It’s important to understand that bagpipe makers of old didn’t have hydraulic tracers or CNC automation. Makers relied on either they own skills or the skills of their turners in the hand-crafting of bagpipes. Jack Dunbar was a wonderful source of information and opened my eyes to many realities of a maker’s workshop.

A particular maker might have one or several turners in their employ, each following the design template provided by the maker. In Jack’s case, he worked for Peter Henderson Ltd. and followed the Henderson template inside and out. To most of us, a Henderson – is a Henderson – is a Henderson, but to Jack and the other turners, they knew exactly who turned a specific piece by subtle nuances that only a trained eye could detect.

When turners moved from one maker to another, they took their tools, skills, and experiences with them. They followed the new maker’s template, but retained subtle turning signatures that were personal in nature. It is possible to distinguish their work from other turners that may have worked for that same maker. Robert Gillanders is a wonderful example of this. He worked for John Center, Gavin MacDougall, and Thow Bros. before establishing his own business in 1926. You can see his “hands” in some of their products and you can see their influence within Gillanders’ bagpipes. Other examples are James Martin and George Kilgour, who both worked for James Robertson in Edinburgh.

Matt Marshall was a turner for Lawrie Bagpipes in the mid-1960’s before moving to Canada in 1974. In Canada he made a bagpipe that was branded “Glencoe”. His very interesting story is told here. (Glencoe Bagpipes)

I’ve taken you well down into a rabbit’s hole! Tomorrow we’ll get back on track with The Average Piper. I hope you’re all practicing!