D set vs. C or other flat set
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John Mulhern
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Joseph E. Smith
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J-dub
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Drat, I've been trying to find (without success) a photo of a lime green GMC pacer to represent the most affordanble, hence likely, outcome - the used budget concert D practice set with reed that previous owner swore was working OK a year ago but has not been played 'recently' 
.
uilleann915, I would defintely encourage you to consider a 'flat pitch' set if you can swing the mullah (and the wait time) for it. I recently made a C chanter based on a Kenna chanter and I hate to even pick up my D set anymore. I think that descriptions like 'quiter' and 'mellower' do not really describe the most significant difference between the older style chanters and the modern concert pitch variety. The flat pitch style chanter is richer in harmonics which seem to allow the note to 'carry' more effectively, compensating for the some what quiter sound (although many chanters are really not quiter than most concert pitch ones if reeded with that goal in mind - listen to David Power for instance). I have no problem being heard playing with a fiddle and whistle, and it is much better in tune than my D chanter. As already pointed out, I would not worry about sessions since you can pick up a D chanter eventually, and the regs and, to some extent, the drones are useless in large sessions as no one can really hear them properly. Better yet, find some fiddle and whistle players willing to play in C (or B if that is what you got). I know a couple of fiddle player who would much rather tune the fiddle down to C than play along with my concert pitch pipes! One even goes so far as to bring along a second fiddle always tuned in C for that purpose alone (bless her heart)! Occassionally our local regular session ends up going to C in a hand basket. So don't think that if you get a flat set in C or B that you will always be stuck playing solo.
As far as playability, the finger spacing took a little adjustment. I have found that the C chanter I made was extremely easy to reed and so far I have not had to bother with adjusting it at all. This is a far cry from my concert chanter reeds which need be be tweaked and coaxed almost everytime I pick the thing up. Hence another reason my D chanter has been colecting dust while I play the C chanter.
Now if I only had the drones and regs completed...So it is off to the pipe loboratory for me!
~John
.uilleann915, I would defintely encourage you to consider a 'flat pitch' set if you can swing the mullah (and the wait time) for it. I recently made a C chanter based on a Kenna chanter and I hate to even pick up my D set anymore. I think that descriptions like 'quiter' and 'mellower' do not really describe the most significant difference between the older style chanters and the modern concert pitch variety. The flat pitch style chanter is richer in harmonics which seem to allow the note to 'carry' more effectively, compensating for the some what quiter sound (although many chanters are really not quiter than most concert pitch ones if reeded with that goal in mind - listen to David Power for instance). I have no problem being heard playing with a fiddle and whistle, and it is much better in tune than my D chanter. As already pointed out, I would not worry about sessions since you can pick up a D chanter eventually, and the regs and, to some extent, the drones are useless in large sessions as no one can really hear them properly. Better yet, find some fiddle and whistle players willing to play in C (or B if that is what you got). I know a couple of fiddle player who would much rather tune the fiddle down to C than play along with my concert pitch pipes! One even goes so far as to bring along a second fiddle always tuned in C for that purpose alone (bless her heart)! Occassionally our local regular session ends up going to C in a hand basket. So don't think that if you get a flat set in C or B that you will always be stuck playing solo.
As far as playability, the finger spacing took a little adjustment. I have found that the C chanter I made was extremely easy to reed and so far I have not had to bother with adjusting it at all. This is a far cry from my concert chanter reeds which need be be tweaked and coaxed almost everytime I pick the thing up. Hence another reason my D chanter has been colecting dust while I play the C chanter.
Now if I only had the drones and regs completed...So it is off to the pipe loboratory for me!
~John
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billh
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BTW, ... that's a '31 Bugatti, top speed 217 kph. Approximately 6 were made.
Then again, there's only one Patroit, eh?
Then again, there's only one Patroit, eh?
Last edited by billh on Fri May 11, 2007 2:23 am, edited 1 time in total.
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Lorenzo
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Yeah, one question. Is that guy playing Smash the Windows, or Wheelies of the World?billh wrote:Concert Pitch:itisi wrote:Real men play concert pitch.
The faint of heart and elderly play flat sets.
Any questions?
**********
Howdy everyone. Long time no post. I stop by once in a while to check my PMs, and read the uilleann forum when I'm in town. Still up near the Eagle Cap Wilderness area, working on the cabin. Going slower than I thought, but getting started on the stonework (ouside walls) in a couple weeks. Roof's on, windows and doors are in. I'll post pics someday.
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rorybbellows
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Pipewort
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PJ is correct.
As to the rest - Oh Dear.
I had thought to that our Moderator would lock this thread, images conflicting with arguments. But then I thought, what have cars and automobiles got to do with this discussion, and K'BOOM!
So, Flat sets are BIGGER (e.g. LONGER) than concert sets, and are able to produce a greater number of PLEASING tones. They also have DEEPER voices, and being quieter are encouragingly more persausive.
Concert sets are YOUNGER than flat sets, and have 'LITTLE' experience in the production of manners and tone. FLAT sets however, have a huge range of expression, and infinite subtlety, in a greater number of languages, and with their quieter voice are able to persuade a wider audience to listen to them and return to them, having found common ground in a sensitive musical environment.
The strident shout of YOUTH, with which the Concert sets assaults the ear lobes, is a suitable medium for the transigent novitiate to begin his journey, but only before that voice discovers the true poetry of the REAL instruments musical soul.
No picture from me - you will have to imagine a Model T Ford, or if you are wise enough .................. nae', t'would be lost on you.
As to the rest - Oh Dear.
I had thought to that our Moderator would lock this thread, images conflicting with arguments. But then I thought, what have cars and automobiles got to do with this discussion, and K'BOOM!
So, Flat sets are BIGGER (e.g. LONGER) than concert sets, and are able to produce a greater number of PLEASING tones. They also have DEEPER voices, and being quieter are encouragingly more persausive.
Concert sets are YOUNGER than flat sets, and have 'LITTLE' experience in the production of manners and tone. FLAT sets however, have a huge range of expression, and infinite subtlety, in a greater number of languages, and with their quieter voice are able to persuade a wider audience to listen to them and return to them, having found common ground in a sensitive musical environment.
The strident shout of YOUTH, with which the Concert sets assaults the ear lobes, is a suitable medium for the transigent novitiate to begin his journey, but only before that voice discovers the true poetry of the REAL instruments musical soul.
No picture from me - you will have to imagine a Model T Ford, or if you are wise enough .................. nae', t'would be lost on you.