Gallagher flat sets

lemonsquash · Post by **lemonsquash** » Wed Apr 17, 2002 9:14 am

Hello all,

I'm looking for someone within reasonable driving distance (3-4 hours) of Madison, Wisconsin who owns a Gallagher flat set and would be willing to let me come over and try it. I've called Seth and heard him play both B and C chanters, absolutely lovely and, of course, I realize his reputation is beyond reproach. I'm just trying to get a feel for how the flat chanters play. I'll also be in Boston for Gaelic Roots, June 16-22, if anyone there has a set. Thanks-

L

Cayden · Post by **Cayden** » Wed Apr 17, 2002 9:39 am

May I suggest it is also a good idea to listen to sets by other makers, one set may sound fine in itself but the next one may open a whole new world of sound.

Dionys · Post by **Dionys** » Wed Apr 17, 2002 10:08 am

Brad Angus' flat sets are quite beautiful and he has a very short waiting list (at least last time I checked). Unfortunately his work is not consistant yet. At least this is what I have heard from owners of his pipes. All the ones I have heard and/or played sound and play beautifully.

Dionys

lemonsquash · Post by **lemonsquash** » Wed Apr 17, 2002 2:58 pm

Gentlemen,

Thanks for the replies. Peter, I certainly will do as you suggest and would be grateful for any more detailed instruction you might offer. I've read pretty severe criticisms you've offered of some pipemakers who remained nameless, fewer instances of praise--any recommendations? I agree with everything you've said about making up your own mind based on extensive experience and exposure, just interested in your opinion.
Dionys, I will look into Angus' pipes. Thank you both again.

L

Brian Lee · Post by **Brian Lee** » Wed Apr 17, 2002 10:58 pm

First set of pipes I ever played was a Gallagher set. It was a D set, but still very sweet. The owner of this set was telling me about how even though his work isvery good, there is still room for variation depending on the reeds. When he attended the North Hero pipers gathering last summer, he played a number of Gallager sets in different keys. His discovery: There weren't any two that played the same.

Guess a lot of it comes down to how handy one is with reed adjustments and rushes etc., I don't know.

Bri!

Cayden · Post by **Cayden** » Thu Apr 18, 2002 2:38 am

On 2002-04-17 16:58, lemonsquash wrote:
Peter, I certainly will do as you suggest and would be grateful for any more detailed instruction you might offer. I've read pretty severe criticisms you've offered of some pipemakers who remained nameless, fewer instances of praise--any recommendations?

My only advise would be: make up your own mind and do it as informed as you possibly can. I have no specific opinion on Gallagher flat sets, I have no recollection of seeing many of them, let’s be clear about that. And if I let fly about particular makers, do bear in mind I react a bit strong sometimes counter-acting uncritical praise. It’s wise to take the two together and average them into a balanced opinion.
Too often though I find people here, and on other forums, come out and declare so and so is the top of the range and so and so is really beyond reproach, and I wonder what those opinions are based on other than hear-say.
I am admittedly extremely fussy about the pipes I like. I happen to have a fairly nice instrument myself and it is the yard stick I use to measure every other instrument by. I un-officially test drive about every instrument that leaves the workshop of one particular pipemaker and based on that experience ranging from a simple test drive to extensively playing in of new or re-reeded instruments, I think (rightly or wrongly) I have some indication on how to assess a set of pipes.
Now, a set of pipes will have to work for YOU, so it is important you decide on what you like and what you want the instrument to do and how you want it to sound. Seeing, hearing and playing as many different instruments is the way to go and make you up your mind from there as to what suits your style and ideas.

First thing to realise is that you will most probably have an image of the pipes and how they ‘should’ sound which is completely based on concert pitch D sets. The beauty of the flat set is that it isn’t a wide bore D and if you get a good one, sounds utterly different. Some makers, quite a lot actually, do make the flat sets like they are D sets pitched a bit lower. I think they are missing the point. Compare the sound of different sets of pipes on records and see what you make of them. I had some examples lined up but let’s keep it un-biased.

