Their station of departure was Drogheda, though.
Enough to retain their green label, if you are into that line of thinking.
Unfortunately that train ran out of steam and came to a stuttering halt. Luckily Kenna and Coyne didn’t board that train and possibly inspired William to lay down some new tracks and once the train was running Leo stoked the boiler. Shame there wasn’t a pipe maker named Casey Jones
RORY
Hmmm. So, Rory, Patsy Brown and Pat Hennelly never left the station?
Bob
A stuttering halt not a sudden one, anyway geez enough with the train metaphors it’s getting confusing.
RORY
Agreed enough from the buffers.
So before anyone else gets us sidetracked on a spur line… what news from the sleeper ( OP) ? Has he tried any of the suggestions ? Would he say he aprieciates the time taken to try and help or should we just not bother to respond in future to cries for help ?
, excellent, top comment goes to Geoff.
RORY
Rory, (dispensing with the train metaphor) I’m not sure there’s been a period of time since the Taylor brothers that there hasn’t been at least one pipemaker in the US. So I think it’s been more or less continuous(?), for about 150 years.
Mr. Gumby. That’s certainly fair. I’ve heard some consider the US just the biggest, most obnoxious county of Ireland.
First of all apologies to Ian for hijacking his thread we really should have moved the discussion to it’s own thread.
Secondly for me at least, its fantastic that pipemaking is really taken off in numbers and standard of manufacture. But Ronan’s purchase reaffirms that the death knell is sounding for pipemaking in Ireland. Once Cillian is gone that’ll be it. Preshaw might step up to the plate if he could just get his aesthetics in order, we’ll see. Hats off of course to the guys at pipe craft, they really tried but you can’t teach passion and now they are just providing the lads somewhere to go before they get a proper job. To finish it’s the pipes that are important not where they are made and pipes will become a part of the diaspora like so many others.
RORY
Rory, you clearly need to get out more: Bill Haneman, Derrick Gleason, Donnacha Dwyer, Jim Wenham, Micky Dunne, just off the top of my head, and I know there a bunch more that I can’t recall the names of that are all making great pipes in Ireland…
Yeah maybe, though none are raising the bar, imatators not innovators. None have that x factor that marks a maker above his contemporaries. But then again I’m probably being over critical, just my personal opinion.
RORY
Ps, I’ll stop digging now.
Who exactly am I imitating? 
Shame you didn’t join the thread a little earlier but I realised a few posts ago that I could be digging a hole for myself. You and I have been around this forum for long enough to know how these types of thread can go so with all due respect it would be better if it finished.
RORY
Ps nothing wrong with imitation if its done well.
Pps. Again apologies to Ian, its his thread of course so we’d love to hear how Geoffs advice worked out for you.
It was interesting to read this Geoff because I have recently adjusted my chanter reed and made it a little stronger. For a long time I have been try to play it with a light pressure but I would get low D gurgles, and had problems balancing it with a baritone regulator that was just louder than everything else (I have asked advice here on that problem in the past, and you were kind enough to answer on that). I recently decided to take the opposite approach and try bring the other reeds in line with the baritone (if the mountain won’t come to Mohammed …). This has balanced things up much better as regards chanter, drones, tenor and baritone regulators, and I am not playing at the extreme sort of pressure you are describing. Getting the bass regular behaving is the last part of the puzzle.
The pipes are a set made by Pat McNulty and were reeded by Allan Moller. They have been working fine in the past and I have feared that a change of climate when I moved from the UK to the US (first Maryland and now Seattle) has been part of the problem. It is also a question of me actually taking the concerted time to work on them, which is something I am getting more committed to doing.
The bass reed Allan made has a normal main staple that slipped over a short narrower tube which was hemped and inserted into the end of the regulator. This was intended as an easier way of adjusting the reed position because you had the ability to move it in or out on the narrower tube rather than having to remove or add thread. I do wonder whether the narrower tube is part of the problem.
The narrowed staple could have something to do with the problem. A narrower staple will tend to (generally) raise the pitch of the regulator. If your set is based on a Rowsome design then staples of about 3 - 3.5mm inside diameter are perhaps best for the regulators.
I’m still working on things and following the suggestions you have given Geoff, which I very much appreciate. Looking back I was surprised to see how much time has gone by since I first posted, and understand why folks might think I was ignoring the advice offered. It has just been a question of finding the time to try them out and see what works and what doesn’t. I am also aware that I might be over cautious in my adjustment - the amount of bluetack on the picture of Ronan’s reeds, compared to my timid application of masking tape is a huge contrast.
It’s a work in progress and various family commitments in coming weeks will likely make that progress slow but I do want to thank all who have shared their knowledge. I’ll get there eventually…
I had a lot of problems with my low G on the bass when I first got it. I COULD NOT get it to sound. It would either squawk or not sound at all. I was still new to the regs in general & I remember mentioning it to my pipemaker who was watching me struggle with it. He tied the set on & played it repeatedly no problem. He shrugged & basically said ‘you’re playing at the wrong pressure, you’ll get it with time & practice.’ I remember feeling a bit shocked at that but I trusted his instincts over mine & he was right.
It still took me a long time to get it to sound at all. I would practice with out the chanter or drones & just try to get the G with the fingertips. Once I finally got it to sound & knew it was possible & what pressure it liked, I started trying to hit it with my hand in a more typical fashion. Then with the chanter, then drones, then bari, & now I can usually get the note with the whole set going & the two other regs sounding. Each time was a little step up & required a bit of getting used to.