising I picked up a lot along the way, and I still benefit from it.
I bought a Mollenhauer alto and an Aulos soprano and tenor.
My husband bought your book as a present for my 55th birthday next week❣️
So, my plan for 2024 is taking up the recorder again, and be proud of it! Your great and enthusiastic channel will help me along the way. Thanks for promoting the recorder, a rich and rewarding instrument with lots of possibilities.
Keep up with this great channel👍🏻🎵🎶
If you played an a=415 sixth flute at the EMS in 2005, it was probably a von Huene Stanesby copy. My records show we had sold one to them at the Early Music Festival in 2004. It is a pretty spectacular instrument (and still in production). Of course, the problem is that no instrument will ever match your memory of THAT one...
My favourite is a 440 Moeck in boxwood. When I was a student I was lucky enough to know Fred Morgan as I lived close to him. I took it to him to see if he could put in a thumb bushing and he played it and said something like "Well I think we could make this sound a bit better" and seconds later the block was out and adjustments being made. So a week later I picked up a recorder that didn't really play much like a Moeck anymore. Such a kind and friendly man, I too, wish I had ordered one of his.
Most will probably laugh, but my favorite recorder is my Moeck Rottenburg Alto in Grenadilla from the 1980's. Love the full range and power of this recorder. My second favorite is my Moeck Meisterstuck Rosewood Soprano from the 1950's. It is a great recorder with a sweet tone (the Moeck Meisterstuck was replaced by the Rottenburg line).
Handmade recorders are just something else. I'm the happy owner of voice flute in bloodwood (even the wood is cool!) After Bressan Made by Tom de Vries and GOD I love it so much! Besides, Tom is REALLY nice and talks a lot to you about how you want your recorder to sound, what do you play, etc etc
Oh I love Tom’s recorders too! ❤️
I love the way she tells about the recorders which never were - I can speak like that only when talking about the loves I've never fulfilled.
I played a Morgan once, and yes, it was so lovely! The upper register spoke effortlessly. On both high F and high G, the sound just floated out easily, no matter the air speed or articulation. F is a "bugaboo" note that can break if you don't blow it just right with the right articulation and exactly precise thumb position. Not on this Morgan--It was as effortless as the D a third below. The lower register spoke beautifully, too, but it was the top of the range that I found most remarkable.
I have at least 7 soprano recorders including 2 that cost over $1,000 each, but my favorite is a Moeck 4205 Rottenburgh in rosewood (about $340). It is not only my most beautiful looking recorder, but also the best sounding. I love to play it!
Hi Sarah, just thinking about what you said about Morgans being mostly collected and rarely played; you know that virtuoso violinists like Nicola Benedetti and Hilary Hahn have exquisite Stradivarius violins which are on endless loan from the (collector) owners. It's common practice in the violin world. Now, I wonder if a similar culture could be cultivated between collectors and virtuosic recorder players? Can I also just say that you bring little added sparks of happiness into my life with your vids, your music, your teaching, your thoughtfulness. You're just great. They should commission a freakin' marble statue of you right in the middle of Amsterdam! I'm a total Sarah J fangirl! 😃🤣💖⚧🏳⚧🏳🌈
Somehow I don't think will happen because wooden wind instruments are gradually damaged by being played unlike violins, and if the goal of a collector is to maintain the value, they won't want it played regularly. That said, it may depend on the specific collector.
wind instruments wear out unfortunately. If you see a historical orchestra performing, the string section will likely all have period instruments, but the winds will all be direct copies of specific historical instruments.
@@LEgregius @mixedstaples8030 Thank you for sharing that perspective. I'm surprised that violins don't "wear out" sooner than recorders because they have so many moving parts (the pegs, bridge, tailpiece, chin rest) and are made of more delicate wood than recorders. I know that Nicola Benedetti's Gavriel Stradavarius (on loan from Jaime Laredo) has undergone maintenance and restoration work at least twice during her tenure of the instrument. Incidentally, it's valued at several million dollars and travels on tour with her constantly!
@@austinhackney3906 yeah but you're not blowing warm moist air into a violin though
@@mixedstaples8030 This, indeed, is true! But I'd still have thought that with proper care and attention (oiling, drying, careful storage, etc.) it could be done. But as a relative newcomer to the instrument, I'm happy to concede the argument to you. It was just a thought! 🙏😊
Im learning the ocarina at the moment, but I’m already lusting after another one…a Synesthesia one from Songbird Ocarinas. It lights up! It looks so beautiful and pearlescent. I can only imagine the sound.
