I will add, after buying the tenor of this line new back around ’71-’73, I can see why these dolonite recorders have almost developed a ‘cult status’ due to their uniqueness of material, sound, and pedigree. Like most other plastic recorders they’re virtually indestructible, but agreed, the sound is unique largely due to that windway——which by the way, was not unusual for the day.
While not something I’d use to take on Handel suites (I learned THAT the hard way-LOL!) they will be lovely for lighter material—duets/trios, etc.
with others with the same instrument. And the condensation gremlin can NOW be tamed using anti-condense.
If you really like the sound, Jan, look after it, as it is a unique piece of Dolmetsch history. 🙂
- This reply was modified 2 years, 3 months ago by Christopher.
Mainly French & English baroque repertoire on an A403 Bressan, and an A415 DeBey. Recorder enthusiast since 1971. Early Music program at York University, French baroque instruction at Royal Conservatory in Toronto.