Page last updated: 22nd of May, 2018

Waiting list for consorts is now open

Over the last few years, I have managed to work through a large backlog of orders and now feel I can reopen my waiting list for consorts with the confidence that I can give a meaningful delivery date.

In 2019 I will make “Virdung” consorts and at the moment I have space for one more set. The next HIERS/HIES and Bassano consorts will be made in 2020 and I have space for a small or intermediate set for delivery that year. I will also take orders for a large set for 2021.

Please read my thoughts about waiting lists and orders on the Prices page under the heading Terms and Conditions. This is not the usual collection of get-out clauses and legal niceties but some explanation of the practical problems of dealing with long waiting lists and shifting orders. In the future, I will try to advertise more of my new instruments for direct and immediate sale online. This is a new departure and was a decision reached after a lot of thought. I will continue to make instruments to order, but I will also sometimes sell an instrument via this site, allowing the possibility of getting one sooner. This is due to a number of reasons, one of which is a number of late cancellations in the recent past.

Waiting list and E-mail alert for available instruments

For baroque recorders and my ”dolcimelo” type, the average waiting time is currently about 1–3 years, depending on the type and pitch. If you have ordered an instrument and you feel I am late, or have not contacted you with a delivery date, please let me know and I will take steps to rectify this.
Over the coming years, I intend to move away from a waiting list and hope to be able to offer more instruments for immediate sale.
One reason very few instruments make it onto my website is that I send out an “e-mail alert” to a list of people who’ve asked of advance notice of any spare instruments I have for sale.If you would like to subscribe to this list, please fill out your name and e-mail address on the form here.

Ordering a recorder

I have a new simple Order Form and I now ask just for a description of the instruments needed. I will then communicate with you about your personal requirements. I do not take any deposits for orders, again please read my Terms & Conditions before ordering.

Alto recorder in g’ by J. B. Gahn

This is a new model, based on two original instruments, one in a private collection in Hamburg and the other in the Brüggen collection in Amsterdam. They are both in a pitch around modern f#’, which means they could be considered either an f’ recorder in high pitch (a=466 Hz), or a g’ recorder in low pitch (a=415 Hz). Gahn was a member of the turner’s guild in Nürnberg and many of his recorders are unlike the more standard designs of the Denners, Schell, Oberlander etc.. As I will show in a forthcoming article to be published by the Vienna Kunsthistorisches museum, some of recorders are internally more similar to the Kynseker designs and in this respect, show a connection to early baroque recorders. I had hoped to make these this year, but circumstances have delayed my making them – I expect that I should be able to deliver the first of these instruments at the beginning of next year (2019). I am currently composing a list of people who are interested in this sort of recorder, so please contact me for further information.

Prototype alto recorder based on two originals by J.B. Gahn

 New Website from 2017

Welcome to my new website! It has been a long time since I modernised my website and it would never have happened without the help and guiding hand of Nicholas Lander, who has run the Recorder Home Page since its inception. Nicholas has kindly shoehorned my rambling texts into this neat new format and managed to maintain all the features of the old site. I have updated many of the texts, but such is the nature of recorder making, that much of the material here is static – I normally only add a few new items every year and occasionally update the price list… Where there has been major change is in the Renaissance Recorder Database, which Nicholas has extensively modified into a new format, with a host of new features. I have also added much new material and intend this to be a resource for both researchers and recorder makers. I hope you will enjoy browsing here and will let me know if there are any inconsistencies, or mistakes.

UPDATE : Grenadilla, Dalbergia melanoxylon (African Blackwood) and CITES as of March 2017

Since 2nd of January 2017, grenadilla, Dalbergia melanoxylon has been on the CITES Appendix II list of protected species and I now have the latest information on this issue from the Dutch CITES representative and certificating authority. As a result, I have decided to halt all sales of recorders made from grenadilla to countries outside of the EU. While it is technically still possible to take objects made from grenadilla outside of the EU, the licensing and administration is both complicated and time consuming and I fear in the longer term, grenadilla instruments will inevitably suffer the same fate as ivory and the restrictions will become ever tighter.

While in principal, musicians travelling across national borders with less than 10kg of grenadilla are currently exempt from any formal CITES certification, they do need to prove the instrument was made with pre-certification wood stocks. For owners of grenadilla recorders that I made before 2017, you may well be asked to provide documentation that the instrument was made before 2017 and even though I have never stamped my instruments with serial numbers, my original invoice should suffice. In the future I’d advise owners of my grenadilla recorders to obtain a CITES musical instrument certificate from their local CITES certification body, or representatives, as it may well make travelling across national borders easier in the future.

If you wish to send a grenadilla instrument for repair from outside of the EU, I will do my best to help you, but cannot take any responsibly, should the instrument be impounded, delayed (or worse) by the customs authorities. In any  case the recorder should be sent with a copy of the original invoice and on both the package and in the documentation, indicated that it is being sent to the EU for repair.

Although I currently have enough of a stock of this wood for another 20-30 recorders, I do not intend to buy any more in the future.

Amsterdam postal woes continue

The situation regarding sending instruments for repair is as bad as ever. Last year I almost lost a set of 6 consort recorders which were delivered to a neighbour, with no notification in my post box. The consort stood in the unheated corridor by the front door for three days, before I eventually heard about it. The only safe way to send instruments for repair is via UPS, but they are a lot more expensive than parcel post. If possible please try to find alternative ways of getting instruments to me for repair. It’s especially important to contact me before sending any instruments back, so I can advise on the best way and can plan to look out for it.