The Recorders

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African Blackwood Conservation

To address reservations regarding the use of African Blackwood in the manufacture of the Dragon Flute, we recommend that concerned visitors reference this illuminating essay from Martin Doyle. I can confirm that African Blackwood has been removed from the Cites list.

Soprano after Richard Haka

Probably the earliest C soprano in true Baroque style, Haka’s life spanned the transition from the earlier Renaissance form into the more ornate Baroque era.

Soprano fourth flute after Bressan

A recorder in B flat, a very English pitch. Gives a warm sound to any soprano part where the range does not need a top C. Probably used in English consort. I also make an extended version which serves as a Third flute.

Alto in F after Stanesby Jnr

Assumed nowadays too be the ‘standard’ solo instrument, there are certainly more surviving baroque altos than any other size. Thomas Stanesby Junior was the last English recorder maker before the instrument fell out of fashion.

Alto ‘Concerto’ after Stanesby A440 or A415

An alto in F with an expanded voicing, made in African blackwood. Designed to hold its own with a modern piano, or an orchestra.

Alto in F after Bressan, original pitch

An exact copy of the instrument held by the Bate Collection in Oxford. English recorder making at its best.

Alto after Bizey in F A392

A strange original alto that has survived at French pitch, a full tone below A440. The centre and foot joints appear stretched as though they have been fitted to a head that is too short.

Voice flute after Denner

The number of surviving voice flutes, especially by Bressan, indicate that it was a common instrument. However, the limited range of the originals indicate that it may have a been a consort instrument, rather than for its modern use, as a substitute for the Baroque flute.

Tenor in C after Hotteterre A440

There are few surviving C tenors, but one of the finest was made by the Hotteterre family, who dominated woodwind instrument making in Paris. My tenor has no keys, but was originally designed as an A392 voice flute.

Tenor in C after Bressan

The famous Grosvenor consort by Bressan, now held in Chester Museum, includes a C tenor. As it formed part of a set, it is assumed to have been a consort instrument. I fit my version with a set of modern keys by Pete Worrell, but a copy of the original forms part of the Bressan consort.

Tenor fourth flute after Stanesby Jnr

Maybe a consort instrument, or maybe not considering the ease of the high notes, and the cryptic reference to the flute a quatre in the Dieupart suites.

The Dragon Flute (Drachenfloete)

I designed this instrument as a response to the rather safe contemporary versions of the recorder. A fantasy instrument in soprano C, the easy response and dark appearance makes this suitable for jazz, rock, and all contemporary musical situations.

Three hole Tabor pipes

An overtone flute, suitable for pipe and tabor and Morris dance. Available tuned in D, C, Bb, G, F and tenor D. The range also includes historical copies after Praetorius and the Mary Rose originals. Visit for more details.

Bressan Consort

A consort set of instruments by Bressan and Stanesby at A405, bass to fourth flute. Plays Purcell and other English consort music with a completely different feel.

Mediaeval recorders after the Tartu and Dordrecht

Recorders from the mediaeval period survive as images and fragments from archaeology. The best preserved is the Tartu sopranino. I make copies of the two originals, and a conjectural consort to play music from the 13th to 15th century, even though this is rarely specified as instrumental.

Bass recorder after Denner with crook and windcap A415

A classic German baroque bass with a range of two octaves and a note. Extra centre key added for ease of the top range.