I was under the impression that if cavities get carved inside a bore (not
just pin-pricks of drill points) with the cavity around the sound hole
area, it will reduce the pitch of that particular note to a slight extent
in the bottom octave (and more so in the second octave, which is out of
scope for NSP), so it may save a chanter fill and re-drill operation by
"spooning" in the bore around the hole (let's say a bottom E that is too
high).
In an Irish chanter bore if you enlarge the bore round a tone hole, the
first octave sharpens and the second octave flattens.
Getting the right balance in the octaves is one of the great pleasures of
making Irish chanters.
I find the right balance when the second octave is a few cycles sharp of the
first, so it will be in tune with the drones at the slighly higher pressure.
Reids Irish chanters mostly seem made to a pitch about 7mm short of modern
concert D at 582mm (approx),(15-20 cents sharp)
but I have measured several made at an apparent pitch length 7mm longer than
modern concert. So that would be 15-20cents flat of modern pitch. I don't
think I' measured two the same. Hole positions, body lengths and bores are
all different.
John Dunns Irish chanters seem to show much more assured work. I think Reid
must have had considerable hands on reed fudging skills and may have been
able to reed his pipes, of both kinds, over an adequate range for his
customers requirements. Just remember that concertinas were available from
Wheatstones, right up to the 1950s, in five different pitches.
Cheers
Dave
Dave Shaw, Northumbrian and Scottish Smallpipes, Irish Pipes and SHAW
Whistles
www.daveshaw.co.uk
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