Wooden Chanter Reeds (Soundfiles) Froment & Hunter

[Brazenkane]

I have been reed-maker for the better part of 10 years. Over the last year, I have been particularly focused on honing my skills as a reed-maker in order to answer arcane callings from within. It is a beckoning that at times, I feel that I should have considered ignoring! However, I have chosen to do the opposite. I have always been intrigued by the idea of wooden regulator reeds. It wasn’t until I played a set pitched in C, that I was able to get a feel for how wooden (spruce in particular) regulator reeds played.

For those who don't know, I can simply reiterate what is already common knowledge. That is; wooden regulator reeds have the potential to operate in a variety of climates, particularly dry climates, with no adverse effects. They tend to be incredibly stable under pressure, as well.

Having said that, the reader should know that they are not infallible. As recently as last week, I built a spruce regulator reed that was not stable under pressure (an issue which I had not come across until now). Therefore, those of you who are easily influenced, and/or are looking for the “magic bullet,” I’m afraid you’re going to have to keep dreaming.

These are early days yet, and I would be doing a disservice to the piping community, and to the individuals who have generously passed their knowledge down to me regarding wooden and cane reeds. Therefore, I will not provide instruction, make any recommendations on wood types/suppliers, techniques, tools, nor direct those interested to any source thereof. So please, no PMs. . Though, it is my aim to share with you some of the sounds that I have been able to achieve by using materials such as Cedar and Curly Maple.

Caveat: To give you an idea of what dealing w/these materials are like..... Making a reed from Cedar is like making a reed out of a toxic-dust producing, brittle pencil. Curly maple was an experiment that offered very hard and stubborn/tight-grained material. Both of which sound great and are very resistant to climate changes.

I have constructed both chanter reeds and regulator reeds from both of these materials with much success. The construction itself is very difficult and time-consuming, not to mention the intricacies of tuning, fine-tuning/ scraping. In addition, the instruments I have been lucky enough to be working with are indeed, top shelf instruments. In this case: a Froment concert chanter and a Hunter B chanter. This makes the job much easier… or should I say, this makes the job possible!

To my mind, a great instrument allows a good reed to speak properly. The chanter then amplifies the reed, shapes the tone and timbre of the reed itself, and finally directs it to the proper pitch and coarse tuning (when rushes or tape are needed/ i.e. many if not most cases something is needed for focus the tuning in).

The last experiment I conducted was w/the Hunter. I played inside an air-conditioned room, then walked outside while it was raining and hot (and played for half an hour under cover, water was indeed splashing on my legs), and came back inside… played more in dry air conditioned air… with no change in the reed.

Chanters:
I should mention that until this point, I have not played a Froment chanter. I have heard much lore about these instruments and they produce exactly the even sound the stories tout. The keys, which are sterling, are true expressions of fine engineering and sprung with what feels like truck leaf springs!!! They nearly ejected me off the instrument during the jig, which is a difficult tune sans Bb and G#s, if my memory serves correctly (?).

The Hunter B? Well, it's simply sublime, a truly vintage sounding instrument, asking of the player all the fingerings that a small holed historical chanter requires. The drones on the B set are elder reeds that I made from elder branches Peter and Sam so kindly gave me. heard much lore

..Back to the Reeds...

It is a confirmed fact that wooden chanter reeds and regulator reeds do indeed work fine (problem free) in single-digit low humidity conditions. This can be very promising for those who have to go through wintertime using central heating, or those who are touring across the world. Too, there is a steadiness to be had w/these reeds. Mind you, these are not meant to be replacements for cane. The tone itself is different from cane, as per the obvious material differences, but they nonetheless play very well in adverse climates and have a brilliant tone unto themselves.

Finally, It is my hope that you find some enjoyment in hearing this music and that perhaps these clips might circulate amongst more than my immediate associates. To me, there is little sense in remaining insular. Reed making and insularity can go hand in hand, and there are times when one wants to share discoveries, be so have ever preliminary they might be.

