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
Francis wood wrote today:
There's no reason to suppose that Robert and James Reid were careless
about the consistency of pitch of their products. No doubt, they would
be extremely surprised to know of the latitude in pitch (and indeed
tuning) of many of today's pipes.
Hello
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
As for the Reids' hole spacings, Dr. Wells is probably better placed than
anyone to answer, having looked at most of the survivors. He might also know
which ones look to have the original hole spacings and which show signs of
subsequent work?
John
-Original Message-
From:
The original question I posed was more a rhetorical one. The point being
that, until the invention of the tuning fork, there was no set or
standard pitch as such. Only the sound of other instruments - hence the
plethora of tuning methods to ensure everyone played the same (or as near as
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
(for anyone puzzled by this discussion, one cent is 1/00 th of a semitone. So
20 cents is 1/10th of a whole tone, or 1/10th of the difference between C and
D.That's not a subtle difference, of course!)
On 7 Feb 2011, at 17:26, Julia Say wrote:
Shortly after Andrew Davison took over the 17 key
Absolutely Francis, music is a sociable activity, I also think the idea
is take your pipes out of the box and be able to muck in with any other
type of instrument. I may be considered different but I like the idea of
just saying - yep it's a Bb transposing, so treat it like a clarinet. I
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
Hello Folks
* Yes, reeds make a huge difference. In general I use different reed
patterns to converge pitch, that's why I have 4 different patterns
just for 'F' chanters.
* When I referred to a modern trend towards concert F (A=440) I did
not for a millisecond
That's very interesting. I still have to ask though (and it IS a genuine
question) - how did they tune to those standard pitches?
Did a clarinet maker in the area say I'll make my clarinet to be in tune to
Fred's serpent, he make's good ones?
Most standards are set in various ways (like a size
Given that the vagaries of NSP tuning take some explaining, and are
briefly mentioned in the NSP article on Wikipedia, I turned the term
F+ into a wikilink and started a new article for it here:
http://en.wikipedia.org/wiki/F%2B_%28pitch%29
If anyone has any _footnoted_ material
Equal temperament of course has its place as does chromaticism, but I think
except for keyboard-players, who can't (unless they have split-key harpsichords
or such like), even when playing highly chromatic music the best musicians
constantly tweak their tuning to produce the most harmonious
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
I think of the simpler Bewick and the more ornate NM version together as the
germ of a short variation set. But they would need some tweaking to fit - the
NM version is certainly not hexatonic.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu]
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,
In a large number of cities, the tuning standard was taken from the organ
(specifically the flue pipes) in the church, the cathedral, or the local
ruler's chapel. That pitch in turn tended to be determined by the particular
organ-builder - say Silbermann - who transported his preferred pitch from
I don't know exactly how flat A = 398 is but it can't be very far off F+,
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of the notes are
sharp, a good starting point would be to pull the reed out a fraction?
C
-Original
I don't know exactly how flat A = 398 is but it can't be very
far off F+,
Sorry, badly worded. I mean it can't be very far off an A that would give you
F+.
c
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of
the notes are sharp,
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one in mind as I was primarily
speculating on the process (that's why I wrote a maker rather than one
maker, but didn't CR fairly recently mention someone down the road making
lots and lots of
Christopher Birch wrote recently:
I don't know exactly how flat A = 398 is but it can't be very far off
F+, given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of the notes
are sharp, a good starting point would be to pull
A compromise might be a pair of e's, one a true 6th above G, for playing in G;
another - a perfect fourth above the B, and keyed, for playing in E minor.
The low E might be harder to arrange practically, but may not be as critical
acoustically??
As the most prolific and also one of the best
blend their pipes
failry pleasantly at A=446.
Do you mean tuning your nominal G to the F you get on an equal temperament
tuner if you set it to A = 446?
Or do you mean tuning the nominal B to 446?
These two possibilities would yield different results. (a higher nominal G in
the second
A compromise might be a pair of e's, one a true 6th above G,
for playing in G;
another - a perfect fourth above the B, and keyed, for playing
in E minor.
Yes, this is what I meant by 8 (different) notes to the octave rather than just
seven.
The lower, keyed, high E would also sound better
And I've been telling people it is because all notes have got
gradually
sharper over the last 150 years, and that the Reid 'ur-pipes'
were made
when G was somewhere between where F and G are now. Have I been wrong
all this time?
This is probably an associated factor. My speculation about
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Dru Brooke-Taylor
Sent: 07 February 2011 11:39
To:
It always fascinates me how the tuning of things changes (I have a
concertina in high pitch).
