http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2541832752&category=16226
hmmmm…looks a little rough to me.
Jeff
Is it still a Ken Fisher halfset if the chanter’s made by someone else?
Mark
Humm,
“1. The drone on/off switch has three positions switching the drones on one at a time. Makes for easier tuning.”
How does a switch like that work? 
Have there been comments previously about Calmont. My personal view is plastic reeds don’t cut it. The soundclips on ebay confirms that the second octave is very weak, even when the sample tune only goes up to top e or f# (poorly executed Garrett Barry’s jig).
Fancy drone switches? Three positions? On and off I recognise but which drone/drones are on in the intermediate position - not actually any good for tuning. Stick to using the old “finger over the end” method.
Ken
I think that most of us would admire the workmanship and ingenuity of Ken Fisher or in fact anyone who makes pipes. It is not an easy task and makers seem to come in for a lot of flack, which from my point of view is entierly unjustified. Most makers are in it for the love of it and definetly not for the money. I could make more money driving a van for Tescos. I have lost count of the amount of money and time i have spent that I will never recoup.
I usually find that the armchair experts are people who are over critical. They talk like they know it all but have never made a set of pipes in their life , cant service their own pipes,or make a decent reed , and never played professionaly. I play my own pipes with my own reeds and have done so professionally for the last 20 years.
Photographs do not do this or any other sets justice. It is an entirely different matter to see the pipes in the flesh so to speak. It also helps to be able to pick them up and play them to get a real feel for them and to make an honest judgement about them. I have had the priviledge of working on these pipes and I must say that I am impressed by the workmanship and I would be hard pressed to better it. I would say that it is very difficult to make a summary judgement about a set of pipes without seeing them or playing them. I would also like to see the ones who are whinging about these pipes do any better either.
I for one have learned a lot from close examination of this set of pipes and will be incorporating some of his inovative ideas in my own pipes.
I have worked on many sets over the years and this is the first set that I have come across that has resonators on all the drones and a three position drone switch. Does anyone else do this??? At least give the man a bit of credit for being inventive. This inovation is not only useful for tuning but also for the selection of drones in playing. Particularly if you only want the tenor and baritone. I have done recording work and session work where this has been essential.
The purpose of the sound file was not to impress people with my playing or to convince people to dash out and purchase a synthetic reed but to give an idea of what the pipes and chanter sound like. If some people do not like the idea of a synthetic reed then it is a simple matter to have it changed to a cane one. We all have our personal preferences.
all the best
John McCalmont
I think the question was if a Calmont chanter was sold with Ken Fisher drones, is it still a Fisher halfset?
John,
In what case would you need only 1 or 2 Drones playing?? The point of the 3 Drones, as I see it, is to enrich, exploit and emphasise harmonics.
And as a working reedmaker and working piper of several years, I have to say, that I have seen synth chanter reeds on many occasions, and they have never come even close to the response and tone that comes with a cane reed. As far as I know, the best pipemakers don’t even offer the choice of synth., chanter reeds, and that speaks volumes to me.
Alan
Dear alan
I and most pipers would agree with you that three drones are necessary.In fact it is traditional. However when performing in certain venues the bass drone or drones have caused feedback through the pa system and I have been requested by the sound engineer to switch them off.
I do not know the reason for this but I assume that they know their job and have complied with this request. When you are working with other people you cannot always expect to get your own way all the time even if you believe you are right. I beleive it is more important to get on with other people first and maintain good relationshipswhere possible. That is if you expect to have a career.
On other occassions and through my own choice I have only used the tenor or baritone drone to start with on slow airs gradually adding one drone at time for good effect. Just because you have three drones does not mean that they have to be used all the time. sometimes i only play using my chanter without the drones. The same could apply to the regulators . Just because you have them does not mean to say that you have to play them all the time.