Therefore, I dedicate my success with the concept of wooden reeds to my "brothers in arms" (or wood and cane dust for that matter) who have selflessly shared w/me everything they know on the topic.


Jig: Brionglóid Ghaoth Dobhair

http://www.box.net/shared/n0m3ys3e9a

Reel: The Flags of Dublin

http://www.box.net/shared/eqat8hhvba

[Kevin L. Rietmann]

Nice stuff, K. The B in particular sounds "wooden," or maybe that's that placebo effect I've heard about?

Sounds like there's a hard E on that stick, too.

Curly maple, I was once told, is "about the nastiest crap imaginable for turning." That from a guy who used to turn for a living. Wouldn't imagine it would be much more fun to carve, but the resistance might be a benefit when making a reed.

Tried to carve some reeds once. One of 'em squeaked pitifully when shaved down to nothing.

Haven't made a reed in a couple of years, and am thinking of automating the process when I try again - motorized sanding cylinders, shaping with belt sanders. Years ago my first tutor said he'd tooled up and it was a lot milder pain in the ass, as you'd imagine. No matter how I try it's always about a half hour later minimum to first squeak.

[Brazenkane]

Placebo for sure, Kev!

The micing: The Hunter was close mic'd...perhaps too close and the Froment had the mic a little higher than head level facing downwards + it was some feet away. Weird, I know! See, I have been engineering sessions for fiddler James Kelly, who is recording 101 of his original compositions. It's a remarkable project to be involved with. The tunes are not "instrument specific," and when that book/CDs are launched, it's going to be a unique offering and an incredible selection of a variety of tunes. Anyhow....I didn't want to reposition that mic stand since it took us some time to settle on placement.

Hard E? What Hunter doesn't have it! Peter's design incorporates the ease of a hard E. Not every reed will do it, but when the hard E on his instruments (and some others) come into focus, it usually means the reed is heading in the right direction in terms of scrape/ease of playability, etc.

[o'corragain]

Hello
Brazenkaine said:

..........asking of the player all the fingerings that a small holed historical chanter requires.

Would you be so kind as to elaborate on this statement, maybe with a few examples either, in general, or specific to the Hunter B you are refering to.

Thanks, David

[Brazenkane]

First off, I have a very limited experience with historical instruments. I also consider myself to have a very limited experience with reeds! Therefore, I'm basing my conclusions on the few instruments I've played, my lengthy discussions with Peter Hunter, and others ( in the know) who have had the opportunity to spend a lot of time with very well made, and most importantly well playing "historical instruments."

Fingerings will/may/or won't differ from reed to reed! How is that for ambiguity? Tim Britton recently said to me, "with reeds, it's open season." I believe that anybody who has been making reeds would at least partially agree with that statement. I feel for pipe makers, when having to ship a full set (or simply just a replacement reed) to a customer who expects reeds to travel well 1000 or 2000 miles (or further) to a very different climate. I know that David Daye has done some extensive work in this area/ trying to assure stability of reeds.

I digress,

It has been my experience that every reed functions best, and sounds best (again, providing that it is played through a good instrument) when a player has the hands/ experience and ears to adjust his fingerings to the reed. That statement might be understood as, "a place that you arrive at." That all you have to do is learn the alternate fingerings and you are done! However, I think it is more of an ever evolving process, because the ears are involved. As the music and the language of the techniques becomes more fluent, the musician starts to use many combinations of fingering possibilities that vary depending upon difficulty of the music, mood, etc. to

The question regarding my Hunter B:

As I was working (and continue to work) to understand and unlock all the different timbre and tonal qualities that this instrument has the offer, I used to jokingly say that I was currently enrolled at the University of Hunter! The fingerings to me, initially, were such a diversion from what you would find on a basic fingering chart. I have a hunch that there will be no graduating from this particular university! I guess I'm in the continuing education program for life! Aren't we all?!

