I have been pondering the layout of the keys lately. I have had a 16key Barlow set to sort out recently and looking at the key layout it seems that there has been a change in the thinking since I last made a long set. Nigel has the bottom C# paired with the bottom D and the bottom D# paired with the bottom E. I assume that this is also the normal layout for a Ross chanter. My normal practice is to pair the D & D# and the E & C#. Now I can see good practical reasons from a making point of view why the Ross/Barlow layout has much to commend it as it makes the pivoting and spring of the keys much more even. I was wondering if there were any implications from a playing viewpoint. I can't remember what directed my key layout although I was much guided by Colin when I started (as were most of us). I have revisited the 17 keyed chanter in the C&B (second edition) and can see a possible explanation, although viewing it again with more experience, I find some confusion. C&B shows a chanter with a key pattern devised by Tom Clough and Fred Picknell and this shows that the bottom D & D# are paired and the bottom C# and E are also paired but the text under the chanter says the opposite "This arrangement of keys differs from that used by the Reid's in that the C# is paired with the low D".
There is another difference that may be more important from a players viewpoint and that is that I normally have the bottom B key touch piece on the right hand side of the chanter and the bottom C on the left side. The C&B Clough/Picknell layout is also this way round.
The Barlow chanter I am rereeding is the other way round so that a player needs to reach across the C key to reach the bottom B key. I have found this a bit awkward but the may due to my lack of practice with this layout. Do any players have an opinion