OOOOH
The eagle one is just impressive!
Nice video, as always. For me, it’s my Rafi Tenor by Joachim Rohmer. Lovely, big sound, with a great upper register. Perfect for van Eyck and contemporary alike.
Thanks for this video, I love story time :) my overall favourite is my Kynsecker tenor recorder from Mollenhauer, although flavour of the month is my Küng basset recorder, since I only bought it last week after spending a lot of last year learning to read bass clef. I went to the actual Küng workshop to try out the different variations and also fell in love with a Marsyas alto in boxwood... so gorgeous! Time to start saving up! I had a go on the sub-bass too, which was great fun, if a little out of my league :)
I enjoy your videos so much, I learn from you every time I watch one, you are a great teacher.😊
This is what I like about musical instruments we love (or don't love) - it's the stories they come with. I sometimes wonder if maybe I should record a video one day and talk about my favourite instruments, their history and what they mean to me. It's the stories that come with them that are most lost when we're gone.
Yeah, you're right! I'd like to hear it. So here is a soft nudge. No pressure! ;)
Hi
I really like old Moeck consort recorders though I do not own one anymore. The ones build in the 80s were quite robust and very loud, with a somewhat unshaped tone, kind of modern actually.
Another old recorder from Moeck I do like is the Tuju range, very underestimated school instruments that are actually good.
Last fall I heard a Ganassi alto in G live in a concert, and my heart exploded with fireworks ans shooting stars! So when I learned that Vincent Bernolin released a resin Ganassi alto in G I could not resist. Now I am impatiently waiting for it, practicing pieces on my baroques altos using the Ganassi fingering - yes, it sounds out of tune 😅
Not a recorder but recently I went to a workshop to try a hurdy gurdy and I had that feeling was so nice! Thanks for sharing!
Cool.😎👍The trouble I have been having is that some of the music shops I have been to don't stock recorders and if they do they only have the cheap Yamaha ones, not much variety. It's much easier to buy guitars, keyboards and drums. Recorders, not so much, even harmonicas are easier to get. But my cheap little Yamaha has proved to be a great bit of fun and even got my friend to get back into playing his saxophone because we were having fun working out songs on recorder and ukulele. He got nostalgic about his saxophone and pulled it out of storage after we were playing The Lion Sleeps Tonight.
Hi Sarah
Thank you for your kind reply
I have a Moeck alto in rosewood and it has a lot of condensation unlike the olive one which really has much less,
I bought a used Fehr type 3 alto in rosewood and it makes less noise as well as having a better sound in my opinion, however I will do as you say for 10 minutes in contact with the body.
For me it is a pleasure to follow your videos as well as being a very nice woman and equally good teacher, I have been following you since 2019 when I started playing the recorder, my first musical instrument.
Thanks again
I'm so happy the soprano recorder made it as one of your favorites. Yay sopranos!!🎉🎉🎉🎉🎉
Mijn eerste blokfluit was een adler, gelakt en schel klinkend... ik hoorde er ook iets aan wat stoorde. Daarop heb ik eraan geschuurd in het mondstuk, bij het labium gesneden, de fluit vanbinnen geschuurd, geolied de lak eraf gehaald... en daarna beste vriendjes geworden❤ Hij was heel dynamisch hard/zacht klonken beiden goed, vol en rijk! Ik speelde werkelijk alles op hem, Herb Alpert’s trompet muziek, Telemann Susato, Abba, Robbie Williams.... alles op gehoor! Melodie of tweede stem. Ik had de draden opnieuw omwikkeld en in was gezet zodat ik meer grip had als ik de fluit wat langer wilde maken om toon aan te passen. Veertig jaar mijn kameraad! Uitgeleend aan mijn muzikale dochter voor uitvoering in kerk. Omdat hij harder kon spelen dan de hare... Dit is ‘the one that got away’ 😭😭😭😭 Nooit meer zo’n klank gevonden😢 Proefspelen op hele dure merken/ houtsoorten...mijn man en dochter die door misverstand de fluit kwijtraakten zijn stad en land met mij afgereist voor een vervanger... maar zo was er maar één!