For those (like me) not well versed in the mechanics and theory of things,
this makes good reading:
http://www.piano-tuners.org/history/pitch.html
(and also which locations not to attempt to play the
Chris, John, Dru others
In no particular order:
* I set my Korg DA 30 to 446 using the calibration button and take it
from there
* I've got a chanter in for overhaul at the moment and have just seen
the top B rise in pitch bt 20 cents by moving a plunger in from
On 7 Feb 2011, at 13:03, Gibbons, John wrote:
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
Yes, that's right. Or to be more precise, Reid pipes play most happily at F#
using (and insert italics here) the most
'It does have the unintended consequence of keeping off the fixed pitch
instruments,
which may or may not be an advantage, according respectively to taste or the
lack of it.'
Discuss...
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Hi Paul. I read that book, along with another one which argued that
equal temperament made Modern (post-modern?) Civilization the
greatest the world has ever known, or something like that. Sorry, I
don't remember the name of the book or its author. I didn't agree
with his premise or his thesis,
Hello Matt
Yep, it's a 7 key chanter so no F nats.
Also, it's a song and all of the singers I have backed (OK, there have
only been 3 in 40 years!) prefer that key.
And finally, as an instrumental it makes a loamishly
lovely springboard to dive into P B's P.
Cheers
Anthony
From Chris Gregg:
So that is why my pipes always sound out of tune, and I thought it
was
just poor musicianship on my part!
The whole tuning thing is a bit of a quagmire, and as a solo
instrument
it is not a problem, but I would like to know how people get
Hi Chris,
I am sure that you will be finding Anthony Robb's suggestions most helpful.
He is a most practical person as well as being a very good player. No doubt
you have his two CDs, Windy Gyle and Force 6
I don't know what other instruments you play. At some point I think you said
Thanks all for these responses.
I'm trying in vain to remember the name in a BBC Radio3 programme some
while ago about the Italian composer, just before Gesualdo, who devised
the most amazing system to mean that all intervals were perfectly in
tune, but the instruments, and singers,
I put this down to my pipes being tuned with G as their
home key, as it
were,
This is probably it, as you probably (I hope) have your pipes tuned in
more like just intonation than equal temperament. So your nominal B,
for example, will be very flat as the second degree of
The tuning given here is basically just intonation rather than meantone:
http://www.machineconcepts.co.uk/smallpipes/tuning.htm
In other words, acoustically pure intervals. No tempering at all.
but on a piano a fifth is a fifth is a fifth (nearly).
Nearly = two cents narrow cf. Mike Nelson's
Btw, Rob Say's nsp simulator is in equal temperament. I've discussed this with
him and he agrees that it's less than ideal but it's neverthless a good
starting point for beginners - which was what is was intended to be.
When it tells you that, for example, the G and D drones are in tune, the d
So that is why my pipes always sound out of tune, and I thought it was
just poor musicianship on my part! I have just checked out the
deviation on my pipes with a tuner on my Iphone. Very interesting
results.I offset the tuner to A398, so that the needle would hold
still on
I am sure I'm not the only person here who gets different feelings
about different keys. G always feels fairly stable, A is a bit more
exciting, Em is darker than Am , and so on.
When playing an A minor tune I wrote for nsp's on the piano to see what
harmonies it wanted, I was
This makes a lot more sense on a mean-tone tempered instrument like NSP,
than on a notionally equal-tempered one like a piano.
Different keys do have perceptibly different intervals between the various
degrees on NSP,
so G-d is pretty true and E-B is on the flat side;
but on a piano a fifth is
Ouch!!!
