Flaithrí plays the pride of the Irish tradition, Uilleann Pipes, and masters this apparent cumbersome instrument with confidence. The Uilleann Pipes represent the very essence of Irish tradition and culture, but also exhibit the rich interface that always existed between Ireland and mainland Europe. Born in Cork, Ireland, he grew up with traditional Irish music and culture, Irish (Gaelic) was his first language, his earliest music studies were in the Cork School of Music where he took Uilleann Pipes lessons with Tomás Ó Canainn at the age of eight. However, besides these classes and music in the home the family also travelled around to master classes, Fleadheanna Cheoil and summer schools. Other respected pipers that Flaithrí took master classes from are Ronan Browne, Eoin Ó Riabhaigh, Diarmuid Moynihan.

From the beginning Flaithrí developed a style of his own very naturally and his teacher Tomás accommodated this. Listeners likened his style to Johnny Doran, Paddy Keenan. His traveler style is clean, sharp and precise, making his performance perfect for any setting. He also plays low whistles and like his brother, Eoghan, the instrument is tamed to unleash its sounds at will. He exploits all the possibilities of his tradition and is unbridled by untraditional constrains. His mastery of air on lips of cane and through metal tubes is simply breath taking with an impressive technical range creating a good clear sound from chanter, drones and regulators.

He plays a full-set of uilleann pipes, made especially for him by Alain Froment in November 1992. As an accomplished champion of both dance tunes and slow airs his confidence and reliability as a piper has made many opportunities for him in Dance Shows and as Soloist with various Orchestral Works. A US critic noted “ a solo set played by Flaithrí on the Uilleann pipes showcase his incredible mastery of this instrument.” The applause and reaction of audiences to a live performance have been very intense and prolonged in its excitement.

“Flaithrí Neff ... is an outstanding player on the pipes, both as a solo performer and in an ensemble. As a player he is both talented and skillful. With his younger brother Eoghan he is part of a traditional music ensemble that offers exciting and exhilarating performances of traditional music of a very high standard. I believe that they will establish themselves as one of the finest such ensembles of their generation. ... He has a realistic approach to life. He is always fully committed to any artistic enterprise that he undertakes.” David Harold Cox, Professor of Music, UCC.

An accomplished musician having won ten “All-Ireland” championships in Fleadh Cheoil na hÉireann between the ages of 14 and 18, champion in consecutive years in Feis Maitiú (1992, 1993, 1994); at An tOireachtas; at Pan-Celtic competitions; at Feis na Laoi; and numerous other Talent competitions and other Comhaltas Ceoltóirí competitions.

In 1998, he was chosen to be soloist for Eddie McGuire's large symphonic score “L'Epopée Celtique” with the Lorient Festival Symphony Orchestra in Brittany, France, and again, in 1999, as soloist with the Royal Scottish National Symphony Orchestra, in Glasgow's Royal Concert Hall, Scotland at Celtic Connections Festival. In 2002 Flaithrí was invited  as soloist with The Cork Youth Orchestra performing “The Brendan Voyage” suite by Shaun Davey in Ireland and touring Tuscany, Italy, and again in 2006.

Beginning in 2003 he has performed extensively throughout North America and Europe with Riverdance the Show. It is Flaithrí's unique range of interdisciplinary experience which makes him such a wonderful communicator, encompassing traditional music and western art music. He has worked with TG4, RTÉ, BBC, in programmes such as “Fleadh” “Geantraí” and “Flosc” with stage shows such as “Micheal Collins” Cork Opera House and “The Pirate Queen” , also John Spillane, Fionnuala McSherry, Carlos Nuños, Afro Celt Sound System. .

First Prize in 1998 for Leitrim 1798 Original Music Contest (the competition had a total entry of over 30 from all over Ireland and the UK. It is the opening tune on track #9. Leitrim 1798 Suite on Ar Scáth a Chéile). “Flaithrí’s ‘Leitrim 1798 Suite’ is a well-matched set of three tunes featuring pipes over a synth background.”