I like the larger units from say, Tenor to Bb bass but the cost is so high that you don't see many
I have to say that the favorite of the instruments I own is my Mollenhauer Elody in satinwood. Simple varnished finish, none of the crazy paint schemes. It is the only alto I have played that doesn't fight me - even a little - on the upper D. I have not (yet at least) made any real use of the built-in pickup and all the possibilities there. Maybe someday.
I have never experienced a true handmade recorder in any size. Maybe someday.
I am happy for now with my Yamaha alto which I got for Christmas. Especially when you tell me a wooden handmade will cost me 2700 bucks. Maybe I'll make my own instead...
By the way, thanks so much for your content. It's thanks to you that I managed to lay groundwork on which I could build my recorder skills. And also you inspired me to get an alto, it really is much nicer to use, the range is more suitable and it has such a warm sound!
I am lucky to have owned a Morgan Bressan alto (1978), pitch 415/440. Yes, really wonderful instrument. Two other recorders that I love the most are the Ganassi recorders made by Adrian Brown (2000) and Bob Marvin (2001). A. Brown no longer makes Ganassi. B. Marvin’s Ganassi (pitched 411) has a very nice sound, but it’s difficult to play.
My favorite recorder is my first handmade recorder, a Bressan model by Guido Hulsens in a=409 hz. 409Hz.? Yes, for some reason, the community I played with all had recorder and baroque flutes in 409 Hz. That is in fact the pitch of the original instrument. As far as I know most original recorders were not pitched at 415. I believe the Denner is the closest, pitched at about 413 Hz.
My favorite recorder is a Ganassi alto made by Guido's daughter Marie. I also have a baroque soprano by her. The Hulsens seem somhow less popular than other makers among recorder players, but they make quality instruments at reasonable prices.
Concerning the mystery 6th note flute you missed out on, it wouldn't surprise me that one day the current owner will reach out to you, remember.....your channel is popular😀
I have a Moeck stanesby alto recorder.
I like it very much.
Ti avrei voluta come insegnante, per come presenti in modo chiaro e leggero, le difficoltà tecniche e musicali del flauto.
Sei brava e molto simpatica!
Complimenti sinceri! 🙏
For now my Yamaha resin recorders
I have no experience with the recorder but your videos are entertaining.
That 415 alto appears to be made of Brazilian Tulip Wood, I have a Dolmetsch soprano in A440 made of the same stuff.
It is probably brazilian tulipwood
I love my Prescotts and my Von Huenes so much. And yes, I play them all the time! I am sad to learn that people collect recorders and don't play them. That reminds me of the huge law firms and other corporations that warehouse paintings and treat them as a comodity.
Can you do a review of the new Bernolin Ganassi G alto in resin - pretty please?? 😊😊
Yesss! ❤
Thanks for this video I really enjoyed it would love the equivalent for books.
Also would love a book recommendation video for levels (beginner, intermediate and advanced( or grades but not grade books by exam boards)) thanks so much
Hi Sarah, I need some advice from you, I would like to buy a Moeck alto made of boxwood, do you think this type of wood produces less condensation than the rosewood alto?
I have two rosewood ones and they both produce a lot of condensation and I have to stop playing and blow in my head.
What do you suggest?
Thank you
Hello Sarah, today I placed my first wooden recorder order which is Moeck 4208 Rottenburgh Soprano Recorder in Rosewood. I can't wait to receive it. Are there any good apps for ipad that I can use while learning how to play? Maybe an app for notes & scales, and another for just teaching... I hope to hear any useful app that would help me :) Thank you.
Hello Sarah, thanks for this video! I'm interested in recorders with the B (or E) key. I don't like having to use my leg to cover the bottom hole. However, recorders with the bottom key are really a rarity compared to normal baroque recorders. The wooden ones are very expensive. Are there any factory-made plastic recorders with the bottom key?
Hmm I don’t think so! You could have a bell key fitted though.
Thanks! 🙂😎
I wonder if i like the native american flute sound, should i get 1 of these high spirit ones or is that just a matter of playing style and a recorder is just as good at those same sounds?
like i noticed the rennessaince recorder you showed seems similar to my ear
Hi, I'm a returning player after a very long time, I wondered if I may ask a quick question. I've just been given an Aulos 209B and my intention was to get a 709B in a few weeks. However, after spending a couple of days messing around and working my way down to low B it sounds horribly out of tune to the rest of the instrument. I'm just wondering, is the B out of tune on all 209's or is it down to poor technique? A G and F are great, but the minute I lift my index finger for the B it's horrible. Just wondering if I need to get the 709 now instead of waiting a few weeks. I apologise if this is the wrong place to ask
Love the sound of Paetzold by kūng tenor not so much about them, love you youtube about dem.
