Hi Lewis,
Can’t say 100% from the photo about the bass drone but it looks like it is a result of the bending tool used. Mine has slightly flattened sides.
The reason for the different elevation on the keys is because the bass regulator lies unparallel to the other regs. The three splay out across the drones. The keys are positioned like this so that when the set is put together the keys actually sit level with each other.
Patrick.
The flattening (almost triangular) bend is intentional.
It has to do with some dynamics… way more scientific than I can explain. I was told this from Davy Stephenson who learned it from Peter Hunter. Angus uses the same technique.
Whoo boy, bet that contraption was expensive Stuart - might be a good time to start selling off a few flutes… 
Loren
Wow! What a nice looking set of Bees. Somehow I missed the maker, did
you post that somewhere? I should know by looking, but want to make
sure. Hope it tunes up nicely for you and the reeds all get to liking your climate.
In the photo, the mainstock looks tapered (i.e. conical as opposed to cylindrical). Is that indeed the case? If so, why? Is your Wooff B like that Patrick?
Smell..that’s funny. I remember that new pipe smell. I remember encourage my wife to go sniff the open case the day I got a new set of pipes. She still makes fun of that years later.
I always wondered why the legs of the Ubend on Wooff sets were not parallel. I thought that Geoff’s Harrington had acquired this squished (sorry to be so indelicate) feature over the years and he just incorporated this into his pipes. Not so?
t
Lorenzo-- DUH! Thanks for pointing that out. I think I backspaced the name out. It’s a Geoff Wooff set.
Tommy-- I don’t know about the non-parallel nature of the legs. Maybe P’D’arcy or P’Laban can comment (or anyone else). But we were talking before about the fact that the U-bend section has a more triangular cross-section (than round) before, and someone mentioned it was intentional.
Stuart
What are the full details of the set, if you please. Woods, metalwork, etc. Any idea on how long it took Geoff?
That stuff I DID actually put in the first message, Jim! 
It’s ebony with nickel-silver metalwork and mammoth ivory projecting mounts/etc. The bellows cheeks are spalted elm.
I’m not sure how long it actually took him; he had the timber turned and basically finished this summer, but took some time (with breaks, no doubt) to fit the ivory trim and the keywork.
Stuart
What is the length of the chanter?
I don’t know. As I’ve mentioned before, I haven’t laid hands on the set yet. I will post that information when I do, though!
Stuart
If it’s based on the Coyne pattern, which is what Geoff used to do for his Bs (I don’t know if he still does), it should be in the neighborhood of seventeen and a half inches. A big stick but you don’t notice it because of the small, evenly spaced tone holes. After playing one of these for a coupla hours a concert chanter feels like toothpick!
I know he changed the design some time ago to one smaller than he used before I forget the details.
I do know that in my most recent conversations with him he did mention that his B is based on a Coyne chanter. He also mentioned (and I think I may have posted this before, so forgive the ramble) that his C chanter (which is a nach Harrington) has a wider fingerspan, particularly on the bottom hand.
Stuart
Yes, Geoff’s mainstocks are tapered. This is also to do with the bass regulator placement bringing it closer to the baritone. How it works is: the bass bar comes down along the tapered stock therefore it is diagonal to the other regs. At the end of this Geoff glues in the connector for the bass reg at a very particular angle, very difficult to get just right. The bass reg then extends “out and down” beside the baritone regulator. This angle helps relieve some stresses on the bass reg and main stock because when playing it rests against the leg of the player.
I’m sure Geoff has a far more indepth reason for this (Peter?)… the old lads did it too… good enough reason for me 
Did you get a chance to play in this set Peter?
Patrick.
Another reason for tapering the mainstock is to make the big ferrule tapered. With a rolled ferrule it is much easier to get a tapered ferrule off the mandrel, especially a monsterous big one like the stock ferrule.
Slick! I’m sure they play grand, too. I always think of something Donald Sutherland said in the Dirty Dozen: “They’re pretty! But can they fight?”
And mammoth ivory is the nicest stuff. Beautiful grain in some pieces. I believe the “egg-shaped” drone tube is done to give a bit of more structural rigidity - it work hardens the metal some, and looks nice as well. Something else you see in old sets.
asdml mfas msda mqwweopr fja
sadksa d sad kdslvfr’ dsak cm
casdmkcdsm vvdma’av davmdmla
That’s me being speechless.
Literally, speechless.
If this is the sound I’m getting when (a) I’m not used to the set and (b) the reeds aren’t used to my climate yet . . .
Nirvana.
Stuart