Soundpost and Bridle
The whole album was arranged by Flaithrí and Eoghan, but worthy of particular mention is :
# 5. An tSíor-Ghaoith (The Eternal Wind), Radharc an Iolair (The Eagle’s View), An Choill Dharach Chiúin (The Oak Wood Silent). The title of Flaithrí’s piece in this set is An tSíor-Ghaoith, (The Eternal Wind). The titles of Eoghan’s two pieces in the set are Radharc an Iolair, (The Eagle's View) and  An Choill Dharach Chiúin, (The Oak Wood Silent).

Ar Scáth a Chéile (Each Other’s Shadow)
The whole album was arranged by Flaithrí and Eoghan, but worthy of particular mention is :
#5. Róisín san Ind (Slow air composed by Flaithrí; Reel composed by Eoghan)
#9. Leitrim 1798 Suite (composed and arranged by Flaithrí)
#10. Ceiltis (NB 1st tune Ceiltis composed by Flaithrí)

QUOTES attributed :

“... The uileann pipes of Flaithri Neff pumped a powerful passion and vibrancy that really stirred the senses in the solos, duets and concerted numbers... Flaithrí's virtuosic style produces haunting airs on the dark and brooding Uilleann Pipes. (Review of Michael Collins at Cork Opera House)

“... uilleann pipe wizard ... pitch-bending the drones and regulators as he prosecutes the tune hard and straight-ahead, ... earthier philosophy of ‘hang her out and let her rip’ ...” Muse, Mic Moroney.

“... Highly articulate piping ... virtuoso playing from start to finish ...” The Irish Times, Siobhán Long.

“... artistry shows through, as it does for Flaithrí on the pipes ... superb piping ... truly powerful...” Celtic Beat, Art Ketchen, USA.

“... Flaithrí's epic 11 minute 'Leitrim 1798 Suite' is a solo piping piece par excellence ...” Irish Music Magazine, John O'Regan.

“... playing is stunningly accomplished, exuberant and dynamic ... beautifully executed ... piping is amazing ...” Clancys Irish Music Radio, Austin Kenny.

“... the chanter work is relaxed and in perfect pitch ...” The Sunday Tribune, Fintan Vallely.

“... Flaithrí’s Breton air ‘An Seans Deireanach’ incorporate all the pathos and soulful loneliness one could wish for ...” Evening Echo, Paul Dromey.

“... incredible mastery of this instrument ...” Greenman Review, Naomi de Bruyn, USA.

“... magical music on the pipes ...” Irish Examiner, Pat Ahern.

“... piping is tight yet rugged ...” Irish Music, John O'Regan.

“... heart-stopping slow airs on the pipes ...” Living Tradition, Alex Monaghan.

“... Flaithrí makes full use of drones and regulators, something not every young piper is doing today ...” FolkWorld, Tom Keller.

“... travelling style piping ... alludes to a distinctive and personalised form of music ...” Irish Music Magazine, John O'Regan.

“... le solo de uilleann pipe, tiré du célèbre Brendan voyage, s'achève par une salve d'applaudissements [the uilleann pipe solo, drawing from the celebrated Brendan Voyage, recieved a spontaneous applause] ...” Ouest France.

Flaithrí holds an Honours Degree in Music from University College Cork and a First Class Honours Master of Science Degree in Music/Audio Technology from the University of Limerick. He is currently finishing a Ph.D. in the Computer Science Department at University College Cork researching in the field of Advanced Interface Design using Virtual 3D Sonic Environments.

First Class Honours Master of Science degree (MSc) in Music/Audio Technology from University of Limerick.

Honours Music degree (BMus) from the National University of Ireland, Cork (UCC).

Top First Class Honours mark in his final year Super Option BMus performance from National University of Ireland, Cork (UCC).

Master’s Thesis “Signal Analysis and Resynthesis of Regulators and Drones of Irish Uilleann Pipes”.

