Recorders change over time. Actually a truism. But very few players treat their instruments to regular maintenance.
So it happens that the creeping deterioration of the instrument is noticed too late. Then the wood has become brittle or the decisive tone no longer responds cleanly in concert.
Often it would help to take the instrument regularly critically in hand and to consider whether everything looks as it should look.
- Have deposits formed in the tone holes?
- Is the wind tunnel clean?
- Does the inner bore look dry?
- Do the tenon joints feel "good" when the instrument is turned together and apart? Or does it jam, crack and wobble?
- Do the keys make annoying noises?
- Are cracks visible?
After the visual check comes the musical acoustic test.
- Do all sounds respond reliably?
- Has the mood changed?
- Is the flute still as resilient as before?
- Is the sound center still large enough? (Can I play quietly without losing the "beautiful" tone?)
- If you have the feeling "that was better", then it is time to decide the following:
- Can I do the work myself? What do I need?
- Do I have the instrument made fit again by a specialist?
A dry cork can and should of course be greased immediately with the cone grease contained in the accessories of every good recorder.
Also the deposits in tone holes can be cleaned with a soft cleaning stick with cotton wool at the ends. Sometimes a few drops of spirit on the cotton can help to loosen the deposits.
For all other work, the safe manual work of a specialist is advisable. Already with many instruments, which we had in the recorder sanatorium for the treatment, we could send the "patient" within fewer days again cured home, where he was received joyfully.