The whole reed-chanter problem, according to the maker
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The whole reed-chanter problem, according to the maker
Well, the title says it.
Basically, when you guys make as set, do you follow the plan exactly, and then expect the whole thing to be in tune from the word go?
Why I am asking is because to me it never occured to make a set that way. I make the fingerholes slightly undersize, then tune the whole chanter up to the reed.
Any comments?
Basically, when you guys make as set, do you follow the plan exactly, and then expect the whole thing to be in tune from the word go?
Why I am asking is because to me it never occured to make a set that way. I make the fingerholes slightly undersize, then tune the whole chanter up to the reed.
Any comments?
Re: The whole reed-chanter problem, according to the maker
I read some advice somewhere on one or more of David Daye's pages that actually instead recommended going oversize slightly to begin with, and then reduce via heat-shrink tube. I sort of think this was more in the context of chanter replication experiments, as opposed to making a refined finished product.
I built my whole chanter, and drilled all holes as proscribed before I managed to get a proper reed. Before I got my chanter working, I expressed apprehension regarding tuning/voicing to my teacher. I was surprised to see that he sorta waved off my fears, as though it wouldn't be a huge deal. I was further surprised by how well tuned the intervals actually were, once I got a proper reed in place. I suspect part of this is due to the high reproducibility of the brass tube design.
Since I feel so new to instrument design, I can't really form an opinion on the matter, but I think it's a very interesting question. I do know that wood scares me. I'm used to the world of plastics, where a glob of well-placed Bondo putty and a good paint-job will solve any screwup.
I built my whole chanter, and drilled all holes as proscribed before I managed to get a proper reed. Before I got my chanter working, I expressed apprehension regarding tuning/voicing to my teacher. I was surprised to see that he sorta waved off my fears, as though it wouldn't be a huge deal. I was further surprised by how well tuned the intervals actually were, once I got a proper reed in place. I suspect part of this is due to the high reproducibility of the brass tube design.
Since I feel so new to instrument design, I can't really form an opinion on the matter, but I think it's a very interesting question. I do know that wood scares me. I'm used to the world of plastics, where a glob of well-placed Bondo putty and a good paint-job will solve any screwup.
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Join date : 2010-11-30
Location : Maryland
Re: The whole reed-chanter problem, according to the maker
Yuri wrote:Well, the title says it.
Basically, when you guys make as set, do you follow the plan exactly, and then expect the whole thing to be in tune from the word go?
Why I am asking is because to me it never occured to make a set that way. I make the fingerholes slightly undersize, then tune the whole chanter up to the reed.
Any comments?
I always drill undersized, even with proven plans that I have already used. Their is always a chance, with marking tone holes by hand, to be off a mm or so. Also even long boring with gun drills, the bore is not perfectly straight no matter how it may seem. This can lead to longer distances from the top of the tone hole to the bore, effectively moving the length of the tone hole up or down the chanter. That is if your looking at total length from the top of the chanter to the top of the tone hole just before the Gopher pops out of the hole. Anyways, were talking about a mm or so, or thousands, but in the end I do as Yuri does, drill undersized. You can always open up a hole, but filling and re-drilling is unprofessional and can be avoided with patience. Seth
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