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
And just to throw another q out therewhat is the effect, if any, of
minor warping of wooden chanter/drones?
Paul
Dublin
On Fri, Feb 11, 2011 at 10:32 AM, Dave Shaw [1]d...@daveshaw.co.uk
wrote:
I was under the impression that if cavities get carved inside a bore
Paul, if you mean acoustic effects . . . probably nothing audibly detectable
resulting from minor warping.
If the warping has resulted in a mismatch between the tenon and socket,
permitting a small leak, that's another matter.
It would probably be true to say that all wooden artefacts warp, as
10, 2011 2:38 PM
Subject: [NSP] Re: Tuning/pitch
On 10 Feb 2011, at 13:43, Julia Say wrote:
a small depression could surely catch a sound
wave at a funny angle and cause it to behave in a less than theoretically
perfect
manner
It's really much more like the effect caused by a tiny
indications are that it is excellent!
Bob
- Original Message - From: Francis Wood oatenp...@googlemail.com
To: julia@nspipes.co.uk
Cc: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Thursday, February 10, 2011 2:38 PM
Subject: [NSP] Re: Tuning/pitch
On 10 Feb 2011, at 13:43
As establishing frequencies was yet to come,
I think establishing frequencies goes back at least as far as Mersenne's time
but I've no idea how they did it.
I can't think of any other explanation for the figures accompanying his
illustration of the various sizes in the violin family, which
On 9 Feb 2011, Philip Gruar wrote:
I'll just say that with care, a flat-ended drill and delicacy
of touch, there should be no need for rods down the bore. You just stop the
drill before it goes too deep!
Well, quite. One can both hear and feel the drill reaching the bore.
Nevertheless
it
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments which all show an extraordinary degree of craftsmanship.
I've just had a look
Quoting Francis Wood oatenp...@googlemail.com:
In response to your question about unevenness at those drill points
and the effect on standing waves, I strongly doubt (and this is just
a guess) that it would have any effect on standing waves. Consider
that the volume of the cavity caused
2011 11:55
To: julia@nspipes.co.uk
Cc: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
Interesting speculation there, Julia.
One notable thought is the difference between modern and earlier-centuries
perception of this matter of the work marks in the bore. They are very common
in Reid instruments
On 10 Feb 2011, at 13:43, Julia Say wrote:
a small depression could surely catch a sound
wave at a funny angle and cause it to behave in a less than theoretically
perfect
manner
It's really much more like the effect caused by a tiny irregularity in a tooth.
It seems massively more
I have been enjoying the thread discussions since I joined the list serve back
in the fall. I have now been playing my F set since late November and have
learned about five tunes on the 17 key chanter. I get tired easy and have some
squeaks from the lower registers but otherwise I am making
...@googlemail.com]
Sent: Tuesday, February 08, 2011 5:12 PM
To: BIRCH Christopher (DGT)
Cc: anth...@robbpipes.com; nsp@cs.dartmouth.edu
Subject: Re: [NSP] Re: Tuning
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu
wrote:
Also, it's a song and all of the singers I
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
So in fact the variety of pitches for the NSP is extremely traditional! Two
hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others,
I must say, I disagree here.
It's often forgotten that the the NSP of two
One maker having lots of influence again, or rather previously!
C
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Francis Wood
Sent: Wednesday, February 09, 2011 10:31 AM
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP] Re
To: Paul Gretton
Cc: nsp@cs.dartmouth.edu group
Subject: [NSP] Re: Tuning/pitch
On 9 Feb 2011, at 07:20, Paul Gretton wrote:
So in fact the variety of pitches for the NSP is extremely traditional!
Two
hundred years ago it wouldn't have been thought in any way remarkable.
Hello Paul and others
On 9 Feb 2011, at 15:11, Paul Gretton wrote:
I would assume that the Reids worked to a chosen pitch standard in the same
way as did Silbermann or - more relevant here - the Hotteterre gang.
And at least the Hotteterre gang had the sense to pitch their instruments a
whole tone below modern
Hi Anthony,
Perhaps we should also take reed variations into consideration.
Cheers,
Richard
- Original Message -
From: Anthony Robb anth...@robbpipes.com
To: Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 11:02 AM
Subject: [NSP] Tuning/pitch
Francis wood
But have they been rereeded (almost certainly) and retuned (quite possibly)
since leaving the workshop? Rereeding can account for a semitone, and the
tuning could then have been readjusted for consistency once they were flattened.