My Hunter, with a particular reed that I am using plays a few tonally different C naturals with the following fingerings:
Off the Knee: ( shade w/first finger) X OXX OXOO
On the Knee: (less shade W./first finger ) X OXX XOOX
On or Off the Knee (shade W./first regular)X OXX XOOO or X OXX OOXX

This took me a long time to get used to it because it was only one set all of many new fingerings. As I became more fluent with the fingerings (still feel like I have a long way to go), I began to use that modality with my concert chanter in an attempt to gain more colour from an already great instrument.

Another example of "playing the reed," is that my current reed in my concert chanter demands that I play second octave B as:
X XOO OOXX. That in itself is fine, but the second octave A wants X XX0 0XXX! The reed itself sounds great. I must admit that I wasn't too happy about that fingering for the high B for obvious reasons. Both Ronan Browne and Peter Hunter shared w/ me the philosophy that is that every reed asks of the player a variety of fingerings, and that this modality is the best way to bring the most colour out of the instrument.

Can you say, " Theory....Adopted!?"

[o'corragain]

Thanks for your insight into the use of different fingerings, it certainly is an ongoing learning process.

David

[billh]

In my experience the 'historic' flat chanters generally don't like the 'textbook' one-the-knee Cnatural (X OXX XOXX), preferring something with either two fingers up on the right hand, or the index finger.

The other big differences from modern "standard" (i.e. textbook) fingerings usually concern the F#s. The historic fingering charts and the Ennis tutor show that a one-finger F# in the first octave is not preferred, and my experience bears that out - it tends to be very 'jumpy', (nearly as bad as a one-finger G on most chanters). Many modern makers of "flat" chanters modify the small tonehole design to 'remedy' this, but the resulting changes may have an adverse effect on tone and/or tuning. Three-finger F# in the first octave
(X XXX XOOO) is usually best, and in the second octave many of the old chanters seem to be sharp unless one lifts the right-hand pinky (X XXX XOXO). Some historic chanters require a two-finger back d, as did Ennis' (and the old fingering charts bear this out).

The Colclough tutor (c.1820 if I recall correctly) gives a three-fingered F# and four-fingered G in both octaves - but I've only come across one chanter (and that one is a facsimile, at that) where those fingerings worked best in both octaves.

best regards,

Bill

[Brazenkane]

Indeedy Bill! That F# is how the B plays. It's very interesting how one maker's "adverse" may be another maker's "ah HA! I like that!"

Whoops! Just looked at my fingerings I wrote. I just re-did those so their correct now!

Personally, I'm w/you on that one. Thanks for your input!

[Joseph]

Recently, I received 2 cedar reeds from O'Kaine for my Neil O'Grady tenor and baritone regulators. KP (as I call him) has been a loyal friend for a while, and was gracious enough to offer his services pro bono.
Living where I do, here in California, the climate is very much desert-like. It is mildly humid in the winter and spring (40-60%), and VERY dry in the summer (10-25%). Even though I make my own reeds in this dry climate, I'm still very aware, by experience, how extreme dryness reaks havoc on cane reeds. Since there are only 3 people in the world (that I'm aware of) that are making reeds in "wood" (excluding elder which has been done for some time), I jumped at the chance of having "stable in any weather" regulator reeds.
I've had the reeds a few weeks now and I can definitely say the cedar reeds have passed the test so far. The reeds have been very stable in cool, semi-humid conditions (ideal conditions normally) and very dry conditions. There's been no change at all in how the reeds play or how much pressure is needed to play them.

Now MORE IMPORTANTLY: I have been very impressed with how easy it is to play with these reeds. They are stable and sound with very little pressure. I am amazed by the tonal quality that you get with the cedar reeds. They are bright but with a woody sound. In the future, I will attempt to post a sound file of me playing with these reeds.

