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Mundstücke für Paetzold by Kunath Blockflöten

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Webinars & Seminars. Thoughts on advantages and disadvantages

Woman attends a webinar

To be (there) or not to be!

Very early in the history of mankind there was the dream of the seven-league boots, with which one could cover great distances in a short time.

In the starship Enterprise ("Voyager" for the younger ones) you could simply beam yourself to another place ("transfer" for the older ones).

The dream of fast and comfortable travelling has probably accompanied us since we did the stupid thing with the apple steal at our garden rental company at that time.

We wish to reach our destination immediately, without having to take the hardships and strains of the journey on ourselves.

Whether these wishes themselves and the "boys who give birth to them" bring about good or bad things in us and in the world is open to question and that is not the central thread of this article.

The point is that since the invention of Morse code and the spread of the telephone, distances have shrunk.

Today, thanks to the Internet, we can overcome incredible distances effortlessly and at very low cost, at least with our language and our image.

From home - and without blackening our CO² footprint by travelling too much - we can view and listen to pictures and voices from around the world. Also our picture and our words rush around the world just as easily.

At this point, the attentive reader already realizes the special nature of this kind of travel. Only two senses are allowed in the travel group: seeing and hearing. The eyes and the ears get their money's worth. Depending on the technical equipment with limitations or intoxicatingly realistic. Anyone who has ever put on virtual reality glasses can guess where the travel experiences will take our eyes in the coming years. You believe you are standing in the middle of the action and no longer looking at a flat screen.

Meanwhile the other senses are sitting around more or less bored. Our nose doesn't smell anything new, our body doesn't perceive any climatic change and our hands can't "grasp" what the eyes see, in the most original sense of the word. The senses of taste are doomed to puritanical abstinence. Nothing can cross our lips in the direction of the digestive tract whose taste is not already known to our oral senses.

So it's all crap?

That would be judging too quickly. A picture in a museum is something we can only internalize with our eyes. Should we want to touch it, the museum staff would surely and quickly find ways and means to point out to us the lack of sense in our current actions.

Even on the telephone we can only try to guess the missing facial expressions of our conversation partner with our ears.

So there have always been moments in which we experience our environment and our fellow human beings only to a limited extent.

As always, there are two sides to the coin. We get something - and pay a price for it.

At webinars we can learn from lecturers without travelling, no matter where they or we are at the moment. Anyone who has experienced this before will find out: Nevertheless, during the online course we are connected with like-minded people through the present senses - seeing and hearing.

The senses that cannot be served by the webinar technique pay the price at first sight. But we save time, travel and accommodation costs. How about giving a gift from this budget to the senses that are outside the webinar. A good meal, a warm bathtub with precious essences or a massage?

I believe a harmony of all senses could be created with this. Perhaps in such moments the ears tell the other senses what they have heard. When a pleasant shiver runs down your spine, this indicates that another sense has been captured by the touching travelogue. 

And when the wanderlust, then rightly at some point draws attention to itself and says: "Now let's all do something together!"

Then go to a seminar in Fulda and enjoy - with all your senses.

Oh yes, we also have good food and exquisite drinks. (Should your senses ask for it)

We' II see you...

Reliable disinfection of recorders

Reliable disinfection of recorders with the VirEx20.20

Hygiene has always been important to us and we have never underestimated its importance.

Due to the current developments, which began at the end of 2019, and which have completely turned life upside down in many areas in 2020, we have once again significantly increased our activities in the field of hygiene and disinfection.

We disinfect all instruments that we send out or receive back in a special disinfection facility.

The VirEx20.20 developed by us works with a combination of physical and chemical processes that have been used for many years in clinics and food production.
These procedures are absolutely harmless and no residues remain in the instrument.

Even instruments that we receive for repair are conscientiously disinfected before and after revision.  

Your health is worth it to us.

You should treat yourself! Right now!

Sometimes it is wonderful to be served and pampered.
Just express a wish and it will be fulfilled as if by magic.
Right now is the time to indulge yourself.

