The is at first sight similar in design to the of
Central France. However, the has more variety in the number of drones, having a common stock or not, and their arrangement. The drones can rest backwards over the shoulder, or sideways over the arm, or both as with the
chabrette, and the small drone can sit next to the chanter. A very specific difference between de and the cornemuse du Centre however, is the chanter. Modern instruments adopted the standardised chanter of the cornemuse du centre (itself a modern development, allowing overblowing) but the original instrument in Breugel's paintings had a different chanter. It has no thumb hole and has some particularities in the finger holes and the type of reed needed. Only one instrument of the period was partially preserved and is now in the in Vienna; further investigations of this instrument are unfortunately not allowed. However, many years ago a very precise measurement has been executed and all further developments rely on that information. The Belgian pipe maker Wout Vanloffeld compared the available data to Breugel's very accurate pictures and to the equally precise descriptions
Michael Praetorius gave in his . He made reconstructions and models and created an adapted reed, also taking in account the suggestions Praetorius had given, such as the addition of a left thumb hole. The original instrument was not in the key of G, but in D or E, which also matches Praetorius' description. It probably existed as well in a plagal as in an authentic version. Its sound, as well as its fingering, are different from the cornemuse du Centre and allows quite different musical explorations.