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Ian Lawther
Sent: Tuesday, February 01, 2011 5:09 AM
To: nsp@cs.dartmouth.edu
Subject: [NSP] Bewicks German Spa
I've just noticed a tune called German Spa in Bewick and wondered
Hi Ian,
Check out Shotley Sword-makers - it may have be a link to the spa
and the German sword makers who emigrated in the time of King William
Tschüss
Dave s
On 2/1/2011 5:09 AM, Ian Lawther wrote:
I've just noticed a tune called German Spa in Bewick and wondered if
it is, by
Re: German Spa
It's a fairly standard 19th C dance tune, no local connection AFAIK, I
included it in the edited selection because Bewick has a plain chanter
adaptation (other versions need c#)
On Tue, Feb 1, 2011 at 12:58 PM, Dave S [1]david...@pt.lu wrote:
Hi Ian,
Check
Quite a bit of info at
http://www.ibiblio.org/fiddlers/GEO_GH.htm
Cheers,
Paul Gretton
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At the Potomac piper's gathering a few weeks back, I noticed that few
folks had instrument set up to jam with the NSP players in their F+
sets, except for one pennywhistle player. Is there any standard way to
play in F+ on a tinwhistle? Is it best to get an F whistle (low or
Matthew -
Check the following on Chiff Fipple whistle forum
[1]http://forums.chiffandfipple.com/viewtopic.php?f=1t=70731hilit=no
rthumbrian
It's from Jerry Freeman, whistle tweaker and maker, talking about how
he set up some whistles to fit with Chris Ormston and Andy May's
Hi Matthew,
Don't be fooled by the nomenclature when talking about Northumbrian small
pipes. A set of pipes playing in F+ is actually playing about 75 cents
below concert pitch i.e. if you finger a G on the pipes it will show F+ on
a meter. If you have a tuneable D whistle and can pull the
On Thu, Nov 4, 2010 at 6:28 PM, Anthony Robb [1]anth...@robbpipes.com
wrote:
. would it be even more wonderful if some clever person (I think
all three of you have the skills) to put it all done as a living piece
of music somewhere for all to hear?
Anthony
Thanks to
I was the fellow for whom Jerry Freeman adjusted that C whistle. I had
tried to do it myself by flattening a D whistle, but it was terribly out
of tune in the upper notes. I did not own a C whistle, so took
advantage of Jerry's expertise while at Killington to get a C and
sharpen it. No
This makes a lot of sense because you don't have to move a C whistle as much
to get it in tune with F+ pipes.
- Original Message -
From: Chips Lanier chips-lan...@vmi70.org
To: nsp@cs.dartmouth.edu
Cc: Richard Shuttleworth rshuttlewo...@sympatico.ca; Matthew Boris
Hello All,
There's a super tune called Thomas Saunders, and for a project with
Alnwick Pipers I need to know who wrote it - I'm assuming that it was
not Mr. Trad. I've found nothing by digging around on the web, and
I've also asked a number of individuals I thought might know. It
remains a
Hello All
I'd like to thank all the people who replied to my question. I've
gleaned some of the recent history of the tune, and rediscovered a
couple of websites I've not visited for a while.
Especial thanks to Ian Lawther, though, whose very specific reply has
solved my problem - I'm really
Oh do share!
:)
- Original Message -
From: richard.hea...@tiscali.co.uk
To: NSP Dartmouth nsp@cs.dartmouth.edu; NPS Forum
discuss...@northumbrianpipers.org.uk
Sent: Thursday, January 20, 2011 6:46 AM
Subject: [NSP] Thomas Sander !
Hello All
I'd like to thank all the people who
Thanks to Ian I knew what to look for, and found this YouTube recording
of the Tunes of Glory pipe band playing a medley that starts with
Thomas Sander:
http://www.youtube.com/watch?v=oxwiA7wTKHc
I'm afraid I can't write
abc, so I can't post a transcription of it. It's a 4/4 march in D.
On 19 Jan 2011, richard.hea...@tiscali.co.uk wrote:
I'm afraid I can't write
abc, so I can't post a transcription of it. It's a 4/4 march in D.
Here's what was submitted for the NPS folio (as abc), which I think originates
with
Margaret W's transcription:
X:7867
T:Thomas Saunders
C:?
M:C
Karl's book (
http://scottshighland.com/catalog/product_info.php?products_id=348 ) is
published by Scott's Highland Supply and they should be able to give you
some information on him. He was still alive in 2007 but probably in his
late 60s.
Ian
Julia Say wrote:
On 19 Jan 2011,
Free cane sample from medir [1]www.medir.cat
Peter.
--
References
1. http://www.medir.cat/
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I actually rather like the 2nd viennese school version, especially with the
15/16 bars at the end of strains!
c
-Original Message-
From: lute-...@cs.dartmouth.edu
[mailto:lute-...@cs.dartmouth.edu] On Behalf Of Gibbons, John
Sent: Monday, January 17, 2011 4:12 PM
To: 'NSP group'
Richard,
Your discovery is a good one, but the rhythm of the title ''The Rotting of the
Cotton Threads'' is so clearly a Strathspey, as Francis noted, that I looked
elsewhere in the archive. On a moth eaten, yellowing, and (Speyside)
whisky-stained sheet of paper I found:
X:2
T: The Rotting of
I suspect both these tunes are based on the old north Northumbrian air 'The
Throttlin' of the Reeds/Reids'
Best wishes
Margaret
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Gibbons, John
Sent: 17 January 2011 12:46
To: NSP group
On 17 Jan 2011, at 13:00, Margaret Watchorn wrote:
I suspect both these tunes are based on the old north Northumbrian air 'The
Throttlin' of the Reeds/Reids'
Margaret, I think you're probably right.
