Mind you, a GOOD recorder makes a hell of a difference. Jacqui had an old Boosey and Hawkes rosewood, with a couple of chips in the fipple, which gave it a richness of harmonics not usually associated with the instrument, and it was a fraction flat so she had to "blow it up" a bit, which gave a very different and forceful quality to the sound.

A few years before she died I bought her a Dolmetsch medieval pitch silkwood recorder, and possibly the fractionally larger dimensions associated with the A=415 pitch made a difference but it had a sorrowing fullness that was most effective. To get it spot on to being a semitone down from concert it was necessary to "crack" the main joint a fraction (one thumbnail thickness, Dr Blood was quite impressed that a couple of folksingers could tell the difference). It was not cheap - about half the price of a pretty good but not spectacular guitar. Say half a Martin or a Gibson as distinct from a Collings or a Brook or Fylde or Kincade. Lot of money for only a little bit of wood.

She also had a pearwood sopranino that was very fast and light-sounding and she used that to great effect on instrumental bridges.