Musically, these drones are adapted from antique "narrow bore" or "flat pitch" designs, from the days when the instruments were known as "union" pipes. Mine have been scaled wider to support the modern Concert D chanters in loudness, and fine-tuned for low-maintenance artificial reeds at modern pitch.
This approach represents a certain amount of re-evolution of the Concert D drones.
An important consideration in making bagpipes for performance is that the different parts do not project sound equally over different distances. The high-pitched chanters carry farthest, the middle-pitched drones less, and the bass is heard only at the closest range. So a basic problem is to choose the intended listening range.
Antique union pipes were built for parlour playing, where close surroundings capture all the sounds for both piper and listeners. Highland bagpipes are at the opposite extreme, intended for hearing scores of meters away through open air. They need very loud drones that are out of balance at the ear of the piper. Concert uilleann pipes fall in between. They're intended to project to audiences, so they need an intermediate balance that will carry the drone sound beyond close quarters, but not the power to disorient attacking armies and the piper at the same time!
These new drones have been substantially increased in loudness beyond the original antiques. Testing and performing in large rooms and halls shows they project a bassy blend at audience distances without competing too much against modest-volume chanters in very close quarters.
The construction uses the traditional layout, including conventional curved-tubing style of bass drone and common 2-part baritone and tenor drones. Straight segments are plain of black acetyl plastic ("Delrin") with brass trim. The budget mainstock has a black simulated leather exterior over PVC pipe and an on/off switch (valve). It can detach for packing or for playing the set as a droneless Practice Set.
The reeds are weather-resistant artificial construction using thin plastic sheet tongues on metal tube. Since the pipes are not of contemporary Rowsome derivation, they will not take conventional concert D drone reeds, although attention is being given to finding suitable designs for natural cane reeds. Their artificial reeds should have long service lives and are easily reproduced from inexpensive, readily-obtained materials. The reeds respond to the standard adjustments as expected.
Availability of the first drone sets is now expected
in late Spring to early summer 2003. The waiting list will NOT
open until I have caught up on some back-ordered chanters, practice sets
and reeds.
This set is a complete stand of 3 uilleann pipe drones: bass, baritone and tenor. It has all the traditional acoustic parts: valved mainstock, tube type single-reeds, bass drone loops, and chamber type tuning slides.
The low cost comes from constructing the stand entirely of standard brass and plastic tubing for modest loudness and the low mechanical stresses of home practicing. The mainstock valve is a budget "twist" system. The drones are easily switched on/off during a few seconds' pause.
Easily-made artificial reeds of the same construction used for concert drones help keep the tone musical and realistic. The bass drone uses an innovative "short-wrap" tailpiece that brings its speaking end close to the piper. The exterior length is not much more than the baritone, reducing the structural problems of longer traditional basses and letting the piper sit in more confined spaces. The bore is adapted from antique designs for improved deep bass power. All this helps the piper get the most sound from a low-volume, low-effort stand.
To E-mail David Daye click here
Telephone Whidbey Island, Washington USA 360-240-8787
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