The problem with Rotting of The Cotton Threads is the question: why would
anyone want to do
Having listened - a spectacular discovery, John!
It must have taken quite a while to, er, find it.
Best wishes,
Richard.
On 17/01/2011 13:05, Gibbons, John wrote:
Corrected the upbeats:
X:2
T: The Rotting of the Cotton Threads
C:Trad?
M:4/4
Q:1/4=60
L:1/8
K:A dor
g||:f| eA Ac bD EB| ef ge
With the typographical huge leaps removed - these age-yellowed whisky-stained
MS abc files are a b---r to read.
X:2
T: The Rotting of the Cotton Threads
C:Trad?
M:4/4
Q:1/4=60
L:1/8
K:A dor
g||:f| eA Ac BD EB| ef ge Be B/Ge/|eA Ac BD EB| cd e/d/c/d/ eA
A :|
c|ef ea ac de| fg af dA fd| ef ea
What a lovely thought, Philip.
Thanks too for the warnings about possible pitfalls with the flake
shellac method. By and large it works really well but there be problems
if the soldering iron hasn't reached max temp.
Anthony
--- On Sat, 15/1/11, Philip Gruar
Arduous research in dusty attics and archives has revealed, Francis,
that I regret it's not a strathspey, more a sort of rhythmic unravelling.
I couldn't find anything called The Rotting of the Cotton Threads as
such, but this obviously fairly corrupt version called The Rotting of
the Threads,
An arduous piece of research Richard, for which we are all indebted!
Clearly this represents a tradition in its debased and probably final stage.
The bonds holding the whole thing together are finally disintegrating.
It seems quite probable that the decline and fall of the Roman Empire may
There may in fact be a market for pipers' discarded threads in India.
Weve all seen the thick bands of rotting pink threads that North Indian men
wear around their wrists and the fat, lipsticked men with pencil moustaches
so beloved of the South Indian screen.
How about
The Gold Plated pipes
or
Snotomer's Maggot.
Does anyone feel inspired to write them?
Dru
On 15 Jan 2011, at 00:07, Francis Wood wrote:
A Strathspey, surely?
Francis
On 14 Jan 2011, at 23:57, gibbonssoi...@aol.com wrote:
Is 'The rotting of the cotton threads' the title of a
After having fixed a leaky tuning bead fitting I have to replace the brass
ferrule and end stopper. Am I correct that shellac is the best solution? I know
that there are plenty of other adhesives but would Shellac in alcohol be the
stuff I am looking for? It us advertised as sanding sealer and
I certainly still use shellac - and I'm pretty sure other pipemakers do. It
has the advantage of being easily removable. Heating the ferrule quite
gently will melt the shellac and allow the ferrule to be taken off if any
future repair is needed. Old shellac can be cleaned off with methylated
Paul, this largely depends on what the pipe-maker has used in the first place.
Shellac would be an appropriate material for antique pipes, fulfilling two
functions, both as an adhesive and a gap-filler. In this case the material
would be solid shellac rather than in solution which will
Hello Francis and Paul
David B uses shellac on his silver mounted sets.
As Paul's set is made from lignum it won't be a Burleigh set. So
shellac seems to make sense in this case.
When it comes to pad fixing Mike Nelson's method of using a small piece
of flake shellac between pad
Hello Anthony and all,
I always used to use Mike Nelson's method of sticking on key pads, and agree
with your comments of it mostly working well and forming the pad to the
shape of the seating. However I have now gone back to the method I
originally learned form Colin - the drop of sticky shellac
On 15 Jan 2011, at 14:44, Paul Scott wrote:
It is a set made in the 70's by my godfather who followed Colin ross's
designs and advice. I used a hot hair dryer and pliers to pull off the
ferrule and I think there is shellac underneath. So if I applied the solution
and then allowed it to
UHU is a pain if you need to get in there, though.
Shellac is at least easy to soften.
John
--
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What a helpful discussion!
