Swedish recorder maker Ragnar Arvidsson

KONICA MINOLTA DIGITAL CAMERAI am an engineer and musician. I have played the recorder since I was a teenager, in a series of different ensembles through the years.  Recorders often have problems.  Because I am technically-minded I soon started to try to solve these problems on my own.  I also happened on hand-made instruments and became fascinated by that process.  The idea of trying it myself awakened.  In the summer of 1983 I decided to get going and acquired the first essential machine, a wood lathe. In the summer of 1985 I attended a recorder-making course in Austria, taught by Alec Loretto.  It was there that I found the solutions to many of my remaining problems.  The first recorders I made for customers were delivered in 1988.  Since then recorders I have made have ended up all over the map from Piteå (in the very north of Sweden) to Barcelona and South Korea.

I have studied historical flutes in different museums in Rome, Vienna, Moscow, Nuremburg, Prague and other places.  Examples are an important and essential starting place, but I have also been delighted by how useful my scientific background as a M.Sc. Electrical Engineer has proved.  It has made it possible for me to understand the foundational physical connections in a flute.  Knowledge from my practical experience as an engineer has also inspired me in new experiments in the area of recorders.

Latest document

New baroque bore - Instruments true to the baroque period are generally made as copies of preserved instrument from that period. It is assumed that the historic instrument maker has succeeded to make an almost perfect construction. But is that really so?
Listen to the instruments - Kerstin Frödin, Göran Månsson and Kim Persson play baroque music and folk music - Hear music played on the Stanesby alto, Voice flute, RA-flute and Aelvborgspipa.