The sub-sub great bass recorder Is this still a recorder or already a monument We think both. It is the largest recorder in the world and therefore a monument. The instrument was created at the suggestion of Simon Borutzki, the director of the Berlin Recorder Orchestra. He had asked us about the recording of his CD "alla turca" with subcontrabass recorders, he asked us whether we could could imagine an even larger recorder. Our answer was: "Imagine yes, but whether we could realise it...". As always, when people really want something, the positive the positive framework conditions arise almost by themselves. Katharina Klockmann, who who wanted to realise an unusual project during her studies, made a significant project made a significant contribution to turning the spontaneous idea into what is probably the most extraordinary recorder in the world. With a sounding length of 4.93 metres, the sub-sub great bass recorder broke the record for the largest recorder for the second time. in the Paetzold workshop (by Kunath). Already with the development of the sub-contrabass recorder with a sounding length of 3.60 metres, Herbert Paetzold had already set a record. How do you build a recorder as large as the subcontrabass? For reasons of ergonomics and transport, such long scales must long scales have to be bent through 180° in the tried and tested Paetzold manner. This means that the finished instrument is "only" just over 2.00 metres high. This means it fits in almost every home, and in concert the low notes (32 Hz) lay a solid foundation under every foundation under every (recorder) ensemble. When enlarging the scale, the basic principles of the original design had to be original design must be reconsidered and scrutinised. Does one or detail for a functional design has to be technically solved differently so that the instrument the instrument works just as well and reliably on a large scale as the small original the small original because the players do not grow with the size of the instrument. with the size of the instrument used. Finger and arm lengths remain the same, as does the the amount of air they breathe. All these central points of ergonomics need to be considered and designed. For the keys of the left hand, the tried and tested Paetzold design could be used for the left-hand flaps. However, the flap mechanism of the foot piece However, one point that had to be reconsidered. Here it quickly became clear that the instrument with the disadvantages of long mechanical levers. mechanical levers. So we looked for proven inventions in other areas of instrument making. proven inventions. Here we found what we were looking for - naturally - in modern organ building. found what we were looking for. The same technology that enables the organist to conveniently control a distant organist to conveniently control a distant pipe with a light press of a button in the sub-sub greatbasses. The keys of the right hand, which would require long levers would require long levers, can be played with the organ technology without much effort. with little effort. This is made possible by small electromagnets that close and open the keys elegantly and and reliably close and open the keys. To supply the solenoids with energy four powerful rechargeable batteries are built into the sub-sub greatbasses, which can supply the instrument can supply the instrument with power for weeks. Should the batteries ever run out - which which no one has ever experienced before - the instrument can be immediately power supply from the mains socket. A good design always has room for a plan B, and this is especially good if you are unlikely to need it. probably won't need it. A glance at the built-in charging indicator usually signals: "You still have enough power to play the Ring of the Nibelung at least three times". of the Nibelung at least three times" ... The larger the recorders become, the more important the detail detail "How securely does the instrument stand? four small triangles are inserted into the foot. This allows the instrument to be lifted The stand follows the instrument "with the foot". A question that is asked again and again: Do I have enough air to play such a large instrument Yes, you do. Because with a recorder you don't blow air through the instrument like you do with a trumpet. instrument. With a recorder, you only excite the air in the bore. We have applied this physical principle to the sub-sub greatbasses recorder. The principle: you generate a very quiet very quiet - barely audible - sound with the air you breathe. This is amplified via a amplified by a microphone fitted as standard. The amplifier then generates the volume and depth that you - and your ensemble - no longer want to miss. would like to have. Depending on the application, different loudspeaker systems are used. We will be happy to consult you on which solution is most suitable for you. The instrument is supplied in two cases and is therefore easy to transport. Immerse yourself in the gripping emotional world of the deepest frequencies. The world's deepest recorder. The sub-sub greatbasses. Affectionately affectionately referred to by some players as "The Beast". Or simply "The Monument".