Just in answer to some of Guy's questions:

I am not sure what the mics were - except they were professional studio type, directional affairs that, according to the owner of the studio were fabulously expensive.

John sat in front of a wooden frame, over which was hung a blanket. This was good, because we couldn't see him. He had two mics angled at the guitar, from memory one pointing at his sound-hole and one aimed a little higher up. The pipes had individual mics for chanter and drones. The fiddles had overhead mics, mine positioned close enough so that I could helpfully ruin a perfect take by hitting it with the scroll or the end of the bow.         
         
Where we doubled the melody instruments, we generally sat as we would in performance, a few feet apart although I had to stand up so that I could prompt the "Sorry - got to do that again - you hit the mic again, idiot..". Where bleed was an issue - particularly with the pipes, these were recorded at the same time (we played together listening via headphones) but in another adjacent studio. The final song had me and MR in the studio and the second guitar track was added later.
   
The recording session lasted three days. We got all the tracks done in two and did re-records and tweaks on the morning of the 3rd day. On the afternoon of the same day, and for the entire fourth, we presided over the mixing without too much comment as the bloke new what we wanted. We had the fifth day off.

The decision to digitally re-master was not easy to justify and still isn't - I still listen to both versions. The re-mastered version is slightly crisper and has a digital crunch from the DAT removed at the start of one track. There is some adjustment to levels but the changes are not that obvious.                  

Having been the recipient of the comment "Get out of the toilet, Oakley" by he who posts as Deanmeister here, I have had to reduce my enthusiasm for talent-substitute (otherwise known as reverb.) There is some on the fiddle, perhaps a bit too much here and there but at least it is confined to the slower stuff. The rest of the voices didn't need reverb other than to give some presence and depth. From memory, I think that the engineer avoided compression but I could have got that bit wrong.

Later on - I'm going to try to get that guitarist to join by bribing him with a bottle of sweet sherry. He really knows about this stuff and might be able to elaborate. Thanks for the questions, Guy and for sharing your thoughts. It is really appreciated.