At the “end” of the design process with Terry Ackland I figured I needed to put my advice where my mouth is and switch all my pipes over to Ackland drone reeds. With a little hesitation, I committed and I couldn’t be happier with the drone tone out of each of my sets of pipes. All of them. Gellaitry, Henderson, Terry, Sinclair, David Glen, Colin Kyo, etc. This page will contain recordings of Ackland reeds in all my pipes as I get around to recording them. Check back for updates!
As you’ll find on my Modern Drone Reed Review page, I am all about bold drones and I assert that requires bold drone reeds. Drones should not hum in the background, but stand out and interact harmonically with our modern, bold chanters. Before, I’d have to sift through a few brands of reeds to find the best fit for performance and tone with each different brand of pipe. This usually involved a combination of Kinnaird, Redwood, and X-TREME in most pipes with a couple of other brands thrown in on occasion. But now, I’m convinced you can just throw a set of Ackland’s in there and be golden.
2020-8-28: I start with Colin Kyo Bagpipes. I love these reeds in these pipes. A big bold tenor sound is what you get (bass too, of course). Maybe a bit too bold to start as I had the bridles set back a wee bit; though don’t let the recording setup bias you immediately as the first orientation I have with the mic has the tenor drones blaring right into them, I do rotate around eventually to get a slightly more even balance:
For the recording below, I swapped out the tenors for Ackland tenors with a -0.001″ design specification change which mellowed out the tenors a little bit. The overall blend is very good and Terry Ackland will make you these if you want; I think I’m still sold on the original (see further below recording that starts with Hector the Hero).
2020-8-31: I also recorded a more common drone reed setup so you could hear how much more vibrant the Ackland reeds are. The recording setup is exactly the same. Ezee tenors and Kinnaird bass. A great tone for sure, but just too refined for my taste.
Kantara to El Arish, Murray Huggins’ Sweet Chanter, & Murdo MacGillivray of Eoligarry – You’ll hear this MSR again later down in my Hnederson’s also.
2020-9-1: I then revisited the normal set of Ackland reeds (the same reeds as the first recording above) but I optimized them a little more for efficiency by moving the bridles down just a wee bit (any further and they started to shut off). I think it brought the tenors down to a much better level and I really enjoy the blend here.
It’s a GREAT HIGHLAND BAGPIPE and mine are going to live up to the name. Of course, don’t take that the wrong way; by no means am I going to play gut buster reeds to get the loudest chanter sound I can (my reed preference is around 28-30″ H2O), I’m after the best overall sound I can get and that means drones and drone reeds that give *audible* harmonics that give my chanter a new fuzzy sound with each new note.
2020-9-13: We now switch to the pipes I’ve owned the longest, since I was 15 or 16 years old, so two decades now: 1950s Henderson Bagpipes acquired from Jimmy McIntosh by my parents. The mic is in the same spot but I felt the recordings were coming off a little quiet so I increased the recorder’s recording volume +5 relative to above recordings of the Colin Kyo pipe. I’ve always had a wee bit of trouble reeding these Henderson pipes. They last held a full set of X-TREME as the bass was fantastic and the mellow X-TREME tenors brought the tenors in line. The bass tone was great and the result was a bass heavy blend that was a nice sound that I enjoyed in my rotation of pipes. But now, with Ackland reeds, the tenors are still under control but the sound is that much more glorious for the volume the Ackland tenor reeds bring. These Ackland are the 466 (Bb) model.
I attempted to keep the same recording set up as used before, though as noted the mic setting changed and since the pipe changed from Kyo to Henderson, so did the chanter; so the mic position in the room is the same as is where I’m standing and rotating, but all else has changed.
My favorite thing to play these days are MSR and HJ and that’s about all I practice. I’ll be walking back and forth in these during the march (unless I’m sight reading the music off the bed), so there will be a variety of orientations you’ll hear the pipes from.
David Ross of Rosehall, Tulloch Gorm, & The Keel Row – A new set for me, still sight reading. Tulloch Gorm is such a hard tune, an excellent challenge both technically and rhythmically; I play the birls straight from B and C which is tough, especially since my birls aren’t that great to begin with. Keel Row is such fun; make sure you hold the initial C and B on the GDE (I think I rushed off the endings of the GDE just a bit) and the A and G on the tachums in the ending phrases. David Rose of Rosehall is so melodic especially when you put the 2nd (actually 1st) throw back into the second part and fix the 4th part second ending.