John
-Original Message-
From:
On 9 Feb 2011, Anthony Robb wrote:
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play up near F# (for example Billy Pigg) and yet
Andrew Davison's Reid set are said to be happy at F+20.
We know that Billy was in the habit of making his
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Julia Say
Sent: 09 February 2011 16:42
To: Dartmouth NPS
Subject: [NSP] Re: Tuning/pitch
On 9 Feb 2011, Anthony Robb wrote:
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play
Gretton i...@gretton-willems.com
To: 'Colin' cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 7:20 AM
Subject: [NSP] Re: Tuning/pitch
In a large number of cities, the tuning standard was taken from the organ
(specifically the flue pipes) in the church
On 9 Feb 2011, at 16:02, Anthony Robb wrote:
Hello Francis, John and others with the stamina to keep reading this,
The puzzling thing is that we have had two reports in recent postings
of Reid sets happy to play up near F# (for example Billy Pigg) and yet
Andrew Davison's Reid set
On 9 Feb 2011, Francis Wood wrote:
What
Julia said was that when a reed was first put in the chanter it was
said to have played at F+20. I took that to be an interesting and
amusing anecdote without any specific conclusions to be drawn from it
[is that correct, Julia?]
When I was told
- Original Message -
From: Julia Say julia@nspipes.co.uk
This can also be seen on some modern sets (various makers), although I
have been
taught to put a rod down the bore before drilling to prevent it happening!
(And had
the bore inspected closely to check I'd done so!)
Sets
a copy of that book and read it.
Colin Hill
- Original Message -
From: Philip Gruar phi...@gruar.clara.net
To: julia@nspipes.co.uk; Dartmouth NPS nsp@cs.dartmouth.edu
Sent: Wednesday, February 09, 2011 11:29 PM
Subject: [NSP] Re: Tuning/pitch
- Original Message -
From
Also, it's a song and all of the singers I have backed prefer that key.
Yes, it would be horribly high in A min unless you were a natural light tenor.
And finally, as an instrumental it makes a loamishly
lovely springboard to dive into P B's P.
I don't know PBP but BAM sounds wonderful
I set my Korg DA 30 to 446 using the calibration button
and take it
Sorry to be a nuisance (again!), but what note on the chanter do you tune for
zero deviation of the needle? The (nominal) G or the (nominal) B? (or other?)
Thanks
CB
To get on or off this list see list information at
On Tue, Feb 8, 2011 at 10:06 AM, [1]christopher.bi...@ec.europa.eu
wrote:
Also, it's a song and all of the singers I have backed prefer
that key.
Yes, it would be horribly high in A min unless you were a natural
light tenor.
Fair enough. George Welch sings it in B
Good points.
I suppose as the pipes are essentially a solo instrument, it wouldn't matter
what note they sounded provided the things were in tune with themselves.
That's essentially true for many rural instruments (I remember making penny
whistles from elder wood as a child and goodness knows
Which were tuned with reference to..
Colin Hill
- Original Message -
From: gibbonssoi...@aol.com
To: cwh...@santa-fe.freeserve.co.uk; nsp@cs.dartmouth.edu
Sent: Tuesday, February 08, 2011 9:27 PM
Subject: [NSP] Re: Tuning/pitch
Before the tuning fork was invented
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Colin
Sent: 09 February 2011 01:37
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: Tuning/pitch
Which were tuned with reference to..
Colin Hill
- Original Message -
From: gibbonssoi...@aol.com
To: cwh...@santa
--- On Mon, 7/2/11, Matt Seattle theborderpi...@googlemail.com
wrote:
From: Matt Seattle theborderpi...@googlemail.com
Subject: [NSP] Re: Tuning
To: Dartmouth NPS nsp@cs.dartmouth.edu
Date: Monday, 7 February, 2011, 16:41
On Mon, Feb 7, 2011 at 1:40 PM, Anthony
...@aol.com [mailto:rosspi...@aol.com]
Sent: 08 March 2009 12:42
To: nsp@cs.dartmouth.edu
Subject: [NSP] Re: tuning tapered bore chanters
Dear Alec,
The secret is to stick to one reamer that is inserted to exactly the
same position for each chanter you make and you may get consistent
results
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