So I am very close to ordering one of his sets… I just want to know what people think of them. Anyone in the "GET THEM AND YOU WILL REGRET IT!"category? or the other extreme: “GET THEM OR YOU WILL REGRET IT!” ???
Any opinions at all?
Hi there!
I’ll preface my comments with my usual disclaimer that I have never tried a set other than my own, which is a Neil O’Grady half-set.
That being said, I am very satisfied with the set. It was in the price range of what I was willing to risk spending. My set is easy to play and it stays in tune. It is also very stable as far as climate changes are concerned. That is, it plays in most conditions, even my dry, electrically heated basement.
There are few members of our club that are playing Neil O’Grady pipes. Before buying my set, I asked very many O’Grady players for their opinions. I did not hear one negative comment from anyone who was actually playing one of Neil’s sets. I have heard some comments that the set might not look as good as some other sets. But, as far as I’m concerned, the fact that it plays well, and in tune, is more important than the look.
Jamie Kerr
The Irish Pipers Club of Quebec
http://pages.infinit.net/jamie/Uilleann.html
I purchased a used half set and am very happy with the workmanship. The drones seem to be easy to deal with, but I am struggling with the chanter reed. I believe this to be more an environmental issue as I live in what amounts to be a desert. I am pleased with my purchase.
Sean
Ok, as an addendum: What do people think of maple as the trim/accent (ie where art. ivory or boxwood is usually) ?
As a bonus question:
What wood is your favorite/preferred for pipes? (and you have to say why…)
I think I would love pipes made of bloodwood or redwood… ie something red… but I don’t know what trim I would want with it… any suggestions?
Nico, you need a very dense wood for the chanter body. This is not chosen simply for looks. African blackwood, ebony, mohpane, etc. This is the class of wood you need to consider. The reasons are that a). the wood must be very stable to retain its shape, b). the wood must be dense enough to resonate, c). the wood surface must be smooth enough to provide the least amount of resistance to airflow. I think this topic has been covered many times.
As for the trim, whatever you like. Boxwood has become a bit rare. So has real ivory, but there is very good quality faux ivory available. Some people go for no trim (see Kirk Lynch sets). You could go for very brightly coloured plastic with sparkles in it, but your resale potential might drop. 
My “favourite and I have to say why” wood for the set is ebony. I have had African blackwood UP stuff made in Ireland and had no end of problems with shrinking, warping, cracking, splitting. I currently stick with ebony as it is tried and true. Boxwood for the chanter body is reputed to have a very bright sound, and used to be the wood of choice for European instrument makers before it became so rare. It would be expensive. I am waiting for a flute in mohpane from Casey Burns. I am curious to see how this wood holds up over time (and in spite of me). As for trim, I like the faux ivory - personal taste.
djm
Very bright sound ? Boxwood ?
djm… where did that reference come from??
It comes from verbal remarks from some pipemakers and flutemakers. I have not heard it myself, so I say “reputedly”. I interpret it to mean that boxwood carries the higher harmonics well instead of muting them. Joe Kennedy has been putzing around with a very old set all in boxwood (was in Seattle Piper’s Review a while ago). I guess I’ll get to hear them someday.
djm