Hi, just making my mind and considering the different options there. I know that option 1 is used by Padraig McGovern, but 2 and 3 offer more chords (and easier to achieve, but also are more expensive haha). I´ve been told by the man himself that a fourth reg beside the bass regulator makes difficult playing the tenor keys (that reason made him choose the E key in the baritone), so that is why I consider the third option...

What do you think? Thank you!

Another option I have seen on an old Egan set is to make a longer Tenor regulator and add an E key below the F# . It gets in the way of nothing but is it useful in this position ?

I have twice made inboard regulators including an E key:

One has a long E key that can be corded with C,B,A, and G of the normal Tenor regulator.... it is detachable when not needed.

The other was an octave below the Baritone regulator and had the notes ( starting from the stock end) E,G,F# and D.

Thanks, Geoff, it would be really nice to see those sets! I´m think that if you extend the tenor you can´t play chords with the other tenor keys, then! Dicky Deegan had the extended bass reg, instead:
https://www.youtube.com/watch?v=p07PCVD8UoA

I know there are more options and experiments through pipemaking history: http://3.248.59.149/Data/IRIS/02204_2003autumn.pdf

Tom Kannmacher has tried several of them (he wrote a very interesting article in Piper´s Review:
http://3.248.59.149/Data/IRIS/02301_2004winter.pdf
Also here: https://www.kannmachmusik.de/english/th ... ann-pipes/


But I think that the three above are the most easier and reliable when it comes to make and play, especially the option n. 3: https://www.youtube.com/watch?v=3cHDLzdy58I

This is a fascinating topic and I´d really like to hear different opinions!

I chose "other" because what I did was to have an E reg made, that I swapped for the Tenor reg.

I was mostly using the Bass and Bari regs anyway, strange I know, mostly for airs, and mostly fingered rather than with the heel of the hand.

But I wanted that E note!

What that setup gave me was a scale in G of an octave and a note: G A B C D E F# G A.

I liked playing melody on the regs, which this allowed.

And it entailed no modification to the pipes. When I sold the set the buyer put the Tenor reg back in.

_________________
Richard Cook
1978 Quinn uilleann pipes
1945 Starck Highland pipes
Goldie Low D whistle

Well Juan Pablo,

The E on the Tenor of the Egan set would complete the run of notes at suggested by Pancelticpiper, for finger playing.

Dicky's extended bass only has a low D key but I have made a couple of these with three keys F#, E and D.... but again they are only practical as fingered notes.

Another option is to extend the Bass regulator keys upwards. I added a D key above the C of the bass regulator and It would not be impossible to add an E above that. I'm sure I have seen at least one very elaborate old set with keys going up the cover tube of the bass.

I think I have a photo of one set with a key up the brass bass cover, I just don't know which one it is.

Meanwhile I do have a copy of a pic in a book, the Ferguson-Egan set. Not sure which key does what but the alignment with the C of one of the keys may or may not suggest an E.

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My brain hurts

I'm quite fond of my contrabass reg, which is F# E D.

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My Twitter @RhonddaPiper
YouTube https://www.youtube.com/channel/UC-Amjl ... G97oX_jLAA
Club Twitter @SouthWalesPipes

Another option is to extend the bass reg reed seat that will bring the low G down to E. Of course, it changes the pitches of the other notes on that reg. This only works with a wrap-around reg bar.

_________________
Tommykleen
Well, don't forget to make music.

Thanks for the link to the Kannmacher article; it is very, very interesting.

I don't know if any or you are aware of it but Andreas Rogge and his team recently managed to integrate an E regulator into the main stock - it sits right between the baritone and bass reg. It has a long key in wave-like shape so that the "E" key is not hit by accident if the player wants to play other chords.

Andreas has two pictures of the set on his fb page, I don't know if it is ok if I grab them and share them here.

I understand you want to add an E reg or similar to your flat set?

Yes, I know of that "wave" regulator, but seems a bit pricier than options 1/2/3 haha.

Not for the flat set, but a new D one (just making my mind, for now, considering some sort of narrower bore).

Another option, which DMQ realized for me both in my flat set, and on a new baritone reg for my D set, is to have the D key have two positions: played with normal (de-)pression you get a D; push it a little harder and it opens an E key on the underside of the reg.
See if this link works: https://www.facebook.com/photo.php?fbid ... 404&type=3
You can see the linking rod under the D key.
I asked for this in order to be able to play the E-G chord against the C natural on the chanter, and that's pretty much all I want it for. One needs to be a little more careful when playing, but it is worth it.

Link doesn't work for me - sounds interesting though.

I think I remember reading somewhere that there is a potential acoustic challenge with tuning a one-hole E on the baritone reg, as it seems to be a generally fiddly note (e.g. chanters seem to like having E play with two holes vented). Any comment on that from those who've made them or used them?

Can´t see the image

Yes, I knew that option, but a separate E key gives you the EA chord, too...