The G1 platinum reed was so impressive in the G1 chanter I wanted to establish a baseline for its performance and try it in a Colin Kyo chanter. The first thing I’ll note is it wasn’t quite as loud in the CK chanter. The G1 is very much a band chanter and I like to consider the CK an all around chanter (I use it for solos and in my band), but you may call it a solo chanter if you’d like. I’m not sure I’d use the G1 in solos as I’d like my drones to be a more significant fraction of the overall sound. That being said, I’d say 50% of the big volume I got with the G1 chanter in the previous post was from this reed, it’s a nice big reed. The CK also tuned to 480 Hz instead of the 486 Hz of the G1 chanter. The C# was a tad bit flat in the CK, which is not uncommon, so I taped the low A down to the C#, but this ultimately didn’t affect the pitch the chanter tuned at too much, less than 1 Hz for sure. Pictures comparing the two chanters can be seen directly below with the CK on the left, G1 on the right. You’ll notice the G1 is a longer chanter, and therefore longer than most chanters. The hole spacing is very similar to the CK chanter which is why it is a very comfortable chanter to play. The tape on both chanters is indicative of what was required for the G1 platinum reed; although notice a lot of tape on the G1 chanter isn’t actually covering the hole very much or at all, it’s there just in case. The other reed, Husk, is what was in the poly CK beforehand; pay it no attention, I just needed a place to put it after swapping reeds and the G1 reed seat seemed like a good spot. You can click on the pictures for larger versions.
Now for some tunes! Sorry I didn’t get the high G and A in until the latter recordings, I was in a hurry. The pipes are my 1950’s Hendersons with Atherton MacDougall spec Rockets.
Scales and Wings facing the mic, facing away, facing away, facing the mic
Echo Lake, (Don’t Remember), Room 35, Moonshine – facing the mic
Calista Anne McLaurin, Latisha McLaurin, Rory Gallagher, 1st Hype Cowboy Division – facing away from the mic
Leaving Port Askaig and The Quaker – walking back and forth perpendicular to the mic, first recording so high G a little out
This is a review of the G1 chanter. This chanter is not the higher pitched version, but the regular version. The chanter is plastic and was ordered with the accompanying reed protector and G1 platinum reed. I believe John Elliott (the maker) told me the spacing between the bottom of the D hole and the top of the low A hole is 75 mm, and on a Kyo it is 74 mm as measured by me. Granted the holes are slightly larger on the G1 chanter but my fingers don’t lie, it is a comfortable chanter to play. John has made a great pair of products. The G1 platinum chanter reed has great projection for it’s strength (I’m going with medium, I usually play at 32″ H2O and this is just slightly stouter than my solo reed strength preference). The reed also tunes very easily in the chanter. I have the tiniest bits of tape on a couple notes and a little tape on high G. That’s it; the internal tuning of the chanter is VERY good. His products match perfectly to each other. His reed and chanter combination provides a strong scale throughout with a strong high A. My only quibble is it tunes at 486.3 Hz in my 75F home. It’ll hit 490 Hz in nothing flat outside in the dry West Texas heat. I’m thinking about picking up a Bb version with the expectation that it would end up somewhere in the low 470s but I’d really like something in the high 470s. John was kind enough to provide a picture of the regular and Bb versions next to each other and they really aren’t all that different. He states the holes are slightly smaller and farther apart on the Bb to attain the alternate pitch, along with internal modifications. The spread isn’t that much greater but the desire to play that flat doesn’t exist so I’m not sure I’ll spring for it just yet. So he’s got a 466 and a 486 chanter, I’d love to see a 476 chanter. The proof is in the pudding so take a listen to the audio down below. This chanter is louder than any other I’ve recorded, so pay attention to your speaker/headphone volume.
Scales and Scotland the Brave – Beware!!! First scale is facing the mic, second scale facing away, first STB facing away, second STB facing the mic again. Big volume changes!!! This reed and chanter combo is loud.
Mark Sheridan and Angus MacKenzie of Dumbarton – facing the mic
My Band’s New Medley – facing the mic
My Band’s Old Medley – facing away from the mic
My Band’s 4/4 March Medley – facing away from the mic
My Band’s 6/8 March Set – walking back and forth perpendicular to the mic.
The pipes played are my Colin Kyo bagpipe with Ezee tenors and short inverted Ezee bass. Maybe I need to get my another set of Evolution Kinnairds to match the chanter/reed volume better (this is a solo setup). I find it no coincidence that John sells “Evo’ Kinnairds” from his online shop along side his G1 chanter and platinum reeds.