such as oboes and transverse flutes. Notably, Jacob Denner is credited with the development of the clarinet from the chalumeau. Recorder making declined with the instrument's wane in the late eighteenth century, essentially severing the craft's transmission to the modern age. With few exceptions, the duct flutes manufactured in the nineteenth and late eighteenth centuries were intended for amateur or educational use, and were not constructed to the high standard of earlier epochs. Arnold Dolmetsch, the first to achieve commercial production in the twentieth century, began to build recorders in 1919. While these early recorders played at a low pitch like that of the available originals, he did not strive for exactitude in reproduction, and by the 1930s the Dolmetsch family firm, then under the direction of Arnold's son Carl Dolmetsch, was mass-producing recorders at modern pitch with wide, straight windways, and began to produce bakelite recorders shortly after the Second World War. Nonetheless, the Dolmetsch models were innovative for their time and proved influential, particularly in standardising the English fingering system now standard for modern baroque-style instruments and doubled 6th and 7th holes, which are rare on antique instruments. In Germany, Peter Harlan began to manufacture recorders in the 1920s, primarily for educational use in the youth movement. Following Harlan's success, numerous makers such as Adler and Mollenhauer began commercial production of recorders, fuelling an explosion in the instrument's popularity in Germany. These recorders shared little in common with antiques, with large straight windways, anachronistically pitched consorts, modified fingering systems and other innovations. In the latter half of the twentieth century, historically informed performance practice was on the rise and recorder makers increasingly sought to imitate the sound and character of antiques. The German-American maker Friedrich von Huene was among the first to research recorders held in European collections and produce instruments intended to reproduce the qualities of the antiques. Von Huene and his Australian colleague Frederick Morgan sought to connect the tradition of the historical wind-makers to the modern day with the understanding that doing so creates the best instruments, and those most suited to ancient music. Virtually all recorders manufactured today claim ascendancy to an antique model and most makers active today can trace their trade directly to one of these pioneering makers. Today, makers maintaining individual workshops include Ammann, Blezinger, Bolton, Boudreau, Breukink, Brown, Coomber, Cranmore, de Paolis, Ehlert, Meyer, Musch, Netsch, Prescott, Rohmer, Takeyama, von