Wow - take your eye off the ball and there's pages of activity all of a sudden - it's like waiting for a bus.
In no particular order:
I did think of going to Medieval Music in the Dales as I have a friend who lives there and thought I could combine a visit with MMITD. However, the main activity this year seems to be singing, which is not my favourite thing, so I decided not to bother. It's also quite close to Limerick Jazz Festival! Please do report on what it's like though - I might go in a future year if it sounds good.
As I reported here at the time, I did Tim Cranmore's recorder course last year (and also hugely enjoyed it). I was very slack and took no photos and made very few notes. I wished I had done better afterwards, though someone else who did Tim's course put lots of info about it on line (here https://www.cantorac...er_making.shtml) so I have a sort of record of it. Anacrusis: if you can post some photos somewhere, I'd love to see them, as well as any other info you can share about the work. Some things are the same - when I did Jacqueline's maintenance course last year she had just done her version of the making course, and in fact she made me demonstrate the windway cutting machine to prove I'd been paying attention. (Tim sells the machines.) On the other hand, some things are different, eg we did the foot joint first, after doing a few practice ones as turning skills development. We also made a reamer which I thought was good, though we did not do some things you are doing I think. I'd be interested to hear how you make the block, and whether that differs from Tim's method.
I would like to carry on and try my hand at making some more recorders. Some things are quite difficult just from a practical point of view - it's hard to make a windway without some sort of cutter and they are no small investment, and it's surprisingly difficult to get hold of cedar for the blocks.
A question I can answer: Jacqueline uses the citrus oil because it smells nice! And she's right, it smells great compared to basic linseed oil. It's only 10% I think so probably wouldn't change the consistency much either way. There's a bit of an opposing camps thing wrt oil: Tim and Daniel (runs Cambridge Makers) favour Tung oil because it dries; Jacqueline favours (non-boiled) linseed because it doesn't dry. Sarah of team recorder favours non-drying but prefers almond oil. Choices, choices!
For things like medieval oboes, if you are ever in Oxford, go to the Bate Collection. It's free, the day I went I was the only person there, and it's like an Aladdin's cave of old instruments. I thought they would have a few samples of woodwind instruments, but there were literally hundreds of them. Recorders are not their biggest display item by a long way, but they do have a particularly good Bressan alto and some other instruments. Sadly, you are not allowed to play them! They sell plans though, and I duly purchased plans for the Bressan and Stanesby fourth flute. Haven't quite made them yet!