I would like to stress that this book is aimed at players, to help explain some of the subjects that concern them, which are too often given only a small place in the curriculum of music schools, and which therefore tend to be learnt almost like folk stories from other players. It is not intended to explain recorder making, nor how to mend cracks, nor will it provide a miracle cure for a bad instrument. I only want to try to help players to be more aware of their recorders as instruments, and to be more sensitive in listening to what their recorders are trying to tell them. If it can also give some practical help in curing small problems, then it will have been worthwhile.
I feel I have to state quite categorically, that the contents of this book reflect very much my own subjective opinions on what I feel people can do with my instruments. Other makers will suggest different options, and my advice is to follow them when they do. The basic principles of the tuning etc. will apply to any recorder, but small differences will remain, both between instruments and makers. Just as I feel I know what is best for my recorders, so other makers will know what is best for theirs.
Adrian Brown, Snaefellsjökull.
