hi all
ive been checking out this site for a while and there seems to be a lot of well informed mucic lovers responding to posts.
lets see if we can crack this one ?.
I have a chanter whitch no one so far can put a makers name to i’d love to get a wooden reed cap and drones made for it , in the same style and it would be a great help to see other work by the same hand.
Paul Eliasberg very kindly put some pics off it on his site - its at -
http://www.uilleann.nl/mulcroneMaybe.html
see what you think.
thanks unregulated
Looks like very nice work. How does it sound, reeded? Let us know if you decide to sell it. Anyone recognise the maker?
If I may make a suggestion, perhaps send a picture to Lorcan Dunne. The keywork looks a lot like his early regulator keywork. Perhaps he copied his keywork from the person who made your chanter. Lorcan couldn’t have made it, though, since he’s a modern maker and the Ivory certainly does look naturally aged.
The turning at the top is a little reminiscent of a Rowesome, if you include the turning on the wood as if it were Ivory. Perhaps it was modeled after a Rowesome.
Dionys
[ This Message was edited by: Dionys on 2002-08-23 21:28 ]
unregulated,
Who are you getting to make the wooden reedcap?
hi all
thanks for your replies and emails
Dionys to your question
How does it sound, reeded? -
Before I bought “ the mystery chanter “ I was looking for a flat pitched (C) chanter having tried and listened to many off the top makers concert ones, which I found (to my ear) sounded to thin / shrill / aggressive / way to narrow a tonal range or just plain disappointing not to mention the “feel” of the instruments. This chanter changed all of that for me. Its a mature and sensitive instrument in all respects (but not a “flat or narrow bore” one.Thats a different instrument - to me).
Let us know if you decide to sell it ?
please read above again ).
Rowesome has been mentioned before but I don’t see the similarities.
What does stand out to me and you noticed it, is the turning just bellow the top ivory mount. Given the thickness of the wood at that point its an act of gross stupidity or supreme confidence in the makers skills and materials. Also the bottom third of the chanter “bells” out more than any i’ve seen the same is true of the bottom mount (adding more “meat” to that part) could this account for its fuller tone? its certainly very elegant. Oh! it also plays four notes into the third octave, is that normal?.
Any pic’s of Lorcan Dunne’s work on the web?
yours unregulated
Tony
at this moment in time im open to suggestions. Any ideas please?.
yours unregulated
hi kevin
thanks for your email.
I haven’t ruled out James Mulcrone.
Neilligh Mulligan told me he had a new reedcap with stop key made for hs set the original did’nt have a key.
yours unregulated
Un,
it depends on your location as a few makers could easily do a good job of making a matching wooden reedcap.
US, Pacific Northwest, Brad Angus
US, Northeast area, Seth Gallagher
England, Davy Stephenson
Ireland, Michael Dooley
Canada, Joe Kennedy
Just the first few that come to mind.
I looked for a website or some pictures but all I could find on Lorcan is on the links page to the old NPU site. it lists his address and phone number.
http://www.iol.ie/~npupipes/How%20&%20Where%20To%20Buy%20A%20Set.htm
Lorcan doesn’t have Email. He’s very helpful through the post, though. I’m sure he didn’t make it, but he may have some insight as to the maker. The keys just look too similar to the keywork he used. Of course it might be coincidence.
Dionys
P.s. Have you ever considered measuring the bore, or having someone do it, to preserve the heritage and spread the knowledge? 