Also, when trying a set, see what the chanter will ‘do’ and what not. I remember some 15 years ago one well known pipemaker wanted me to try a four regulator C set, probably to impress me and convince me my own then fairly new C set was not quite up to his standard. Well, his set, apart from weighing a ton, played wonderfully in tune, drones, all four regs kept going even when playing high D’s on the chanter.
He was full of anticipation, expecting me to go WOW. But, to me, the whole thing was lacking in harmonics, it sounded dull (this particular makers sound is sometimes by some people referred to as ‘music from the sock’ because his muffled sounding chanters sound like they are inside one). Also, when you played an A on the chanter, the only thing you could do to change it’s sound was play a vibrato on it, different fingerings, taking it off the knee etc hardly affected it at all. To me that would be useless and lacking in colour. And I told the man so. I don’t think he quite got what I meant at the time (he has improved in that respect since). Flexibility so is important, it will give you colour and expression. I think this is of utmost importance but then again most pipers seem to be content playing with their chanter glued to the knee, only using the fingerings from the chart in the book so it wouldn’t matter all that much to them.
Do remember though that if you play an instrument that has a large range of capabilities and you have an equiring mind, your style will expand to make use of what the instrument allows you to do and it will enable you be the best piper you can be. But you will have to find that instrument that suits you, yourself.

<font size=-1>[ This Message was edited by: Peter Laban on 2002-04-18 07:06 ]</font>

boyd · Post by **boyd** » Thu Apr 18, 2002 6:02 am

Sound advice as usual, Peter.
It can be difficult due to geography to get to all the "rated" makers, even in Ireland.
So a Tionol is a good place to hear different sets....being allowed to play them may be a harder thing to achieve.
Boyd.
ps Peter...i've sent you a private message

http://www.strathspeyinmay.com

lemonsquash · Post by **lemonsquash** » Thu Apr 18, 2002 12:35 pm

Peter,

Many thanks for the reply. It is true that, until recently, the majority of piping I heard was in concert pitch, but the first recorded pieces of piping that really got me going were Leo Rowsome's "King of the Pipers" (half c, half d) and Gay McKeon's set "Cailin Deas Cruite na mBo/Gilbert Clancy's" on Christy Moore's Folk Collection,played on a c set. Later, too, when I got Willie Clancy's collection, I loved the tunes on his b set (coyne, right?). So I've been hearing and liking flat sets for a while and the more I listen to them the more I understand what you're referring to when you talk about the colour of the tone and of harmonics. I'd welcome your listening suggestions, too, because you've given a lot of time and careful thought to these questions.
Certainly, I think it is wise to be fussy about the quality of workmanship and care that goes into any instrument, particularly one that is (hopefully) so complex and capable of such a huge expressive range of sounds. Living in Clare as you do, I know without a doubt that you have more frequent exposure to different sets of pipes than have I and so I find what you have to say on the matter very helpful and interesting. It is a hazard in this part of the world, where so many enthusiasts live in abject musical isolation, for pipers to heap praise on the maker who delivered them a product they find useful without having the chance to do much comparative criticism.
Again, thanks, Peter. I'll remember what you've said when it comes time to plop down the cash.

Lemon

Dave Parkhurst · Post by **Dave Parkhurst** » Tue Apr 23, 2002 11:24 pm

I own a Gallagher C 1/2 set...granted, I'm not anywhere near where you can come over and play them, but I thought I'd tell you that I'm very happy with them. And Seth's good on customer service.
Dave

Patrick D'Arcy · Post by **Patrick D'Arcy** » Wed Apr 24, 2002 11:35 am

The only way to get a true understanding of what Peter says about harmonics is to hear them in person, CD's and other recordings don't do these sets justice at all.

Go to a tionól or even better go to Willie Week and get a weeks worth of lessons. You'll hear and meet the best musicians in the world and their instruments... do it.... you'll be glad you did!

Patrick.

brianc · Post by **brianc** » Wed Apr 24, 2002 10:44 pm

You'll hear and meet the best musicians in the world and their instruments... do it.... you'll be glad you did!

-- Patrick D'Arcy

......

Not to mention a week's worth of pints, fish 'n chips, pints, more pints, sessions, more sessions, more pints, some tea at precisely 11:10 AM, and a song or two.

And the occasional stroll along the beach in Spanish Point.

Wow, what a week!

Oh, and did I mention the pints?