I would have thought that it would be down to the individual piper to decide for themselves how they wish to play their own pipes and how they would wish to interpret their own music. I am not aware that the playing of three drones is compulsory. What happens on pipes with the extra A drone. Perhaps we should not play it either.???after all that is not traditional is it???
I believe that a piper should use every trick in the book to vary his music as much as possible. Neither would I have the nerve to dictate to another piper how he should play his music. Every cripple has their own way of walking
I know that the use of synthetic reeds is a subject of heated debate amongst certain pipers and I would not wish to enter into a discussion for fear of upsetting sensibilities. All I can say again is that everyone is entitled to their own opinion. It is a matter of personal choice. If a piper wants a cane reed I make a cane reed; if he wants a synthetic I make a synthetic . What right have I got to determine what reed a musician should or should not play on.
.
I would however like to point out that synthetic reeds are used on other instruments like the oboe,clarinet,bassoon etc., This does not mean that the makers of these instruments are less than the best. However i take it that we are to assume that you are amongst the best as you would only offer cane reeds.
I would have thought that they only wished to give the musicians a choice.
Synthetics with all their faults also have a lot to offer, otherwise people would not buy them . The market for these reeds must amount to millions every year. That speaks volumes to me.
On the issue regarding the Fisher set. That is a good question. There are many sets of pipes out there with a mixture of regs,drones,and chanter by various makers. Again everyone would have their own opinion. I believe that is the way it should be.
all the best
John
“Pipes come in a case by Dave williams.”
…
Now, is this just a bit of name dropping here, or does Dave Williams actually make cases as well as pipes?
The case in the photo appears to be one of those plastic gun cases, so I’m wondering aloud here, is all.
Dear brian c
This type of case is supplied by dave williams for his own pipes. Perhaps I should have chosen my words more carefully.
I have two other sets by Dave williams and they come in exactly the same cases. When I last spoke to him he informed me that he has these cases made for him. They are not gun cases as you would suggest. The case is not plastic but Fiber Glass Resin. In addition I know numerous other pipers with williams sets and the same cases.
Most people would know what I meant and would also be aware that Dave Williams is a pipe maker and not a case maker.
all the best
john
John,
Next time a sound engineer asks you to do that, tell him to get stuffed! (in the nicest possible way). There’s no reason the bass drone or any drone should cause any problems that a (good) engineer can’t fix by eq-ing and filtering.
Alan
I like Johns attitude and sentiments.
The logic implied in his paragraphs raises an eyebrow though. I could say, “I’ve been a leading instrument dealer now for 75 years and have met customers who prefer plastic trumpets. There are some who prefer gold plated ones and sterling trumpets, but who am I to say which is better? Every one to his own liking. I try to stay out of the contoversy or I’d be out of business.”
Somethings wrong. Doesn’t quite add up in my book, of course I may not have the best book.
Alan hit it right on…and tell the sound man to stop pointing the main speakers at those kind of mics! 
But I can sympathize with John if he doesn’t understand these things about sound systems. 
Larry,
Always go with your inner feelings !! And, though it may appear hardnosed/unforgiving/opinionated/whatever, I will rail against synth chanter reeds for Uilleann pipes, until they work and allow the chanter to halfway resemble how UPs should sound and feel… 
edited to add:- and I’m far, far from being a traditionalist, if it works as good or better then use it, if not, what’s the point?
Alan
At a glance , the set looks reasonably well made and though it is not a Froment set , it seems playable and in good shape . For my part I think that plastic reeds are ok , but I like to think that the cane reeds will do just fine If they are made right , and that is where either someone down the line has taken the time to sort out the reedmaking part of building a set of pipes . Will this ever happen ? I wonder as the pipes are so complex that it seems that the best pipe makers have enough to handle in making the set of pipes , and the reedmakers have there skills to add .
It is a long race , and I would say that just about anyone who takes on this musical instrument needs to have a perspective that includes there own personal taste , as well as whatever works for others , as long as it sonds good . and as was once said , by am Irish poet ; " thank god they don’t have a smell " . P.s. that quote is to say that there are folks out there with a bad attitude and free will though I have yet to see them playing uilleann pipes .
tok . p.s. anyone know who that poet was ??
tok .
