warm, rich in harmonics, and somewhat introverted. Surviving consorts of this type, identified by their makers marks, include those marked "HIER S•" or "HIE•S" found in Vienna, Sibiu and Verona; and those marked with variations on a rabbit's footprint, designated "!!" by Adrian Brown, which are dispersed among various museums. The pitch of these recorders is often generally grouped around A = 466 Hz, however little pitch standardisation existed in the period. This type of recorder is described by Praetorius in De Organographia (1619). A surviving consort by "!!" follows the exact size configuration suggested by Praetorius: stacked fifths up from the basset in F3, and down a fifth then a fourth to bass in B2 and great bass in F2. Instruments marked "HIER S•" or "HIE•S" are in stacked fifths from great bass in F2 to soprano in E5. Many of these instruments are pitched around A = 440 Hz or A = 466 Hz, although pitch varied regionally and between consorts. The range of this type is normally an octave plus a minor 7th, but as remarked by Praetorius (1619) and demonstrated in the fingering tables of Ganassi's Fontegara (1535), experienced players on particular instruments were capable of playing up to a fourth or even a seventh higher (see #Documentary evidence: treatises). Their range is more suitable for the performance of vocal music, rather than purely instrumental music. This type is the recorder typically referred to as the "normal" Renaissance recorder, however this modern appellation does not fully capture the heterogeneity of instruments of the sixteenth century. Another surviving Renaissance type has a narrow cylindrical bore and cylindrical profile like the medieval exemplars but a choke at the last hole. The earliest surviving recorders of this type were made by the Rafi family, instrument makers active in Lyons in Southern France in the early sixteenth century. Two recorders marked "C.RAFI" were acquired by the Accademia Filarmonica, Bologna in 1546, where they remain today. A consort of recorders or similar make, marked "P.GRE/C/E," was donated to the Accademia in 1675, expanding the pair marked "C.RAFI". Other recorders by the Rafi family survive in Northern Europe, notably a pair in Brussels. It is possible that Grece worked in the Rafi workshop, or was a member of the Rafi family. The pitch of the Rafi/Grece instruments is around A = 440 Hz. They have a relatively quiet sound with good pitch