When I read rorybellow´s thread about learning this question came to my mind: Has there ever been a kind of regional style in piping (maybe Clare; Dublin; American; Australian…) or is it limited to individuality (Doran → Furey; Keenan; Spillane…) - (Touhey → Shannon) - (Conroy → Smyth; Coyne); open - “middle of the road” - tight or certain circumstances (travelling ↔ “gentleman”).?
It is different with fiddles but here the “critical mass” that has led to the forming of certain regional styles (Donegal, Sligo, Slieve Luchrá …) is much denser.
County Clare is quite associated with concertinas (“Would you like tea and scones” 
).
What aboute flute playing?
I don’t think there’s any regional style. I think there are two opposing styles - tight and open. I find it very difficult to point to a piper and say that he plays the tight or open style exclusively. For me, it’s more a question of incorporating degrees of tight and open playing in your piping. The trick is knowing when to use which to bring out the personality of the tune.
By the way, there’s a recent Rolling Wave program which features an interview with Andy Conroy (some would consider him to be very much of the tight piping school) in which he states he used a certain degree of legato in his piping.
Impressive creativity of the ads! That is today´s conception of regionality! 
In piping I dont think regional styles exist anymore due to the availability of recorded music ,as I assume that regional styles were formed due to the fact that the only music one heard was the local musicians, and you followed in that style.But with that said ,it seems that regional styles still exist with other instruments,but I dont understand why that is .
It is in fact a very big question that could be discussed forever and to do it justice you really need to know what your talking about . The main thing you would need, is the knowledge to recognise different regional styles and from there you maybe able to say if a particular player is playing in a particular style.
Beyond my knowledge I’m afraid and I dont think there is anyone on the forum with the necessary depth of knowledge!
RORY
I don’t pretend to have the answer to this question but I suspect that the nature of the piper’s repertoire would have something to do with it. The chanter is more limited than a fiddle, which has a range of half an octave below the chanter. So even he wanted to, a piper couldn’t learn all the tunes of his locality - the limitations of the instrument would prevent him OR the fact that some tunes just don’t sound good when played on the pipes. So to make up the rest of the piper’s repertoire, he learned tunes from other regions, maybe from travelling pipers or maybe he himself became a travelling piper.
My 2l 3s 4d
In an effort to increase his repertoire I think a piper with a developed style would more likely change the tune to suit his style not the other way round.
But I think the idea that non-travelling pipers mostly learning from travelling pipers is a possible answer.We all know that Willie Clancy followed Johnny Doran around when he was in range and maybe due to the low number of pipers compared to other instruments,would lead to pipers learning their style from these travelling pipers.
At this point it would be important to say that not all travelling pipers played in the “travelling style” as we call it now. I think even the experts cannot agree if the way Johnny Doran played is the “travelling style” or if it was just the “Johnny Doran style”.
The other possible answer is that there is regional styles in piping but not in the same way as other instruments . Could Robbie Hannon’s style be considered a “Donegal style” or Willie Clancy’s a “Clare style”.?
RORY