Why is it that the Taylor brothers used an inverted cone staple ? I wonder If they just experimented , or did they have some grasp of the physics involved in the pipmaking trade .
I have noticed , much to my delight that the taylor sets I have played have produced a high volume of sound , but with a small amount of bag pressure . I don’t really go for erinventing the wheel but the Taylors seem to have done that to some degree , I wonder where they got there exprtise ?
tok. :roll: some taylor reeds and staples can be seen at my website .
Tom .
“erinventing”? Me thinks you are excited about erinventing!
Sorry, tok, couldn’t help it, as I’m here alone at 2:00am.
“Erinventing” sounds like a very serendipitous new verb to describe the characteristic activity of an Irish windbag.
sorry folks that should say reinvent .
tom.
Tom…
You just inadvertently coined a new term.
The Irish are always so resourceful,
sometimes even by accident! Who knows,
maybe that’s how the UP double octave reed-
chanter was invented, quite by mistake, and now
“erin-vented” “Erin Go Vented” …I like it!
psssst…maybe it was Erin’s call.
I have an old, unmarked Taylor or Taylor copy CP chanter-David Quinn told me it might well be by old time Boston maker Patsy Brown. It has a smallish throat, under 3/16," and half inch bell; and only properly works with a reverse taper staple, for one thing the reed seat is too small to accept a larger staple. My best reed has an unmodified 3/16" brass tube staple-with some brass shim stock in the bottom, a phoney baloney reverse taper staple. Take the shim out and the high G and F# snarl. Brad Angus has reeded various Taylor or Taylor copies and they all worked best with reverse taper staples. The Taylors liked tiny throats for their pipes-I have measurements of a double bass reg of theirs whose largest tonehole is about .9", huge-but the throat is still about 11/64".