I've followed the discussion on quill vs. plastic with interest. I have instruments in quill and in Delrin, and my experience prompts me to chime in with two thoughts:


1. A number of builders claim to have achieved similar or comparable qualities to quill with their plastic and with their voicing techniques. I can think of at least two (one of them a contributor to this conversation) whom I respect very highly, and have no reason to doubt. I also know one European builder who has tried both materials in his harpsichord, and has found it impossible to distinguish the (crow) quill from the synthetic material, given the proper voicing methods for each. One of my instruments was believed to be in quill by a famous performer until I pointed out that it was actually Delrin. What I would like to see/hear is a proper blind test.


2. I am often frustrated that (unless I've missed something) most discussions of quill talk about how to treat it, how to trim it, or how to shape it, but there is precious little information about how to voice it. I even recall a recent article about quill from a major builder that contained not a single word about voicing! Certainly choosing the right feather for the range is important, but how should the quill, once it has been shaped and installed, be voiced for maximum musical result? (It surely involves more than rounding the corners.)


Greg

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