Being rather nervous of soldering irons if I don't absolutely have to
use them, I made up a small amount of thick and very sticky
shellac-in-alcohol for these purposes by gradually adding more and more
dry flake shellac to some good commercial sanding sealer that I
Hi all
Just to add my two 'penneth. I use French Polish from Screwfix (bigger
bottles than BQ). I use it straight from the bottle (well mixed) for ferrules
and I have some which has slightly evaporated and therefore thicker in a small
jar for key-pads.
Incidently, you can also get 'Blonde'
Will whoever's taking any NPS etc shop items to the March Halsway
pipers' weekend be including the new Matt Seattle Bewick book, and the
excellently well reviewed Rob Say CD, please?
Looking forward already to a good weekend.
Best wishes,
Richard.
--
To get on or off this
Thanks John. It's a gem!
Sunny up here on the plateau.
Francis
I agree that this is a wonderful article and would like to add a couple
of tips which are worth a try:
1. The gentlest way to close a reed (best with cane but can work for
composite with care) is to roll it
Seconded - and probably thirded too, before long!
John
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] On Behalf Of
Richard York [rich...@lizards.force9.co.uk]
Sent: 14 January 2011 09:22
To: NSP group
Subject: [NSP] CD's books at Halsway
On 14 Jan 2011, Gibbons, John wrote:
Seconded - and probably thirded too, before long!
The Bewick book will be (assuming I can find transport for the NPS bookcase).
I shan't be there myself, this year.
Julia
To get on or off this list see list information at
Good stuff Anthony! Those would be the Rolling and Sliding approaches to
the Plateau.
On 1/14/2011 3:42 AM, Anthony Robb wrote:
Thanks John. It's a gem!
Sunny up here on the plateau.
Francis
I agree that this is a wonderful article and would like to add a couple
of tips
On 13 Jan 2011, Victor Eskenazi wrote:
for the verdigris. . . in this country we have a clear liquid ...
rubbing or isopropyl alcohol. turns out it works to get rid of the
green
IPA will degrease everything in sight, but is a bit drastic. Sold in the UK as
a
computer cleaning
I think it's called denatured alcohol.
Martin
On Fri, 2011-01-14 at 11:31 +, Julia Say wrote:
On 13 Jan 2011, Victor Eskenazi wrote:
for the verdigris. . . in this country we have a clear liquid ...
rubbing or isopropyl alcohol. turns out it works to get rid of the
The walking site I use tells me it denatured alcohol you put what we would
call a meths stove
Mike
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Julia Say
Sent: 14 January 2011 11:32
To: Victor Eskenazi
Cc: Northumbrian Small Pipes
Hello Mike
Ian Corrigan recommends lemon oil as a pleasant, not too viscious
cleaning liquid.
It also, he reckons, gives wood a near invisible but protective coat. I
haven't tried it but think it might be worth a try. The border pipes he
made for Paul Martin are a visual and
not too viscious .. neither too viscous or too viscous
AARRHHGGG!
--
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Den 14-01-2011 13:42, Anthony Robb skrev:
Hello Mike
Ian Corrigan recommends lemon oil as a pleasant, not too viscious
cleaning liquid.
It also, he reckons, gives wood a near invisible but protective coat. I
haven't tried it but think it might be worth a try. The border pipes he
On 14 Jan 2011, Bo Albrechtsen wrote:
/Julia is perfectly right/ in exclaiming her gh !
Thank you, I have been well trained!
Vegetable oil such as the cold press, extra virgin etc in time any such
oil will change
from being an oil and into first a gummy substance
...which
Hello Julia Bo
Thanks for the warning. To be fair to Ian he's the sort of guy that
doesn't laquer his pipes or use plastic mounts. He was recommending
this purely for keeping natural wood and nickel silver clean
and looking good.
On the olive oil question those who used/use it
Den 14-01-2011 15:27, Julia Say skrev:
snip...
Paraffin oil/liquid paraffin etc
etc is a mineral-oil product which is cheap, not drying and does not
smell at all. It does tend to evaporate however very slowly over time
I have observed a tendency for it to start causing rotting of the
On 14 Jan 2011, at 11:31, Julia Say replied:
( a while ago i remember there was some discussion of oils. . .)
And then another one, and then another one. Its one of the
recurrent topics.
It's one of those things that has no definitive answer. Almost every option has
a
Quantz swore by almond oil, and if Fritz's flute had suffered by it it would
perhaps show in the historical record
One problem is the speed of sound in nitrogen is not the same as in air.
A way of coaxing the extra few cents out of a flat chanter would be to hook a
nitrogen cylinder up to
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