Finally - due to the crisis - we have a little more time and peace.
Peace and quiet and time are great, but the general conditions are, to put it mildly: more than worth giving up.

We can't influence the external conditions, our feelings and actions can.
Let us understand this phase not as a restriction, but as a possibility for shaping. Let us create free space for ourselves to do beautiful things and draw strength from them.

For example, making music, finally subjecting one of our own recorders to a wellness and hygiene cure or rewarding ourselves with the long awaited new instrument.
Because now is the right time to get to know the instrument.

But is that possible in these times? Yes, of course!

In our workshops FEHR, Kunath.com, Blockfloetensanatorium.de and in the Blockfloetenshop.de we work with different methods of disinfection and sterilization. All systems are clinically tested and have been proven to work against the new SARS-CoV-2 virus.

If you receive an instrument from us, it has been sterilized / disinfected before shipping. This way we protect you.

If you send us an instrument, we also disinfect it. This is to protect ourselves. The instrument is then disinfected again before it is sent. For your protection.
With this procedure and the investments in materials, equipment and facilities, we are setting new hygiene standards in our companies.

So you can be pampered without any worries! And you should be worth it.

We look forward to pampering you or your instrument.

Call us, write us an email or chat with us on the website.


Your Kunath-Team



Disinfection: Reduction of the number of pathogenic germs, so that the object no longer poses a risk of infection.  

Sterilisation: Free of reproducible bacteria, fungi, spores and viruses.

Red Snake! Special Edition

Tenor recorder with Red-Snake-Design

Tomy - our new surface specialist has been working as a snake tamer in the last weeks.

Red Snake Blockflötendesign Paetzold by Kunath


The result is the tenor: 23DB-A-SL (Red Snake).

The Paetzold by Kunath tenor recorder sounds impressive. This acoustic quality is visually complemented in the most impressive way by the Red Snake design.

Players who want to step out of the crowd will surely find what they are looking for here.

Important information: Prospective buyers are thoroughly checked by the Paetzold by Kunath team before the snake is handed over. Only players who can prove that they can keep the new roommate in a species-appropriate manner will receive the snake.

XF4000 makes its debut in Antwerp

Paetzold by Kunath xf4000 Airbrush design

Antwerp is known for art, architecture and of course the diamond trade. Rubens, Van Dyck and Jordaens worked here. An excellent place to present the uniquely designed XF4000 to the public. The design jewel presented itself yesterday evening at Integrated¹ 2019

xf4000 design bass The graphic design of the presented XF4000 was submitted by Jeanne Strieder to the Paetzold by Kunath design competition for the 5th anniversary of the company handover and won the vote clearly at that time. The airbrush artist Werner Simnacher realized the design on a Paetzold by Kunath MASTER Basset according to the specifications of the artist.

Sylvia Hinz, who owns the pictured instrument, decided to realize the design on a MASTER Basset with two headpieces.

We are sure that XF4000 will be seen on many stages together with the artist in the next years.

Would you like to own an instrument with a unique design? Talk to us. Our surface specialists will realise your designs and wishes in an impressive way.



¹ The Integrated is a biennial international conference that explores the changing perspectives of designers, visual and performing artists, architects and scientists and how they can be the unifying actors in this troubled and complex society. The conference aims to develop new methods that create links between different art movements and society for political, social and ecological motives.

Recorders from the 3D printer

NAWAMU - Development of acoustically high-quality materials

High-quality woodwind instruments from the 3D printer? If the triad is right, that's possible.
On behalf of the Federal Ministry of Education and Research, Kunath Instrumentenbau has been researching new materials for musical instrument making since 01.06.2019.

Recorder out of the 3D-printerGanz so einfach wie auf dem Bild ist es (heute) noch nicht eine Blockflöte im 3D-Drucker enstehen zu lassen.

That is due to many reasons. Because the triad must be right.
Also in this case it consists, as always in the craft,  of the three pillars: 

- Skill
- Machines
- Material

capability means knowing how an instrument must be shaped. What dimensions does it need? Who will play the instrument and where should it be used?
When these basic questions are answered, the experienced instrument maker can choose the model that will form the basis of the instrument. Only then can he or she plan the individual steps and their sequence that are required to make the instrument.

