You’ll need to get his phone# or snail mail address, as I do not believe he is online… choosing to work in a PC-free environment.
Sounds like someone’s livin’ in the past!! Contemporiiiiizze Maaannn!! 
But seriously, thanks Jim, that’s a good lead to pursue.
Cheers,
DavidG
Most likely trying to get work done and orders filled without having the mind controlling/numbing qualities of email and message boards.
Dude’s got a HUGE workload, man. 
That’s 'cause he’s the DUDE. Ain’t no one get to be the dude if they aint got the creds, maaan
Amen, brotha man!!!
Gotcha; I didn’t twig that it was that Malcolm.
Overall quite different from the Crowley I reeded (appearance and, apparently, bore). Anybody know the connection (if any?) between Tadhg and Denis Crowley? Were both from Cork?
Bill[/i]
Father and son - same tools - located in Cork; Alain bought the remainder ebony from the pipemaking operation off Denis’ son, including a nice sized log that was purchased about 1945. Tadgh Crowley made the set that Paddy Keenan played for years and years. That set just ‘wore out’ on Paddy and was rumored to be up for sale in the 50,000USD range but i have never heard that it sold. That set and the one that was in BK’s workshop were Tadgh sets - ebony and ivory with nickel silver, pin-mounted keys.
One other set that passed through my hands at the same time was a Denis Crowley set. The new owner took the set to Michael Dow for refurbishment.
Having reeded my own roswome copy (reamers made by John Hughes) I’ve found that a stronger reed gives a sharp Back D for which tape over the hole is necessary. I’m wondering, because Crowley chanters have a much lower thumb hole, and hence a much flatter back D, that Crowley may have intended his chanters to be reeded strongly and thus tuned his back D in accordance to the resulting strong back D. Just some more thoughts.
Cheers,
DavidG
Possibly - though the reeds I put in the (wide-throat) Crowley were reasonably light. I don’t recall anything weird about the C# (which you might expect to be a casualty of pushing the reed further into the reed seat to compensate (for a flat back D). However I did add a rather long rush which may have flattened the other notes so as to compensate. Without it, on my initial try at reeding the chanter, the whole business wanted to play quite sharp (+>30 cents) IIRC.
Given the throat differences I wouldn’t draw too many conclusions from my own experience of course.
Bill
We’ll see what we can do based on this information. I suspect we’ll end up rushing the bore as well. No matter. Thanks Bill, Reedman, and everyone, for your suggestions. I’ll let you know what we come up with. We’ll get this baby up and running yet.
Cheers,
DavidG