To the Bernolin baroque flute website...
LM77 : the new anticondensation
The LM56 anticondensation treatment has been
replaced by a new process as efficient, more reliable and less
demanding in terms of maintenance: LM77.
This new treatment is now available in the form
of a liquid to instill in the recorder windway. his new treatment is
available as a liquid to instill in the recorder windway. It is
compatible with all recorders, wether made of plastic, wood or resin.
LM77 is compatible with LM56, as well as with detergents and
traditional anticondens, what should simplify the maintenance of
For the first time, a formula has been created
exclusively to solve the recurring problem of condensation in the
LM77 is a non-toxic, alcool based, volatile
product, and its remanence is to conventionally used detergents.
This very interesting product will allow you to
maintain your resin recorder and deal with any other recorder with
which you might encounter condensation problems. LM77 can
significantly improve some particularly stubborn instruments where
standard products have failed.
||You resin recorder, with or without LM-56
anti-condensation treatement ? To help your decision....Click
||I shall be glad to meet you
Journées de Musiques Anciennes de Vanves.
||Several animations (concerts,
instrument makers exhibition, conferences) will be proposed during this
now majot week-end around Music.
be acquainted with the various instruments I will show on my stand :
resin recorders, traversos, but also a range of Boxwood and Maple
recorders : baroque Altos at 442 Hz and 415 Hz, Voice Flutes at
both pitches, and the very nice Tenor 442 Hz after Bressan.
|News : Anti-condensation Resin
I offer now a new method to prevent condensation
problems : the LM-56 treatment.
Anti-condensation processes have been
experimented several times, with little succes. This new treatment could
become a little revolution for our instrument. Indeed, if other
solutions exploited soaps or absorption, this new one can evacuate the
condensation as it appears, and keep the windway dryer.
Thus a more reliable, more stable, and more
This new solution is of course perfectly safe.
It is applied today exclusively to resin
Please click here to order your Anticondensation resin recorder.
News : The Hotteterre Baroque flute
Here is the last creation form Bernolin
workshop : a baroque flute after an
original made by Hotteterre, available
exclusively in resin. This is a quite
large bore instrument, with a powefull
and warm sound.
You can order your
Hotteterre on the online store
News : the 415 Hz Wide Bore
Around 1730, Thomas Stanesby Jr created
a concert tenor recorder with the look
of a massive traverso. This recorder can
be seen nowadays at the Paris Museum.
I decided to improve the Baroque Alto
Recorder, and the result is the Wide
Bore Recorder. The general diameter of
the bore and the windway width have been
The Wide Bore Recorder remains a baroque
recorder in its conception, but is a
louder instrument. It can accept more
breath flow, and at this side can be
considered as an alternative to very "opened"
recorders, which upper register is
Please visit the online shop for the recorders available .
News : Resin Baroque Flutes Roger Bernolin
the manufacturing process that I've developed for my recorders, I now
offer you, in collaboration with my father Roger Bernolin, two models
of resin baroque flutes.
You can find all information about them on the site
A little History....
always loved the sound of the recorder, an
instrument which has captivated me since
childhood. My father Roger Bernolin was a
Professor of Recorder at the Conservatoire
Superieur de Geneva for more than thirty
years. A talented player and
woodworker in an era when the art of
recorder making was being rediscovered, he
succeeded with the most rudimentary
knowledge and equipment, in making several
recorders which he used in concert
I was trained as a pianist with a degree
from the Conservatoire Superior of Geneva
where I studied counterpoint, harmony and
history of music. In 1994 having completed
my studies and not wishing to pursue a
teaching career, I decided to put my efforts
toward recorder making under the guidance of
my father. Clearly, my training
as a professional musician proved to be a
Because quality and means are inseparable in
my view, I made a decision from the start,
to invest in tools and precision equipment
that would enable me to reproduce the same
fine results every time. Though a costly
undertaking which required additional
knowledge and skill, this investment has
allowed me to achieve high precision and
beauty in my instruments. In fact I believe
it is this marriage of technology and old-world
craftsmanship that enable me to satisfy the
highest standards of instrument making today.
In 2000, I started to work on a Boehm style
transverse flute made of Grenadille wood.
This was a monster of a project which
created all manner of technical problems.
However, my interest and growing technical
insights into the field of engineering,
allowed me to acquire the know how to make
this devilish instrument. Considering that I
started with a handicap of 50-100 years of
work already done by Japanese and American
flute makers, I managed to make several
important improvements to the instrument.
By adding ball bearings to the mechanism, I
provided greater tactile facility for the
player, and by creating a layer of support
for the mechanism from a single piece of
metal, I created a flute with a mechanism
that was far more stable.
My persistence in this effort brought me
recognition from the French Ministry of
the prize for Best
Instrument Maker in France 2006.
Back to terra firma in my workshop after
Champagne with the Minister, I now offer
several models of baroque recorders, the
soprano at 415 Hz to the Voice Recorder.
These flutes can be delivered at the
original pitch (between 392 Hz and 412
Hz ) according to the model. Pre-baroque are
represented by Ganassi in G, Soprano Van-Eyck,
and the Rafi Recorders. I am in the process
of finishing the Bassette Rafi which will
complete the consort of instruments already
My objective has always been to recreate the
sound of the instruments as they were in
their original state.
instruments are available in Boxwood, Maple,
Boxwood can be a bit capricious and requires
a special stabilization process. Its
particular tone color makes it a favorite of
Grenadille, also known as Mozambique
Ebony, is a very stable wood from the
Dalbergia family and is considered top-notch
among tropical woods.
Compared to Black Ebony from Africa, it is
very resistant to cracks.
Maple is an amazing wood because its sound
is velvety and powerful but is light in
terms of weight. In addition, recorders made
of maple are very resistant to the problems
happy to make revisions on instruments
whether they are from my workshop or not.
It is always possible to improve an
instrument, even if it is “tired’... I
can’t give a price for such work without
seeing an instrument, but consider that for
the sum of a hundred Euros, a recorder can
be transformed. I offer this service
to those who have purchased my instruments,
but in truth I see very few of them coming
back for revision. Are my flutes
stable to the point of never having to be
worked on or cleaned? Don’t hesitate
to return them for a tuneup, you will never
prefer not to make an instrument with a body
that can operate at more than one pitch for
I find that it is a compromise. The result
is sometimes satisfactory, but it is never
Finally, I have the greatest respect for the
recorder players who help me earn my
livelihood. I understand
that one makes a substantial investment when
purchasing an instrument. For this
reason I guarantee my recorders for two
years including the appearance of cracks, a
problem that is rare in the instruments I
produce, and to my way of thinking is more
the fault of the maker than the player.
Musician that I am, I could not sell
an instrument which does not please me
It is my intention with this website, to
show you my work and to give you a sense of
my ideas about instrument-making. I am
convinced that an exceptional instrument
does not happen by accident. That is
why precision will always be the watchword
in that which I produce. An instrument
capable of rapid attacks in the upper
register, power in the lower register, with
perfect intonation and refined color is
fundamental to a fine instrument .
But beyond that is the personality and
richness of its possibilities of musical
expression that makes it your instrument.