Hugh Alexander Low of Tiree, Top of Craigvenow, Willie Murray’s Reel, Fiona Ferguson, & Thief of Lochaber – Another newer set for me. Hugh just loves to sit on low A and G. Craigvenow is a great darado exercise; I’m changing the placement of the darado in the 2nd bar between the 1/2 and 3/4 parts to add some variety in what seems a bit tedious to me when they’re all played on the same beat. Willie Murray’s is great fun with drive; love playing taorluaths from C instead of GDE at the end of the phrases in the 1/2 parts. Fiona is a classic from MacLeod that I follow up with a jig I’ve known forever, The Thief of Lochaber (with 3/4 parts by MacLeod).
The Clan MacColl, MacBeth’s Strathspey, & Traditional – My most recently memorized new MSR, forgive the bobbled 3rd part – 2nd line restart in the march, accidentally went into the 4th part ending. MacBeth’s is another challenging strathspey though I’m starting to get a handle on it. Traditional is another great reel from MacLeod’s books, I usually miss the D doubling in the ending phrase but I’m working on it; I’ve played my own rhythm for so long I don’t remember what is usually played (MacLeod has it written mostly round).
Cowal Gathering, Neil Sutherland of Lairg, Stornoway Castle – I’ve played Cowal forever though I still struggle in the ending, I have to make sure to pause on each themal beat note. Lairg is just so fun and strathspey-ey. Stornoway is one of the most fun reels ever!
Kantara to El Arish, Murray Huggins’ Sweet Chanter, & Murdo McGillivray of Eoligarry – an MSR I’ve played for a while now; you can tell because it’s already on this page in a different pipe.
John MacColl’s March to Kilbowie Cottage, Clachnaharry, & Roderick MacDonald – an MSR I’ve played for a while now. Attacked Roderick a little too tight and got a squeal :-|
2020-9-14: Here are my Gellaitry pipes with Ackland reeds. How can one not love the blend?! Recording volume has again increased by 5 units on my Zoom H4n.
Scots Wha Hae, High Road to Gairloch, Brown Haired Maiden, & 42nd Highlanders – looks like I gotta work on those heavy D throws!
John MacColl’s March to Kilbowie Cottage, Clachnaharry, Roderick MacDonald, Angus MacKenzie of Dumbarton, & Joseph MacDonald’s Jig – I love playing Angus MacKenzie of Dumbarton with a little dot cut added following Roderick MacDonald. I need to pay attention to the dot cut of the pickup notes in the march; I really rounded out the pickup notes in the first part of Kilbowie, yikes.
2020-09-15: Now I’ve got the Chris Terry pipes with Ackland drone reeds. Since I’ve only been practicing my MSRs I figured I’d play other stuff for the recordings, stuff I haven’t played in a while. Please excuse me forgetting how stuff goes!
2020-09-16: Cocuswood David Glen Bagpipes! Still trying to remember old tunes to not beat the same old competition MSRs into the ground, please forgive when I forget how they go!
Mo Ghile Mear, Neili’s, & Ger the Rigger – forgot my ending phrases went in the last tune, oh well
More Polkas! – Polka Polka Polka
2020-09-17: Gibson pipes! This is also the first time I will not be playing a Colin Kyo chanter, but the Gibson chanter that came with my new-to-me Gibson R-110-D pipes. Actually, everything about this setup is different than all my others. Instead of an old L&M elk hide or a Gannaway bag, I am using a medium Canmore hybrid bag (no MCS) and an Apps 2019 ridge cut reed (that’s a little too hard for me as I’m breaking it in, apologize in advance for all the chokes). This Gibson chanter is probably ~2004 and has pretty good tone. I notice the E hole is rather large making it a bit sharp and I’m curious if that is specific to this era of Gibson chanter. In other tests I noticed plastic pipe reeds (Glenarley and McLaren) which usually suffer from flat Es in all other chanters had less of a problem in this chanter. Though, as you’ll hear in the recordings, I had a tough time really perfecting how much tape was needed on the E hole. It being a big hole was problematic as it needed more than just a little tape and the more tape you put on a hole the more unstable the note becomes. I’ll get there, it being a harder chanter reed than I’m used to didn’t help.