Replies to two earlier:
“I have bought a Kung studio tenor, I like it very much: good and very strong sound. Very easy to play because the holes are very near to be a tenor without keys.
I have found it better than superio for my type of use: irish and folk music.
The only problems are a windy sound for highest notes and some little problems of intonation”
I also have a Kung studio tenor, in cherrywood. I absolutely love it. My fianceé and I tried many instruments at the Early Music Shop in Yorkshire, England. We had a certain budget and chose this instrument despite it being £200 under budget! One of the reasons was the perfect intonation….. (and the high range is very clear)…. so I wonder if it’s to do with the wood. Is yours a different wood?
And a reply about repair. I have used the repair person at the Early Music Shop several times and found him to be far better than anyone I have used before. It is just one man (Barry Holder), so you know who you’re getting. Most recently he breathed wonderful new life into a 1937 Arnold Dolmetsch alto. It was almost unplayable when I bought it (although no specific fault existed). Now I can look forward to performing on it after this virus…… Therefore I think that postage from Canada might well be worth it for the job he will do.
And a fun addendum: with the £200 saved on our tenor purchase, we bought from their used stock a Carl Dolmetsch alto in rosewood, 1971. We now have three generations of handmade Dolmetsch trebles! The 1937 from Arnold, 1971 from Carl, and 1978 from either Jeanne or Marguerite (which was bought new by my fianceé’s grandmother). They are all three lovely, and utterly different from each other. Such fun, e.g., to play a 3 movement Telemann sonata using one for each movement.
Happy recordering to all!
