Wooden Chanter Reeds (Soundfiles) Froment & Hunter
Posted: Sun May 31, 2009 2:08 pm
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
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