The Machines and tools help to make the instruments out of the raw wood. Pure manual work is required for some operations, but a lathe is indispensable. Machines reduce production time without necessarily reducing the quality of the final product. Thus, in many cases (larger) recorders can only become affordable for the customer. Without a drill, lathe and carving knife, little is possible in conventional instrument making. In larger workshops, milling machines and other precision mechanical machines are added. The more modern a workshop is equipped, the more valuable and precise tools can be financed and used.

The material - apart from the model design - determines to a very large extent the sound and durability of the instrument. <brsp;
The pride of good instrument workshops is therefore a large stock filled with a more or less wide selection of suitable and well seasoned wood species.
This allows the instrument maker to select the appropriate material for the instrument - or for the customer's specific requirements.
Shall the instrument be used as a solo instrument, or merge into an ensemble? A well and sensibly selected material makes only perfect in the right coordination with the instrument design . </brsp;

Since 2015, Kunath Instrumentenbau has been experimenting with the rapidly developing possibilities of 3D printing. The RESONA material is the first in-house development of a material that is used to manufacture the bodies of large recorders. The material has a density comparable to rosewood, but the sound properties are compared by many musicians to the warmth and softness of cherry wood. This is due to the special way the material is processed.

A material cannot provide the answer to all questions in instrument making. Since the development of such materials is very time-consuming and costly, the Federal Ministry of Education and Research supports this work. With research programmes...
Kunath Instrumentenbau has qualified itself for the development and research of new materials through the wealth of experience it has gained in recent years. June 2019 saw the launch of the two-year research program NAWAMU - Development of sustainable, acoustically high-quality materials for additive manufacturing processes used in the manufacture of musical instruments to replace protected wood species. 

The aim is to develop printing materials that are sustainable, climate-neutral, harmless to health and at least equal in sound quality to normal materials (wood species). 
The project leader,  Sibo Kunath, explains that especially improving dimensional stability in relation to unwanted swelling and shrinkage by respiratory moisture, as well as influencing different temperatures on the instruments are other important goals of the working group to be surpassed by the new materials.

 sponsored by BMBF

How to start with music? This pentatonic recorder is the answer!

Boy with Engelberger Fiveton recorder

A recorder for children has to be robust, but at the same time should convince with an appealing design and sound. For 38 years we have been building this wonderful instrument in our workshop, which goes back to the idea of the recorder teacher and educator Dorothea Hahn.

The Engelberger five-tone flute is manufactured in two tunings. It has been specially developed for the introduction to wind instruments. Thus it differs clearly from the construction of traditional recorders in the proportions of the sound-forming areas, without, however, losing or even hindering their possibilities of clear articulation.

It is incomprehensible that the area of articulation is often neglected, although it has long been known that the tone makes the music. And what does a melody sound like if it consists of nothing but tones with the same sound? Our language also lives through the colourfulness of articulation. And when we tell children a fairy tale, for example, we use all these shades of our language to let the little listeners experience the story properly. If music is to live in children, it is important that they can experience it.

Nor would it be understandable that at an age when children have already learned to articulate sounds (language), this ability should not be used and developed for music. For this reason, great importance has been attached to the possibility of free and broad articulation in the development and construction of each individual instrument. Since the Engelberger Fünftonflöte is aimed at beginners, however, the range was deliberately limited in order to concentrate the lessons on the basics.

Thus the children are not distracted from the search for small, neatly played and tangible melodies by a large range which they cannot grasp.

The playing range thus includes the 5 notes d, e, g, a and h, which can be played via the four finger holes on the front. The instrument is made of waxed pear wood and the design is harmonious, light weight and robust for everyday use.

Joachim Kunath

Our Engelberger Fünftonflöte has intentionally only 5 notes. So it is simple enough to let the child already experience in the first school year that his great effort of will also bears beautiful fruits. It is essential that every child can come to this experience, and this is a given with an instrument with only four holes.