Overall I have been immensely impressed with O'Kaine's reed-making ability! I'm posting two pictures of the baritone cedar reed that was sent to me by O'Kaine by email. In the email, he said, "Check out the cedar reed, how uneven etc. It's REALLY difficult to get it even at all....I used REALLY fine paper...something that wouldn't grab, and shaped down the overlay and cleaned it up. my bridles are purposefully not touching the sides, just squeezing." I would say that even thought the lips of the reed appear uneven or jagged, they both play beautifully: airtight, stable, and bright!



I would have posted all this on this thread sooner but 1) I've been pretty with the end of the school year, and 2) I wanted to observe how the reeds would react to climate changes over a short period of time.

All the best,

[Brazenkane]

I would like to mention that those pix are the reed BEFORE IT WAS FINISHED!!!

The reed is indeed airtight and clean around the edges. Every striation that is exposed/sticking out, is a danger to the safety of the reed. Although the reed is very strong, as it can be flexed like a cane reed/strong from the sides, I'd say it has the potential of cracking if dropped etc. Also. The Cedar genetically can possible split along a striation. The jagged exposed striations, if caught on clothes or sandpaper thta is not above 800 or to be safe 2000 ,can act as wee fuses to the proverbial, "just TRY and scrape these down.. we'll blow up your entire reed! "

When i say split, i mean..... the entire length of the reed! Cedar is nasty crap to work with, but sounds great. One should NEVER crow this substance! Imagine how difficult that makes the process!?! I have found a way around it and don't build these every day ( to say the least).

[ausdag]

Cedar is nasty crap to work with, but sounds great. One should NEVER crow this substance! Imagine

Hi Braizenkaine, is that because the wood is toxic?

[Brazenkane]

Guitar builders have been making instruments w/Cedar for years and there's been loads of instances where people work with Cedar safely. I ALWAYS USE A MASK DURING 95% OF MY DEALINGS WITH CEDAR!...whenever there's dust flying...the mask is on me! The remaining 5% is tying on and taking it in and out of the chanter. I know a luthier who wears a mask anytime he uses tools. WISE MAN! I used to crow the cedar reeds and end up with lungs that hurt. I crow the reed with a pump now, have developed a feel for it and can determine info that way. It's 2nd best to crowing, but it works and so do the reeds....that's all that counts...that and BEING VERY SAFE!!!

check these links (they'll make you nervous about not working with a mask!!!)

http://www.osha.gov/SLTC/healthguidelin ... ition.html

http://www.woodweb.com/knowledge_base/I ... toxic.html

http://www.ratfanclub.org/litters.html

ps I have received more than a few inquiries about the origins of the Donegal style jig, "Brionglóid Ghaoth Dobhair." This is an original composition I wrote during my engineering of James Kelly's 101 original tunes he's doing for his book, which will be launched at WCSS 2009.

[Joseph]

I thought I would also post a picture of the Hunter B chanter reed made from maple that O'Kaine sent me. Seems quite different looking than the cedar reeds. The grain is much bigger and the scrape much wider.... much more of a "U" shape than a "V". However, differences aside it sounds great! Keep it up KP!



all the best,

[Brazenkane]

(thanks Joe)

The reed is very short, therefore the scrape went U-like! This is Curly Maple and those lines are just part of the figure. Actually, Curly Maple grain is very tight, and as per my tests..it seems to be impervious to humidity change function better then both Cedar and Spruce in extremely high humidity. Spruce before Cedar seems to be affected by high humitiy in my exp., but Curly Maple ...because the grain is so very tight.... well... enough said. The wood also works hard and yet (IME) is more mailable than the other 2 mentioned species.

[Pyroh]

It seems that reeds will be a matter of artisan worksmanship as well! It's lovely. Maybe - could you (if you have the time) post those tunes with cane reeds? Not knowing the chanters makes it difficult to spot a difference.

And a very nice jig! What does its name mean?