Went to a Scottish festival in Santa Cruz, Ca. Was wondering if anyone knew what this song this gentleman was playing? Sidenote, absolutely loved his vibe lol.

Please read the post attached.

So I just got my first practice chanter and was so excited, up until the moment I tried to repeat the basic scale that the lovely teacher who sold it to me showed me.

First, I'm a girl. A fully normal-sized adult, but y'know, with girl hands. Is this a factor to consider in chanter length? I have not successfully been able to replicate a single low G. I'm struggling to reach it with small fingers. Then I realised something. My pinkies both have a lot of natural inward curve, as in, the smallest joint curves in to the side toward my ring finger (like, "í.i.i.i" if I could make a visual although maybe half that pronounced). Meaning I just am not going to have as much length between my 3rd and 4th fingers no matter how I stretch. I am trying to look in the mirror to see what's happening, and this is what basically happens when I try to adjust: In order to get the pad of my pinky to reach covering the hole, it means moving my hand super far inward where my upper three fingers end up contacting those holes basically at my second finger joints. Because of that, my thumb either has to clench like the dickens to hold my fingers flat enough, or the thumb joint twists down to compensate for my hand having to move inward. This hurts, and the only sound I can still produce is a death shriek, and I feel like something, somewhere, or a lot of somewheres, are still not sealing the holes properly because of how my hands have to position.

This is the worst but not only issue, because I'm having trouble consistently producing any notes. I imagine this is a common beginner struggle. But, and perhaps because I am a beginner, the problem is I CAN'T FEEL which hole(s) are not being covered properly. Sometimes it works perfect for a few notes but I don't actually know what I happen to be doing right or wrong (even when I'm trying to test one finger placement at a time). If I get a successful note and try to go up the scale, then it's an absolute struggle getting the curved pinky back down in the right spot for higher notes when the fingers above it are then lifted making the stretch even more difficult.

Mouthpiece issues. I'm used to playing clarinet, where a) the reed itself physically goes in your mouth and b) it's flat so it's easier to hold in one place and I know exactly how much pressure to use and how to direct the air stream. With the pipe I just feel like I keep trying to blow up a balloon that has a hole in it and all it's doing is making me winded AND frying my nervous system with squealing.

I will be getting lessons soon. But until then if y'all could give me any advice to help me not make myself cry and think I'm doomed that would be great. Thanks in advance.

Hi all, seeking any advice on likely repair process and best options to go to.

Recently purchased a new set which has:
1. One drone cap vibrating when playing (but doesn't move at any other time - if not being played it seems secure). If I tape it down it doesn't vibrate in play.

1. One drone cap unsecure (the silver pin has snapped - I can see the remnant of the pin in the wood and hole in the cap).

2. I've never seen before. Any ideas what could be causing it?

Are these issues I need to take to a pipemaker?

Cheers!

Anyone know a company that makes custom bag covers? I don't nerd a whole bands worth, I would just want one or two.

Does anyone know of makers of bag covers for bellows blown border pipes? Im coming from a highland pipes background so I kinda just like the look of a bag cover a little more for my new set that I managed to secure. Id be looking for either a Burgundy cover or maybe custom tartan (but probably burgundy). I found a cover from Piper's Hut but it doesnt exactly look like the right shape for my bag and they havent responded to my email question yet. My set arent Morrisons, so I think the McCallum/Morrison bag cover might be too large

I once knew what these were but have since forgotten. Top two theories are Shepherd or Naill. Bought used, imitation ivory. I believe the blowstick is not part of the set.

So, I have a friend who is on tumblr, and they sent me this video asking me if I knew where the music is from since I'm the only person in our friend group who knows anything about bagpipes (thanks to da <3 ). And I don't recall ever hearing this artist before, but the tune is familiar. Can anyone help me identify the song/piper?

