I thought I’d share pictures of a new full set I recently received. This set has Coyne ‘written’ all over it, from sound to stylings.
https://www.box.com/s/db0dme10a990midgvo4w
seems there is not an emoticon for /drool, but /drool it is! congratulations! great looking set!
Very nice indeed. Enjoy playing them!
Do you have pictures?
There’s a link to a zip-file containing lovely pics in the first post.
What i’d like is sound samples!! 
Nice. Looking forward to a sound clip meself.
They should keep you occupied for a while now.
Regards,
H.
Thanks to all, and especially (again) to my friend Joe. Joe’s vision of both Coyne sonics and aesthetics really come to fruition with this set. The sounds off this set for me breathe new life into old chestnuts. The chanter challenges the player to find all the nuances, and different finger combinations coax slight variations in pitch, and timbre. Too, Joe made some great reeds for this set, and it shipped easy from Canada to Miami w/no failures. Joe used spruce tongues w/brass bodies, a wise move for any pipe maker. The drones worked perfectly out of the box. I built a new spruce tongue for the baritone drone, and I’ll be putting in a cane reed in the bass this week, which I can’t wait to hear (for a bit more growl)! Though, the drones already are quite Ennis sounding.
To echo what Harry said, there’s quite a bit here to get at! Indeed, it will keep me busy for a lifetime! I’ll try to post a sound file before the end of June.
Wow!!! Gorgeous! I’ve had one of Joe’s C chanters for about a year now, and I can attest to the range of colors you can get with it. Now if I could just get the right colors at the right times! Can’t wait to hear and be inspired by your clip. Congratulations!
It’s a lovely set. What kind of woods were used? Also, there seems to be quite a bit of splay of the regulators and drones out of the main stock. Is this typical of Coyne pipes or Joe’s pipes or both?
Hiya Steve! Good eye re: the regs. Joe says, “I do it for ascetics. It’s my vision of the way i like the sets to look.” Simultaneously, I showed Peter Hunter the pics recently and he commented “…like some of the old sets.” I’m not an expert in all things Coyne, so I can’t comment there. The spacing of the regs works well for me…
em… whenever it is I’m working well on the regs!
Beautiful set! It looks a lot like my Angus set in B. I also have a bent reg bar. I really like the classic look with the bent reg bar. I find the splay of the regs is really nice. A hack a did with my set was to get a PVC cup and tie this into my bag. I did this so the butt of the stock projects into the bag. This put the regs bang under my wrist and compensated for the longer stock on the flat set. You also cannot even see or feel the cup.
How do you like the chanter stock tied into the bag with the longer neck? I have kinda wanted to try this with a new bag on my set. It looks like you get extra mobility with the chanter.
Thanks for sharing!
Jason
Any clip?
Aha! Proof that flat sets are indeed a special kind of torture.
Dying to know if you wrap the bag in barbed wire or wear a hair piping shirt or anything.
Hehe, I was at the launch of a west Clare Musicmakers centre/experience/visitors centre (for which I supplied a fair number of photographs) where on one of the displays someone was quoted saying Garret Barry ‘was an aesthetic looking pale, man’. Nobody seemed bothered about it.
The neck into the bag is the way to go. For mobility, sure, but also for the way everything resonates in your hands. I’ve seen some designs where the bag is tied onto the chanter top. As a reedmaker myself, I didn’t want this because I needed to put the swan neck back on to mouth blow/test the reed. Joe made a cap at the top of the bag the allows me to slide the neck on to the chanter top, and back off in short order.
If you change your chanter feed, from a Swan Neck or other type, to a bag direct tie-in or intermediate cup , you may find that your chanter is no longer giving you an accurate scale through its range. This is because there are three standing waves which all have to be in their respective places to achieve a tuned note, the ‘return’ wave which rises back up the air supply towards the bag will have its hard surfaced volumetric confinement altered and will thus supply you with some notes that are not exactly the same ( flatter or sharper) as before.
I did this change myself, about 30 years ago and spent several frustrating days trying to tune my drones to a chanter scale that was just not quite ‘right’ any more. Eventually I gave up and cut the new bag back and re-installed the plug and Swan Neck… it has been there ever since.
Of course, if it is made like this in the first place then the reed and the chanter tuning will be corrected for the type of feed.
The folded bass regulator is of course not Coyne ,was that a personal request or is that how Joe makes them ?
RORY
Indeed, that was a personal choice. Joe wouldn’t’ve made on his own…that’s for sure! he loves the look of the straight bass bar, period! I actually like the look to… but,
The thing is, I’ve never played with one, and I’ve been playing for too long at this stage to want to get used to something new. Though, I don’t doubt that I could’ve.… It’s just that the sets I’ve played with the straight bass bars felt ackward. Too, I’m aware that many subscribe to the idea that the bass bar gives the player the perfect angle for the regs. I figured, I could just get a strap if I needed that angle. Finally, since I don’t play with the bag directly under my arm, well… this could be because I don’thave a bass bar… I’m sure you’re getting the picture, now!?!
Bag tie in: The Piece that Joe uses to interface the bag to the chanter top, has that flat surface, so in affect it is like have the swan neck w/o the swan neck. I’ll try to take a picture of it.
Aye, tying directly in can affect tuning but it also affects tone. Even changing the size of swan neck will affect tone - for me the bigger the better*, as close as possible to tying directly in. I’ve never done that myself, but according to Browne it is worth it if you can be bothered.
For the same reason, I don’t tonally like stop keys as the whole shebang is changed above the reed, constricted at the expense of tone.
Sam
*14mm ID not unknown on a concert chanter.
I’v heard that some makers dont like tubing for the hard surfaced volumetric confinement because the best shape is actually a parabolic curve .The shape counteracts the conical bore to form a pair of parabollix.
RORY