Anyone know who typically makes scalloped tone holes on their chanters? Or are those rare these days?
I have seen a couple of Cillian O’Brien chanters that were heavily scalloped. I assumed from this that they might be a trademark of his. I have seen a couple of other makers who will scallop if requrested, but don’t do this normally.
djm
Further question - what’s the point of scalloping them? Is it more comfortable to play, or does it make them sound better?
Cheers,
Calum
Mainly just easier to play. I started on a Williams chanter (and still starting) that has the scalloping, and I suppose one just gets used to it. I don’t believe there’s any sound quality difference, unless one does it themselves… then, who knows how they would sound?
Tim Britton scallops all his chanter tone holes. He also places the tone holes for comfort and ease of playing (and tuning?) so they are not all in a straight line. His chanters are very elegant in design (see attached photo).
I thought I saw a thread on this list about tuning notes based on the thickness of the chanter wall around each tone hole? Scalloping might give greater control over this tuning?
Scalloping does make it easier for the fingers to find the right position each time, at least on the one chanter I’ve tried. Perhaps more important is that scalloping the tone holes adjusts the “chimney height”, effectively the last length of the bore for a particular note (scallop the B hole, and you reduce the pipe length for the B note. I have heard that the chimney height of holes that are closed for a particular note also effect the tuning, or perhaps tone, of that note, but I haven’t heard any particulars to this effect. Any makers out there who might be willing to share their experience/knowledge on this would be greatly appreciated.
Best Regards,
dave boling
As I understand it, scalloping was done by some makers for tuning, as was mentioned above, but the classical makers didn’t do that, and some makers poo-poo the practise as being inellegant, clumsy and unnecessary.
I too had thought that the scalloping would help me hit the notes better, but it really didn’t help that much. What helped was more practise. So I got rid of the scalloped chanter and now have a rounded outer surface again.
What really seems to make the difference in covering the holes cleanly is the size of the tone holes themselves. This, in my opinion, is one of the reasons that narrow-bore chanters are so much easier to play - the holes are smaller, easier to cover, take less pressure. Ornaments are easy to play (other than speed, which is just as big a challenge on any size chanter).
I really think this is a matter of personal preference. Try one out for a while and see if it does the trick for you. Others are bound to disagree or find fault. F*** 'em. 
djm
My first chanter was a narrow bore D 1999 Koehler & Quinn student practice set, which had no scalloping. When my 2002 K&Q concert half set arrived, the first thing that struck me about the chanter was how comfortable it was to hold compared to the other. The holes are moderately scalloped at an angle that is appropriate for each individual finger of a right-handed player. I wouldn’t say that it makes the holes easer to cover, but it certainly makes it more comfortable to play, especially for long periods of time, with no sore red circles worn into the pads of my fingers. That said, I would agree that it’s a matter of personal preference and I could certainly understand someone wanting the feedback of the sharp edges of the holes.
I would have thought that it would certainly shorten the chanters life,
scalloping the tone holes. 
Funny this scalloping business. I’ve sat with Cillian and watched his finishing process of tuning a chanter with the scalloping and a spot of undercutting, quite a revelation. Scalloping merely for comfort without knowledge of its effect can be disastrous for both tone and tuning. I am a prime example, my old chanter had a flat high A, and it was a reed problem that I later learned, much to my chagrin, (though it still goes great guns, and on loan to a friend, as all spare chanters should be 
). Scalloping the A cured the prob, with a little undercuttting, but raised Low E, so a roll of card between E and F# cured that, but made the tone of Low G stuffy.
I prefer the feel of a chanter that has no scalloping, and I think sealing notes is easier, but to have a beautifully toned and tuned chanter that requires a little getting used to is my bag totally.
Alan
Andreas Rogge will do them either way. I am not sure which way he’s setting up mine. 
Personally, I prefer my scallops with a bit of herbed butter, but a nice wine sauce will do in a pinch …
djm, ever been to the Scallopagos Islands? It’s tartar sauce all the way!
Paul
Tell him now if you have a preference, otherwise you will get a chanter without scallopping.
Boyd
Elbogo, tartar sauce? What would the Russians know of the real scallopini?
By moderately scalloped you probably mean, if you could have seen the chanter new off the lathe, that the scalloping doesn’t extend below the lowest rim of any of the holes as originally drilled. If you look at a chanter sideways, you’ll see that the holes (big D holes anyway) form a crescent or depression from the top surface. If you contour the chanter so the fingers lay in playing position along the troughs you make (scallops) you in effect increase the seal width significantly without lowering chimney height. This also makes a difference in sliding and thumbwork, as the fingers do not catch the edges of the holes as they slide.
This is entirely different than mindlessly sanding actual scallops on all the holes as viewed from the side regardless of finger positon. Fingers most helped in sealing by contouring are probably C and back D.
Royce
Royce, that slight scoop you refer to at C and back D may be true for playability, but not all makers do it (scalloping). Some makers will slightly flatten the front side of the chanter to make it easier to stop up the holes. But some makers, like Cillian O’Brien, routinely take great big scoops out of the chanter at each hole. Mind you, such chanters are squarish rather than round, and much heavier than other, thinner, rounder chanters, too.
djm
I’ve seen a lot of old Rowsomes and Taylors that have that very noticeable scalloping. I don’t really like the feel, and often they’re directed in the wrong angle on C and B and A for the way I or others might hold the chanter. That’s a very individulized bit of finishing and a maker would be crazy to do it unless based on the individualized player.
The other thing you mention I’ve seen as well, with a big flat divot arced out the back D in particular. Keenan and the Koeler/Quinn chanters I’ve seen have that. But it’s obviously something you can only do if there’s a bit of wood on the chanter in the first place, ending up at about the same chimney height you would if the whole shaft had started thinner and not been scalloped or flattened. That really flat back D is very very comfortable for me anyway. C is also easier for me with a flattened trough, though I have mine angled to follow the finger’s angle and bend. My C ends up wanting to fall into a crook/wringle near a joint and doesn’t like to seal very well on a dead-round shaft with sharp edges on the hole.
Royce
A reallyscalloped chanter:
OK, it’s not exactly the sort of chanter we’re discussing here, but it serves to illustrate a point; it’s extremely easy to finger this chanter, even after making Lorenzo’s fruitcake. 
-Jonathan-
My Brian Howard chanter (concert D) also has this
S