How do you protect your ears against damage from soprano frequencies?
My favorite recorders are the ones I've made. But I also like a Moeck German fingering soprano that I messed around with.
Ooh sounds very cool!
@@Team_Recorder Well, as you know, the recorder is pretty cool. I was lucky enough to attend some recorder making classes with Alec Loretto, and I made a Bressan alto and voice flute, a Ganassi descant, and a couple of medieval things. I'm hoping to get my big lathe up and running and trying to make some more soon.
Thanks for your great work. Cheers from icy Vienna, Scott
I would love a nice alto in grenadilla, at 415.
8:26 I wonder, how DO you put your recorders on your instrument? 🤭
Hi Sarah, I wanted to know from you how long they need to be warmed up before playing rosewood flutes since mine produce a lot of condensation, I have two flutes from Moeck and Fehr but they are difficult to play because they produce a lot of condensation compared to an olive wood flute. I would like to purchase a boxwood alto as it is the most used wood.
It takes as long as it takes to reach your body surface temperature.
Just until body temp really! 5 to 10 mins?
Sarah - Assisi - medieval - Ever visited there?
Delightful instruments-and stories-but what, no Paetzolds?
Oh, my list of favourites is long!
cannot relate at all but watched anyway
This isn't a recorder but a whistles. I have a collection of Irish whistles from not so good sounding ones to very good ones and some harder to play than others. One I have wanted since I found out about them is a Pat O'Riordan whistle.
Pat knew the key to a good sounding Irish whistle was how the mouthpiece fipple was designed and that was more important than the body. You can make the body well but without a well designed mouthpiece, it won't be the best it could be.
I once heard someone playing on a nickel body C whistle which had a O'Riordan mouthpiece that Pat made specifically for the whistle. It sounded a lot better than with the plastic mouthpiece the whistle came with. Since he stopped making whistles, they have become hard to find and I only found out about his whistles a few years after he stopped making them. Maybe one day I'll be able to get one.
Yes, this! I've been making my own Irish whistles and it has been a long learning process. While the material and thickness of the pipe has some influence on the tone, it is primarily the fipple that defines the sound, volume, air required and the range. I had a lot of trouble finding information online and much of what I did find was wrong, or misleading. I'm starting to wonder if there actually is a set of physics "rules" for designing fipples, or if the makers do much as I do, learn what works by experimenting.
My journey started with some cheap tin whistles found at a music camp, They were really awful, hard to control, glued on fipples, one of which was at about 457Hz. I bought some more subsequently and found them as bad or worse. Some of the worst appear to be the most common 'D' whistles which seems to lend credence to the thought from many players that the injection moulds for the fipples that have been made for decades are just worn out.
So here I am, obsessing over fipple design. What I am making now sounds far better than the cheap instruments, but I just can't leave it alone or shake the feeling that I can make something even better.
@@Chrisamic In the mid 2000s with my dad we made an Irish low D whistle. I wanted to see what it would be like to make my own as I was sure changing the mouthpiece design would make a better whistle. I based it on designs on how to make an Irish low whistle I found online as well as my Chieftain Low D V3 whistle. I decided to change the mouthpiece design to a slightly different one than my Chieftain has. There was a workshop near our house so we used it. My dad was good at carpentry and joinery since my grandad was a joiner and passed on his skills to my dad.
We found a lot of bits of copper pipe in the workshop that were not being used and decided to use one of those as the body tube. My dad made the mouthpiece fipple out of wood based partly on the fipple of my Susato A whistle but one that would work on a low whistle. I unfortunately lost the whistle when moving house, but I remember it sounded OK for a first attempt. Due to using a copper pipe, it was a bit heavy and I don't think the tone holes were 100% the right size and a couple may have been the wrong distance apart for the best tuning. As I have gotten more tools recently, I have considered trying again if I have time and making a high whistle rather than a low one.
I wish I was a billionaire, I would get you that "soprano" gladly 😢
Thank you 🥲
What happened to your microphone? You sound as if you're coming through an old landline phone. Otherwise: nice instruments!