:roll:
Alan…
Somehow I can always detect someone who KNOWS the difference. You must be one. I will rail against the synthetics more than ye, or until I play one that is better than your reeds. (and I’ll hop right on the plane and buy everyone in Ireland a drink!)
You know, it just occurred to me that some pipers may be use to such mediocre reeds that synthetics actually do make them wonder if there just might be some virtue or hope in them.
The one I tried, years ago, was in tune and worked okay in the lower octave, but the tone…it made my UP chanter sound like the Northumbrian pipes, if you know what I mean. But when I let that piper play one of my cane reeds, he wouldn’t give it back, and that’s the one time I was telling you about that everything lined up just right…the only excellent reed I ever made, and I gave it away! I’m still mystified as to what went right.
Jeez this thread has got busy since I put a comment on this morning.
John, I said the reed sounded poor because it is to my ear and as for armchair critic, I don’t make a living out of music but I am competent and experienced and have put my money where my mouth is on the Clips & Snips site - check it out. The reed in that B chanter is about 20 years old and has been well maintained by me.
If this was an example of what a plastic reed sounds like it has convinced me I needn’t worry about getting one.
Ken
John,
Just a quick note - let’s make sure we’re actually comparing apples to apples here. All of the instruments you describe are WET blown instruments. I’ve played many myself, and while I don’t regularly play a set of GHP, they are ALSO mouthblown, and therefore have an entirely different set of requirements for their reeds.
GHP, clarinets, oboes and bassoon reeds can all be ready made and purchased in the local music shop be they sythetic OR cane. You are certainly aware though that uilleann reeds can not. I have neard quite a few synth u.p. reeds in my day as well, and have to agree that they just don’t stack against even a very average cane reed for intonation and playability.
I am no expert, but my 9 year old daughter could immediately tell the difference too. That reaffirms to me that there is a marked difference in tone between the two materials.
Anyway, good luck with the development and with this sale.
edit to fix a typo…
Dear alan
I agree with your sentiments entirely. That is the main reason I use synthetic reeds.
These reeds have proved themselves to me, to be 100% reliable . I never have to tune them in once they are set up.
I have been performing on Television , Radio and Concert halls on the same set with the same reeds and never once have i had to touch the reeds. In addition never once has anyone mentioned anthing to me, as they were none the wiser. I also have done recording work using both cane and synthetic and it is nearly impossible to tell the difference. In fact never once over the last 20 years has anyone ever been able to tell that i was playing on synthetic reeds. I would not play on these reeds if I did not have 100% confidence in them.
Its only if I mention the fact that i am using synthetic reeds that i come in for the flack. You might be surprized to know that there are some well known pipers who use synthetic reeds but will not disclose it for fear of critisisum.
I also find it difficult to understand how people can judge something without actually trying it. A number of years ago i was asked to develop a synthetic reed for the pipe maker Colin Oldham who was producing a synthetic chanter. This was tested by Neil Mulligan and Prof Garvin who gave it favourable reviews. John Rooney also liked the sound of my pipes as did Brian Howard. Almost every piper I meet wants to have a go on them.
I do accept that synthetic reeds have their bad points but the same could be said for cane reeds. I suppose that at the end of the day it is the lesser of two evils.Personally I just got completly fustrated at constantly messing around with cane reeds and all the tuning problems associated with them. For the first time i was able to concentrate on actually playing my pipes rather than dismantling tuning and reassembling them. I can guarantee to get my pipes out of the box and play them without have to tune them in or mess around with them.
At the end of the day it comes down to personal preference. What works for one person does not work for another. I do appreciate that synthetic reeds will not suit everyone and that some people will never be convinced
But at the very least pipers should be given the option.
all the best
John McCalmont