Ramon Maria Castro/José Antonio Garcia:
An evening with the vPipes
 
I must admit I was a little sceptical about the whole thing. Though my knowledge of bagpipes might not be as vast as of some readers of this article, I was raised listening to a few and I do know how the bagpipes should sound, even the uilleann pipes.
Anyhow, if your father’s nice to you, you ought to be nice back sometimes. So when my dad asked me if I could go to The Irish Cultural Centre in Hammersmith, London, to check out some new bagpipe invention, I offered a cautious yes.
So, there I was, off to meet Ramon Maria Castro and to talk to him about the vPipes, the electronical UP that he developed together with José Antonio Garcia.
And my scepticism was gone as soon as the demonstration started. This was serious stuff and I think that was the reaction of all the other UP aficionados, gathering at the centre this evening. Our doubts just went away.
All rights reserved Jan Winter/Anneli Winter ©2007 except for photos © vPipes Project

— Its responsiveness is amazing, said Tim Dowd, one of the most known Irish pipers and flute players in the London area (Along with his father Tim Dowd senior, who invited Ramon to the Cultural Centre). Tim jr wasn’t the only one there who liked give the vPipes a try.

— The thing that strikes you in particular is how well they respond to all the normal piping stuff — tight triplets, slides, vibrato, popping. Everything sounds just as it should and you don't have to adjust your technique at all. The chanter feels really natural to play and you very quickly forget it's an electronic instrument, said Sam Thompson.

It was smiles all over.


The vPipes sound is in fact very close to the original, it really sounds like the "real thing"  — not suprising given the fact that the samples stem from the very best material: Cillian Vallely sampling his Rowsome and Froment flat and concert pitch sets.


The technical bit involves a bag simulator with adjustable  hardness and a LCD screen for the settings.
You can change the drones and pitches in any way you like and the thing even sports presets. There are ten of those, each one letting you decide exactly how you want the chanter and drones to sound.


In a concert situation you would be able to change pitches as easily as pressing a button. Just choose the preset for that particular song your about to play and you’re ready to go. Or rather play.


And of course you can connect it to headphones avoiding disturbing anyone else while practising.


So what then made Ramon and his friend José “reinvent” the uilleann pipes?


— We were both interested in learning to play the UP, but we couldn’t practise at home. We both have families and we wanted to be able to practise without disturbing them.


How long did it take from idea to the real thing?

— About two years. Its started as a hobby and then it went on from there.


Many have seen the web site and the clips on YouTube, but when will it be on the market?

—As soon as possible, but we haven’t set a date not to make people disappointed if we don’t manage to make it to that date. Also, as a small company, we can’t afford to not get it right the first time, so we are putting a lot of time and effort into it.


Ramon points out several times during the evening that the vPipes was not made to replace the real thing:

— It’s a tool for learning, backup etc, he stresses.

As Ramon offers his vision of learning this rather difficult instrument without disturbing family members etc I strongly wish he would have invented one when I still lived at home. I would happily have bought my dad one or two...

Also, Ramon points out the possibility of having the vPipes  as a backup at concerts etc. Where a real bagpipe can let you down (just a change of humidity could to that, at least for the UP) the vPipes will not.



What was the hardest problem in designing the vPipes?

— To emulate the sounds and making it behave like real pipes.


A MIDI—OUT is fine, the MIDI—IN is even more exciting. Does this mean that the vPipes will work as an sound box for an outboard keyboard or wind controller like a Yamaha WX-7?







— No, it cannot function as a sound box.  Although it could technically be possible, what gives the vPipes its realism is the possibility of controlling the sound just like on the real instrument. The MIDI-IN connector is there because it is required for programming the sound banks which, among other things leaves the possibility open of adding regulators in the future.


How do you play semitones without keys?

— The piper has to half-hole although we are considering using the rear touchpad to act as keys in the future, nothing has yet been decided.


How does the bag pressure simulator work when playing, is the simulator the only way to change to the 2nd octave?

— There is a continuous force sensor embedded in the simulated bag on which the piper places the arm.  The sensor reacts to changes in pressure and the piper must be aware that if a variable pressure is applied the drones pitch will vary accordingly.  There are eleven personalised settings for the pressure sensor from 0 to 10 that can be set according to reed preference, for example if the piper wishes to have a soft vReed Level 1 or 2 is the one to choose.
If, on the other hand, the piper likes a very, very hard vReed he would place the setting to 9 or 10. If however the piper wishes to play without having to apply any pressure at all (playing while lying down for example, or pipers with some sort of disability) the setting is 0 (octave change without simulated bag is achievable through the use of

good fingering)


Will the gaita, ghb etc versions be based on the UP-version (i e just changing the samples) or will you change the whole chanter design?

— We will be making a new chanter design to cover the non-uilleann pipes.




As the evening went on and more pipers tried out the vPipes the general opinion was that Ramon and José really have succeeded in making an electronic UP. Now, it’s just the wait to get them out on the market, some of them said.


How much are the vPipes? Ramon offers some hope for those with a tight budget:

— Right now the price is around 980€, which is

about 600£. We would like to bring the price

down, but there are factors, like the price on

components, which we don't control. I'd like to

stress however that we are not in it for the

money, this did not start as a money making business.





For those out there in the Swedish wilderness hoping to meet Ramon in Sweden there are no plans for a

Sweden trip — so far. But most of the information can be found at www.vpipes.com , where you can also hear sound samples. On YouTube there are 5-6 clips with the vPipes, see the vPipes link page



Anneli Winter in London for www.piping.se.

Additional material by Jan Winter and the vPipes project .


 

Ramon Maria Castro (right) with  Tim Dowd jr.

Ramon Maria Castro with friends, Sam Thompson to the far right, Tim Dowd senior to the far left

Colman Connolly (left) trying out the vPipes