Chiff and Fipple Forums

PJ wrote:How did this one slip past? Paddy Keenan and Matt Molloy:

https://www.youtube.com/watch?v=PdjkiliwDIE

Probably because of the tuning, or the painful lack of?

In addition to previous suggestions, I quite like playing D-ghostD-D instead of a roll in its place.

I don't have a set, just a reed from Martin, and the reed is great. Also the communication was super, with prompt responses (I know that's a near-contradiction with "pipemaker" in the same sentence, but it's true!).

Thank you! (and to Mr. Gumby too ).

Hi all,
I went for holidays and upon coming back, I found the tuning joint to be stuck in place - like completely. Are there any established ways of loosening it up? Would heat/cold help?
Many thanks!

Apart from the C# being easier to play (arguable, maybe it's just my dumb middle finger?), I'd say that AC#A sounds better (and it tends to be ACA indeed, as the C# does not go up to C# when this short, at least on my chanter) - and A and C go together well in harmony. On the other hand, A and B sou...

Many thanks!

Hi - I realized one thing - when recording pipes or playing them live, it seems that the back D stands out quite a bit too much. I guess it is quite often the case - I just wonder if there is a way of countering that "on the chanter" (one can always equalize, I guess...).

Squeeky Elf wrote:Just give them the pure drop. Feck 'em if they can't take it.

Yes, that will make appreciation of uilleann pipes higher...

I started a profile there as well (nothing professional, just for fun and talking to people)... https://soundcloud.com/jakub-tomek-2.

I remember watching a Geoff Wooff reed-making video where he mentions Séamus Ennis saying, something like when you get your pipes all in tune, you know your problems have just begun. Something along the lines of that. Hm, I've read that as well. It's a pity that Séamus Ennis did not get into proble...

Absolutely... I think it's also quite often due to the pipes being so "alive". Sometimes, the reed has its days and I find it safer to give it a rest rather than to tinker with it too much...

Hmm, I'm not sure it's the lack of skill - after all, long rolls such as at the beginning of Kesh are not that hard (of course, when one starts, the may be, but such people are not likely to get on stage). E.g., precise staccato playing seems much more difficult to me (and also suffering from too qu...

ennischanter wrote:Just don't go to Oxford.

Why?

How to use search function to find the previous thousand instances of this question.