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To find specific products or items, please use the menus to the left. If you move the cursor over a menu item such as "recorders" or "accessories", more sub-menus and sub-categories should pop up. If they don't function properly (they don't in some versions of Safari, for example), you can either try a different browser such as Firefox or click on the Site Map at the very top.
About Recorders:
Here at the von Huene Workshop, our main focus is on recorders. Our knowledgable and dedicated staff will are happy to answer any questions and assist you in finding the best instrument for your needs.
We offer a wide variety of instruments and a wide range of prices, from low-cost entry level models to fine handmade recorders of our own which are widely used by professional players for performing and recording.
Choosing a recorder is a very personal process. Every wooden instrument is unique, even among others of the same model and the same wood. The standard today is very high, and there are many good choices at a low price point. However, because every instrument is different and choosing an instrument is very much a matter of deciding what is most appropriate for the kind of playing you do, which instrument best compliments the way you personally play, and which instrument has the sound and feel that you personally prefer, we generally recommend that beginners start with plastic recorders. The plastic recorders that are available today are exceptionally consistent, in tune, easy to play, and forgiving in the upper register. Because purchasing a wooden instrument is such a personal process, we feel that most beginners are best served by starting on a plastic instrument and gaining proficiency so that they can make the best decision about a wooden instrument when the time comes to upgrade.
In general, recorders come in three main categories: Baroque, Renaissance, and Modern. Click on the links in the lefthand menu for a description of each type.
Recorders are made in a wide variety of woods, each with its own characteristics. In general, softer woods (such as maple and pear) produce a softer, warmer sound while harder woods (such as grenadilla, ebony, or rosewood) produce a louder, brighter, more brilliant sound. Instruments used for concertos or solo work are typically made of harder woods, while instruments intended for ensemble use are frequently made of softer woods. Copies of historical instruments are frequently made in the same material as the original for the closest reproduction.
European Boxwood was a very common material for original recorders of the 18th century, and produces a very warm, sweet sound. It is very common for high-end recorders and flutes. However, it is very expensive to work with because it has many flaws; a large percentage of it must be discarded after many hours have been put into it. Many less expensive recorders are made of Brazilian or Indian boxwood, which is much straighter and much less dense. It is much cheaper to work with, but does not have the fine grain or the density of European boxwood.
Ebony and Grenadilla are both very hard, very dense woods which are very dark brown or black in color. They are common for concerto instruments, modern instruments, and solo instruments where volume is desirable. The drawbacks of these woods is that instruments made of them are considerably heavier to hold, and take much longer to warm up. They don't absorb much moisture, and are likely to clog faster than instruments of softer woods. But the brilliant sound and louder volume make them well suited to solo playing.
Rosewood is actually a large family of woods which includes kingwood, tulipwood, bubinga, and palisander, among others. It has an attractive brown or reddish brown color and a very striking, visible grain. Even within the same species, it can vary widely in color. Many types of rosewood have a very "open" grain, with lots of tiny, barely visible holes, despite being very dense. This frequently gives the instrument a more "reedy" tone quality which some players find very desirable.
Maple and Pear are softer woods which are lighter in weight and available in much larger sizes than the more exotic types of wood. Inexpensive recorders are frequently made of maple or pear which has been impregnated with wax under pressure. This helps protect the instrument from moisture, and removes the necessity of oiling. However, if the instrument is left somewhere very warm (the back window of a car, on top of a radiator, etc), the wax will melt out and make a big mess. This can be cleaned up, but the instrument won't play very well until the excess wax has been removed!
Many Renaissance instruments are also made of maple. This was a common material for surviving original instruments, because it is available in large sized pieces. Original Renaissance instruments were typically made all in one piece, so a single large piece of wood was necessary. Also, since Renaissance instruments are typically designed with a wide bore and wide tone holes, increasing the volume by using harder material is less important. Maple (and sometimes boxwood) sometimes has a rippled appearance to the grain, which is known as "flame". This can be very beautiful, and some makers even simulate flame for its appearance.
However, the material of which an instrument is made is of somewhat secondary importance. The most important differences are the design and the voicing. The basic design of a recorder varies greatly, even among instruments of the same type, and will affect volume, tuning, and tone. The voicing refers to the dimensions of the windway, window, and block. The voicing determines an instrument's tone, response, volume, and feel. Voicing and carving must be done by hand, and the amount of hand labor involved in finishing and refining the voicing of an instrument accounts for a large part of the difference in price between different models.
If you have any questions, please don't hesitate to call or email; we will do our best to find you the recorder that will best suit your needs as well as your budget.
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