It was also important to us to create a flute through which one can release enough air to strengthen the child's exhalation. Doesn't our time tend to just breathe in? But the invigorating inhalation can only take place if the child has previously exhaled vigorously; and how happy is the child if it is allowed to transform the inhaled air completely into sound.

From the beginning, we make sure that the tip of the tongue is used to produce the sound: it is our servant who opens the door to the sound at the right time. It is known how essential the lutes D and T are to the development of the child's mind (GA 307, Ilkley,8.8.1923).

If one can cultivate them here in the musical stream, one should not miss it. These are the outer sides of the small flute. But the essential thing is: it puts so few technical difficulties in our way that we can work on the innermost approach.

So let's start. The teacher, of course, always performs, every smallest exercise, because the child needs the auditory impression, which then helps him to imitate. Sometimes it takes a long time to reach the child's ear, because it is closed. Thus the infant had protected himself from the modern noise to which he is often exposed.

But we have to make sure that our children learn to really listen again. The teacher now lets the sounds speak to each other and ask each other: "Are you there? It's different from saying, "Now please play the same note three times." 
With the help of this small sentence, I can also stimulate the melodic thought to flow, to turn to the other. Thus a musical conversation is created between teacher and pupil. It is important to remain constantly in inner movement and to lead our melodies, which are entrusted to us again and again out of the inaudible, from one tone to the other.

For us adults, the tones often have something standing for themselves - we string them together. But we help ourselves over it by playing fast and in this way creating the illusion of a movement. But doesn't our soul sometimes remain completely empty?

For the child it is a tangible reality that every note has 2 gates: the one to which the melody comes in, the one to which the melody is played and the one to which it is played.

Flautina - more than a school recorder - a personality

Flautina the princes of school recorders

Many players give their instruments names. Because you recognize a personality in your instrument.
This was also the case with the development of the new school recorders Flautina and Flautino. During the months of development it became more and more clear to us that very special instruments are made. 
A short excerpt from the development diary.

Flautina and Flautino and the recorder diamond

It was our first goal to develop a school recorder that can do more than all existing school instruments on the market. We no longer wanted to accept the fact that plastic recorders could come up with an elaborate form decorated with decorative rings. The classic wooden school recorders that can be bought today still have the simple and plain forms that were possible in the sixties and seventies due to the technical possibilities.
We wanted the children to be able to hold a similarly attractive instrument in their hands as their teachers.

The second goal was to achieve superior tangibility. Here, too, we took the plastic recorders as a model.
We wanted to make our instrument three-part. It should have its own foot section so that the tone holes on the foot piece can be adjusted to the length of the children's fingers.

The third goal was a better articulability and modulability of the sound. For this purpose we equipped the instrument with a conical wind tunnel, which forms the air better. This feature is normally used in instruments from 200 €.
However, we felt that beginners have a right to get the best possible.

We wanted to achieve all these goals at the normal price of a school recorder from the established workshops.
When we presented the first instruments to well-known teachers for testing, we noticed from the reactions that we were on the right track.
The reactions were partly exuberant and encouraged us to continue on the path we had taken and to set our goals even higher.

At the end of the development we had not only two instruments, as originally thought:
Flautina - with gemstone - the princess
Flautino - without precious stone - the prince,
but both instruments in a three-part and a two-part variant.
The two-part variant - without a separate foot piece - was desired by the teachers, who feared that the third part (the foot) could be lost.

To round off the concept, we created a small comic strip to take over the task of the care instructions. Since nowadays (unfortunately) there is less and less reading, it seemed to us to let child-friendly pictures and few words speak.

In the comic Tina and Tino discover the recorder in a chest during a nocturnal ramble through the castle in the treasure chamber. 
Here the instrument is subtly and automatically assigned a value. What is stored in the treasure chamber must be valuable. The two then take the instrument to the room and play a little. 
In addition, they explain how to assemble, store and handle the instrument correctly.

The reactions to the comic show us that this unusual way was also the right one. From feedback we know that parents and their children look at the comic together and thus establish a first contact with the story of the little flute that lies before them.

What experiences have you had with the introduction of school flutes to your children or pupils?