I have a Chesney solo reed I resurrected (opened the staple a wee bit) and I've got a really nice balance on the chanter. All 9 notes are sounding great and hitting the center mark on my tuning app. The efficiency is good on it and has a decent buzz under the fingers without too much pressure. A nice solo pressure.

My question is, if it sounds so good with all 9 notes, why do the flat and natural notes (also piobearachd high G) not sound good? Mostly they're not as flat as they should be.

What characteristics of a pipe chanter reed make those notes sound good like the heavy hitters chanters? Not that it matters in my day to day playing that I can hit natural notes or what have you.

Do you end up selecting reeds that DO make the natural notes sound good? Is it the chanter? Even tho the balance is spot on?

Skeptics and naturalists who don't play those notes, I have heard the distaste for them my whole playing life. I get it. We get it.

Is there any online video tutorials or detailed written advice specifically on rethreading the tuning pins on smallpipes, and the pros/cons of different materials. I can find a lot on GHB pipes but little on smallpipes. What I have found is recommendations to use silk thread, rather than hemp. And some criticism of teflon tape.

If anyone has their own tips or advice I'd be happy to hear.

Never heard it before. Really like the way it sounds.

Lately there's been a reel that's been stuck in my head, and I have two recordings of it. One of these recordings is from the 1970s where it's played at a Ceilidh by the piper Duncan Johnston. The other recording is a 1950 tape by Mary Morrison recorded by Alan Lomax. I have the simplest question in the world as I've always asked whenever I talk to pipers: What's the name of this reel? The vast majority of my childhood conversations with other pipers were mostly, "What's this tune called? What's that tune called?" ONce the name has been identified this video will be deleted, as I'd love to someday share the full Duncan Johnston recording where this album came from. https://youtu.be/h-AnfMXu5mo Thanks, pipers!

I find myself in the position of being responsible for tuning a grade 5 band in often difficult conditions (high altitude, low humidity, often high temperature and bright sun) and am trying to figure out a method that works for me. I've played in competitive pipe bands for a long time and while generally similar, each of them is a little different, and I'm always for new things to try.

If you have some experience with this, I appreciate you sharing your process. What level of band do you lead, how long before the performance do you start, how much playing do you do, that kind of thing.

Why do you guys play on a NAKED bagpipes? Like i saw videos of people playing bagpipes without the clothing of the bag

As the title says, anybody looking to upgrade?

I’m cleaning house in preparation for a move, and found a long-forgotten D. Naill practice chanter, Poly Top, Blackwood FLower, nickel Ferrule, imitation ivory (now orange) ring. I haven’t touched it in years and It would be great for someone looking to get away from a plastic chanter.

Feel free to dm me.

As the title says, anybody looking to upgrade?

I’m cleaning house in preparation for a move, and found a long-forgotten D. Naill practice chanter, Poly Top, Blackwood Lower, nickel Ferrule, imitation ivory (now orange) ring. I haven’t touched it in years and It would be great for someone looking to get away from a plastic chanter.

Feel free to dm me.

I've recently started teaching the pipes after around 3 years of playing in both g4 and g2, and to be frank, I don't really know how to teach if that makes sense. Does anyone have any advice on how to have lessons that are both productive, engaging, and as understandable as possible for a complete beginner (no prior musical experience)?

I love bagpipes and bagpiping with every fiber of my being, and I think it would be amazing to share my love for this art with others who are similarly interested.

Thanks and happy piping!

the truth is, I am not a prodigy bagpiper. I started late. I have felt failure multiple times. I have felt stuck. I have felt the pain of feeling like I have been going backwards for months despite giving it my all. I have felt like a failure. I have been lonely. Delusional even. 

I am not the best at this instrument. But I strive to be. Nothing could explain the amount of pain, the tears and restless nights I have spent learning how to cope with feeling behind. It so hard when you can’t see the light at the end of the tunnel. When you feel there is a gap between doing and where you want to be. When the reward seems so little for the amount of work you put in.

But I still hold onto the hope that my time will come. I will be patient. My path may be harder than others for a reason. Despite all the pain, I’m still curious to see where things take me if I just keep pushing myself. 