Using Head Location as a Reference Point in an Auditory Trigonometry Tool for Blind Students
Neff, F., Pitt, I., (2008) Using Head Location as a Reference Point in an Auditory Trigonometry Tool for Blind Students. Awaiting response from the 11th International Conference on Digital Audio Effects (DAFx-08), Espoo, Finland, 2008.

Assessing User Response Times and Accuracy During Non-Speech, Spatial Auditory Angle Detection
Neff, F., Pitt, I., (2008) Assessing User Response Times and Accuracy During Non-Speech, Spatial Auditory Angle Detection, Proceedings of the 14th International Conference on Auditory Display, Paris, France, June 24-27, 2008.

Investigating the Potential of Human Echolocation in Virtual Sonic Trigonometry
Neff, F., Pitt, I., (2008) Investigating the Potential of Human Echolocation in Virtual Sonic Trigonometry, Acoustics08, Paris 2008.

Using Spatial Non-Speech Sound to Relay Mathematical Problems to Visually Disabled Students
Neff, F., Pitt, I., (2008) Using Spatial Non-Speech Sound to Relay Mathematical Problems to Visually Disabled Students, International Technology, Education and Development Conference (INTED), Valencia 2008.

Using a Cognitive Model of Irish Traditional Fiddle Playing in the Development of a Teaching Aid for Improvisation
Neff, F., Neff, E., Pitt, I., (2007), Using a Cognitive Model of Irish Traditional Fiddle Playing in the Development of a Teaching Aid for Improvisation, 3rd International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS), i-maestro workshops, Barcelona 2007.

A Consideration of Perceptual Interaction in an Auditory Prolific Mobile Device, Spatial Audio for Mobile Devices
Neff, F., Pitt, I., Keheo, A., (2007), A Consideration of Perceptual Interaction in an Auditory Prolific Mobile Device, Spatial Audio for Mobile Devices, Mobile HCI 2007, 9th International Conference on Human Interaction with Mobile Devices and Services, Singapore 2007.

Navigating a mobile phone menu system using 3D audio
Neff, F., Kehoe, A. & Pitt, I.J. (2007), Navigating a mobile phone menu system using 3D audio, The Accessible Design in the Digital World Conference, York, 2007.

Improving Accessibility of User Assistance Material through use of Speech Technology and Auxiliary Display Devices
Kehoe, A., Neff, F. & Pitt, I.J. (2007), Improving Accessibility of User Assistance Material through use of Speech Technology and Auxiliary Display Devices, The Accessible Design in the Digital World Conference, York, 2007.

Modifications to a Speech-Enabled User Assistance System Based on Pilot Study Results
Kehoe, A., Neff, F. & Pitt, I.J. (2007), Modifications to a Speech-Enabled User Assistance System Based on Pilot Study Results, accepted for presentation at the ACM International Conference on Design of Communication (SIGDOC), El Paso, Texas, USA, October 22-24th 2007.

User Modeling to Support the Development of an Auditory Help System
Neff, F., Kehoe, A. & Pitt, I.J. (2007), User Modeling to Support the Development of an Auditory Help System, accepted for presentation at the International Conference on Text, Speech and Dialogue, Pilsen, Czech Republic, 3-7th September 2007.

Extending traditional user assistance systems to support an auditory interface
Kehoe, A., Neff, F. and Pitt, I.J. (2007), Extending traditional user assistance systems to support an auditory interface, Artificial Intelligence and Applications (AIA 2007), Innsbruck, Austria, 12-14 February 2007.

Using Speech Technology to provide Context-Specific Help in Games
Kehoe, A., Neff, F. and Pitt, I.J. (2006), Using Speech Technology to provide Context-Specific Help in Games, Computer Games (CGames 2006), Dublin, Ireland, 22-24th November 2006.

Design and Implementation of an Auditory Help System for Computer Games
Kehoe, A., Neff, F. and Pitt, I.J. (2006), Design and Implementation of an Auditory Help System for Computer Games, Game Design and Technology Workshop, Liverpool, November 2006.