I have recently taken notice of a seemingly increasing number of 3/4 sets among excellent players and makers. I’m sure this is not entirely new, but something I only just clocked. But it seems like there are a lot more top pipers and makers sticking with two regulators lately. Martin Preshaw seems to be focussing on making mostly 3/4 sets, Padraig McGovern is playing a 3/4 flat set, I saw a video of Jarlath Henderson performing on a 3/4 set just today. And many other recent videos of less well known, but talented pipers on 3/4 sets. Seems like a bit of a trend.
Now, the obvious point is that bass regulators are the most expensive single part of the instrument and you can get a lot done with 2 regs. But does it go beyond simple savings? Fewer pipers vamping the regs these days so in less need of the third one? Is it driven by makers preferring not to make bass regs when they can avoid it (a sentiment I have definitely heard from makers before).
Have we seen this before in the evolution of the current three-reg full set? You can still get all the bells and whistles if you want them of course, but a lot of the impressive but troublesome: contrabass regs, bass reg extensions, fourth and fifth regs, double chanters - seems to be consigned to the past. Is this another streamlining, removing the most troublesome part of our troublesome instrument?
Valid points. Plus, the bass reg bar adds considerably to the weight of the set and is sometimes a bit awkward to handle.
As for your assumption that players prefer simpler sets today: I think the opposite is true, at least in non-traditionalist circles. Andreas Rogge told me he hardly gets orders for 3-drone, 3-reg configurations anymore. “Kannmacher switch” D/E-drones, added G/A drones, E regs, bass drone D/G switch are quite popular choices nowadays, at least in my neck of the woods. Not for me, though.
I currently play a 3/4 Kirk Lynch set with a Benedict Koehler chanter. The drones and regs just work and don’t require a lot of fussing.
As Kirk is no longer making pipes and even when he was, from what I’ve been told, didn’t make many bass regulators, I’ve thought about commissioning another builder to have a folded bass regulator added to my set.
The times I’ve play other players full sets with folded bass regulators and the regulators across the lap as one would do with a 3/4 set, it felt very natural to me.
It is interesting to see two different comments on playing without the traditional straight bass regulator bar as being more comfortable or less cumbersome. I find it quite the opposite - I have always found having the straight bass bar int he crook of my elbow gives me much more leverage and control over the instrument. Even when playing a half-set, I find that the drones tend to slide around, bump the chanter, interfere with popping etc. I would (almost) advocate a ‘dummy’ bar even on half sets to keep things more firmly in place (though I haven’t descended to such madness… yet…)
The early sets of union pipes had one or two regulators. Did I hear that bass regulators weren’t common until the early 19th century? That would mean that for the first 100 years, 3/4 sets would have been the norm.
It was only after the church got involved (as they did with everything in those days) that the third reg was added. It was deemed more appropriate that three regs should come out of the one stock as in the holy Trinity. Thirteen keys to symbolize Jesus and twelve apostles was also part of the thinking.
I have no idea if 3/4’s are trending right now but not so much amongst my customers. I have made 3 in the last 11 years and I am not sure if I have another on the waiting list. All the rest have been standard three regulator sets… though those bass regulators are easily ( some would say too easily) removed, mainly for fitting into a shorter case, the piper can block up the bass air feed and play in 3/4 mode.
Why “too easily”, Geoff? Do I conjure visions of Wooff basses rocketing out of position in a crowded session, skewering bodhrans and cleaving banjo heads? (A flat session of course).
As the owner of one of these, the choice was a deliberate one, based on the purpose of the set : taking it out to play with others locally. A very compact instrument to play in tight corners. And my ‘little D set is just that’. I wouldn’t dream of thinking about taking the bass off my other set if anything I am using the bass reg more these days.
Ah well, these slide off basses can be either too tight or not tight enough but the very idea of a flat session with Bodhrans and Banjos… my word !!
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Just trying to scandalise the laity…
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‘Laity’ ? If I knew what that meant I might be insulted… but 'tis probably another name for a milky coffee.
Three quarters or Full, I don’t mind as long as they are flat or narrow… them loud feckers ain’t for me.
‘Laity’ ? If I knew what that meant I might be insulted… but 'tis probably another name for a milky coffee.
Three quarters or Full, I don’t mind as long as they are flat or narrow… them loud feckers ain’t for me.
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Sorry, that was a very niche liturgical reference. We say that whenever we use too much incense or too many candles or too much lace, or in any other way over egg the pudding at Mass. Hence my association of it with bodhrans and banjos- which would certainly over egg the pudding of a flat session. Sorry, crossed my extremely niche wires there…
[EDIT: I am not a priest, I just do a lot of ceremonial MC’ing]
Soft , Purring Pipes is what the UP is all about for me… Those CP’s are getting far too loud… trying to compete wih Accordions and Concertinas… no point.
My wife plays the Cabrette and that is one loud fecker and I found an accordeon that is loud enough to accompany it… and I have a concertina that can be heard down the street in the next bar… But gimme a purring flat set any day.
