Hi all
In respect of Kennedy Norths comments, I reeded up Tom Cloughs Reid pipes
for Chris Ormstons recording sessions with Celtic music, way back when the
Clough family still owned them.
At that time the drone reeds were cane, some of them dyed black with ink.
The finger holes on this chanter were deeply scalloped, but this appeared to
be deliberate rather than wear. It makes the tone very sharp, and reduces
the contained volume of air. I also reinstated a flea hole at the base of
the chanter, and with two reeds provided, one for concert F and the other
for sharp F the instrument proved itself formidably sharp and crisp with a
very fast response.
In the case with that set was what was obviously Cloughs prototype chanter
for his 17 key design. The keys were all brazed up from brass rod and many
of the holes adapted or moved with boot eyelets and piano key ivory inserts.
A most interesting piece of piping history. I haven't heard of it since.
I do have 2 Clough chanter reeds, one is almost small enough to run a modern
G chanter, the other built on a Goose quill staple is large enough to be a
concert F reed and seems capable of playing. I intend to try it in a Clough
chanter in my care when there is time to repad and clean it.
Brass drone reeds had their day, but I always found the tone unbearably
harsh.
Cheers,
Dave
Dave Shaw, Northumbrian and Scottish Smallpipes, Irish Pipes and SHAW
Whistles
www.daveshaw.co.uk
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