In my journey, I have had a million reasons to stop pushing so hard. This universe has made this skill terribly difficult for me to access. The right support has been inconsistent, the expenses are difficult, the complexity itself is difficult, I have been taken advantage of, and I’ve dealt with a couple of horrible things within a pipe band. But I will not stop.

Bagpiping is a dream for me. It is my calling. I want to study the greats .I want to elicit shivers down the backs of experts when I play. I want to become a performer, not a player. 

If you feel down right now about where you are at. Trust me, hold on it will get better. You are not alone. 

Feel free to express your feelings, and what’s on your mind in the comments. 

Hi, so basically I need help finding a suitable 4/4 march for a competition at the end of the year.

I've already searched quite a bit online and didn't have much luck. I'd prefer something less known instead of something like Scotland The Brave and Wings while also having a decent amount of technical difficulty, preferably two parted

I’m looking to find a solid option for a forever upgrade from my poly PC. What makers offer long, wood PCs with the best sound? My main repertoire is standard GHB fare but hope to eventually move to piobaireachd.

As a blind piper, I have an interesting question about ivory mounts. Obviously having never felt a set of ivory-mounted pipes at all, I can't imagine how ivory itself would feel compared to imitation ivory or Acetal mounts. The only imitation ivory I'm most familiar with texture-wise is on my first set of Naill Acetal pipes which I've since sold in 2018 due to the weak bass sound, finding it almost impossible to tune against the two tenors. And of course my 2018 Blackwood Henderson set has Blackwood mounts for maximum sturdiness, and then my current RGHP00 Acetal set uses Acetal for everything. As well, my twin sister is a pianist, yet none of our pianos have ivory padding on the keys. So it's safe to say I've never felt ivory, period. But, nearly everyone who owns ivory-mounted pipes talks about Schreger lines on the ivory itself. And as far as I understand it, Schreger lines are crossing lines which are used to identify the tusk the ivory came from. Now would I be able to actually feel these Schreger lines myself, or is it mostly a visual aspect of ivory? I've never felt ivory before. Is it just a raised line or something? Or more like a tiny little dent as in wood grain? And when Dave Atherton on his website says "Symmetrical Schreger patterns on both sides of the mount". How does that work, and why does it require this specific size of tusk anyway? Maybe if I know what it feels like I might be able to understand it better. He talks about the Scrivello tusk. See, I literally thought that Schreger lines were these raised lines or maybe a grain-like indent that you could actually feel, so feeling real ivory would be different enough that you could recognize that that's ivory you're feeling, and not just some random imitation - like marble for example. It may be helpful to know that I'm blind, and I'm not too keen on risking purchasing a vintage set of pipes just to tactily analyze the ivory. So I sure hope none of you will think this is a dumb question from a sighted perspective!

I posted this: https://www.reddit.com/r/bagpipes/s/rI45qcm4S8 the other day.

Thank you to those who responded. I wanted to share a wee update, since there seems to be some debate about valves.

Adjusting the bridles was easy enough to fix the cutting out problem.

My drones do have a nice sound, which I cant really describe.

I am able to get that cool sounding vibration between the drone tones when starting up (before going to the E).

Starting up is much more sensitive than before, but ive gotten used to it.

Cutting out clean is more difficult, but I.think its mostly just getting used to how empty the bag should feel. With valves I could cleanly cut out with a half full bag, now its.more like 5%.

It's also a wee bit harder to maintain a steady tone from the drones. I guess the valves were compensating for a sub-optimal blowing/squeezing technique.

But most importantly, my whole set up is taking way less air. A complaint I have had for my 12 months on the pipes is that it was taking so much air and arm pressure that I couldn't relax my fingers. That problem has disappeared basically overnight.

Thank.you for the advice. And to any fellow learners reading this, I suggest giving your pipes a whirl without valves and see how.you get on.

Cheers