I’m continually reading about different chanter ‘styles’. Rousome/Taylor, etc. and how a certain type of reed works better in one type than the other. Problem is, how do I identify which ‘style’ of chanter I have. Chanters don’t come stamped with a certain ‘style’ logo, just a makers name. That maker often copies another ‘style’. I’ve searched long and hard on the internet for an explanation to this but as yet found no answer. So how does one decide, when looking at a chanter, what style it is? Shape, keywork, bore, finger hole size and placement, overall length I’m sure all come into it but I have nothing to compare it to. Your guidance is required, thanks for reading.
What makes it worse (or often, better) is that there is an exterior style (turning, construction, etc) based on Famous Maker X, but the interior style (bore) might be based on Famous Maker Y.
As Tommy mentioned, you have the exterior style/look (keys, blocks, mounts, chanter-top, etc), of a chanter, and then you have the interior style (the bore, throat, tone-hole spacing and size, etc.).
I’m generalizing, but here goes:
Most makers of D chanters will base their design on Leo Rowsome’s work, both inside and out. Although they may vary some aspects according to their own taste or that of their customer. Some makers will use the Rowsome bore, tone-holes, etc., but finish the exterior of the chanter (keys, mounts, etc.) to a different style (ex. Taylor Bros, Kenna). I know of at least one current maker who uses a design which is, both inside and out, based on Taylor Bros.
Leo Rowsome’s pipes are a popular model for two reasons. 1) He made some really great sounding and great looking instruments and 2) There plenty of his pipes still being played, some, apparently, still with the reeds which Leo made (he died in 1970), so reliable measurements of both the chanter and the reed can be made.
The other makers you mentioned, the Taylor Brothers, were renouned for the pipes they made in NY and Philadelphia in the late 19th century. Their instruments were popular with Vaudeville pipers such as Patsy Touhey. There are only about 30 or so sets of Taylor pipes known to have survived.
The Taylor look is very distinctive with wide “ribbon” keys, as opposed to the “salt spoon” keys preferred by Rowsome.
Chris Bayley?
Thanks for the explanation,PJ. That’s a good start. I’ll start looking at pics more objectively now I’ve got some idea what to look for.
Interesting that Chris Bayley is mentioned by Ceann Cromtha, I have a Bayley chanter, so it could be a ‘Taylor style’. I’ll have to find some pics of Taylor chanters.
I understand that Chris Bayley bases his design on the Taylor Bros work. Chris occasionally contributes to this forum, so I won’t go any further.
Tom, you can post photos of your chanter here if you like. There’s a separate threat called “Pictures of Your Pipes”.
I understand that the Taylors’ earlier chanters not have the wide Ribbon keys. Click here for an example of the earlier “look”.
Click here for photos of what most people consider to be the typical “Taylor” style (wide keys).
Photos pinched from NPU and Pat D’Arcy websites.
Hi,
Re PJ’s helpful links (3) to photos of Taylor Bros pipes:
If one looks closely at the photo of the Taylor bros pipes baritone drone end; (See PJ’s 2nd link to Taylor Bros pics, ), it looks to me as if either the the drone end mount is brass lined or the actual drone bore is brass lined. I’m not too sure about the bass drone although the end resonator looks to have brass in there. I can’t really see the tenor drone on the photo but if the other two are brass lined then I see no reason why the tenor drone should not be. Any opinions on brass liners in Taylor pipes?
I’ve seen quite a number of the GHB with brass lined drone bores but not on ours (Uilleann). If Taylor Bros did this, was it a “one off” (could be to repair a badly cracked drone et cetera) or was it their standard set up? Apart from a possible increase in volume, what would be the point of a brass lined drone bores?
Mike