strong bottom end on a high D.

Tucson Whistler · Post by **Tucson Whistler** » Wed Oct 10, 2007 11:06 am

Bretton wrote: It's going to be tough to find something that meets your characteristics AND is sweet and mellow... Strong lower octave, high volume, and back pressure usually don't lend themselves to sweet and mellow.

OK, stupid question. I'm still trying to learn the terminology, sorry. What is back pressure?

peeplj · Post by **peeplj** » Wed Oct 10, 2007 11:18 am

Back-pressure is the force with which you have to blow to sound the whistle; the harder you must push the air, the higher the back-pressure.

A related term is resistance, which is the amount of air the whistle takes. The more air, the less resistance.

--James

Wanderer · Post by **Wanderer** » Wed Oct 10, 2007 11:31 am

I've run into a number of older-model Ralph Sweet (Sweetheart) wooden whistles that fit these criteria..

Tucson Whistler · Post by **Tucson Whistler** » Wed Oct 10, 2007 11:33 am

Ok, now that I understand. thanks

cavefish · Post by **cavefish** » Wed Oct 10, 2007 11:33 am

you need to just try whistles -----------------your qualities could - be different than someone elses--------------most tin whistlers have tried many different whistles it is a hit and miss thing-----------

Pyroh · Post by **Pyroh** » Wed Oct 10, 2007 1:54 pm

Lance: By the way, you can check this site: http://www.micksvirtualwhistle.net/whistle/index.html

for various whistles Mick is a great player and he´s able to record the sound very well.

Overton D can be heard/seen here: http://uk.youtube.com/user/Pyro8 - but I haven´t got so good mic.

Breton breeze on Mick´s site is played on Overton F, and it´s sound is very similar to mine, when I play live.

The Weekenders · Post by **The Weekenders** » Wed Oct 10, 2007 2:03 pm

Reyburn.

dfernandez77 · Post by **dfernandez77** » Wed Oct 10, 2007 2:08 pm

Lance_Wallen wrote:Second, the sweet tone isn't so much a requirement as a personal preference.

Then the Reyburn C/D set or a Goldie Overton are the ticket. And both Ronaldo and Colin will work with you to get as close as they can to the sound you want.

Have fun,

Guinness · Post by **Guinness** » Wed Oct 10, 2007 3:24 pm

cavefish wrote:you need to just try whistles -----------------your qualities could - be different than someone elses--------------most tin whistlers have tried many different whistles it is a hit and miss thing-----------

Yes. The requirements have been stated qualitatively, which are subject to a great deal of [mis]interpretation. Furthermore, they are quite possibly self-conflicting, e.g., sweet and high volume; "Have to push...without a lot of breath gymnastics." Nothing wrong with that except for the broad range of responses it tends to illicit. There's also that ubiquitous problem of focusing on or blaming the instrument rather than adapting to it, which leads to an endless search for a better whistle.

Jon-M · Post by **Jon-M** » Wed Oct 10, 2007 4:03 pm

I think you're looking for a Copeland IF you can find one that is in tune; I bought two that were markedly sharp above high G, but the ones I've played that were in tune were unrivaled in the areas you describe; beautifully strong bell tone, great volume and just overall magnificent whistles.

Lance_Wallen · Post by **Lance_Wallen** » Wed Oct 10, 2007 7:39 pm

I'll simplify

The have to push for the second octave means you have to push to hit it, it doesn't jump up there on its own real easy (i.e. it has a strong bottom end), what I mean by breath gymnastics is that between notes I don't want to have to constantly change air pressure (outside the expected norm) to keep the whistle in tune with itself, I've played a few whistles and some of them I'd have to really focus on what I was doing on each note to keep them all in tune. Then I've played whistles that are pretty much in tune with what you would consider normal attack and continuance of pressure while playing.

The bare min that i need is a whistle that has a strong high volume bottom end, requires you to consciously push to hit the upper register, and has a tendancy to play in tune. I'd rather work for the upper octave and work to push the whistle out of tune than have to work to keep it low and work to keep it in tune.

as for tone, ultimately its MY preference, but this is a whistle for performing and frankly, we're a rough sounding group anyway so it doesnt matter as long as its not terribly shrill in the high g-b range, I'll get myself a sweet little wooden whistle to play for my own sake and my wife's sanity (since it'll probably be quieter!). So tone wise, don't care as long as it's not horribly shrill.

The most important things to me are volume and the control. I want it to WANT to be in tune, I wanna push it out of tune when I need to bend a pitch and I want it to prefer its lower end because I absolutely despise squeeking when I get into a song and am tryin to play out.

I appreciate all the feedback though seriously, I probably should have worded my initial "requirements" a little better. Sorry about that.

I'm probably going to snag a susato just because but I'm still lookin for that perfect whistle for my sound requirements, I'm concerned the susato will be too shrill in my amateur hands.

NorthWind · Post by **NorthWind** » Wed Oct 10, 2007 11:16 pm

I purchased a Susato high D (small bore) a year and a half ago following a trip to Ireland to visit my daughter. During that trip I saw a couple rather good musicians playing this whistle, and thought I'd give one a try. It does seem to have most of the characteristics you seek, although, the Susato tone is a topic of great debate on the forum. Unfortunately I don't play it much because it is too loud for me (a problem with tinnitus) and I'm not used to pushing hard enough in the higher notes of the second octave after playing other quieter whistles. If you are looking for a slightly used Susato, let me know.

cavefish · Post by **cavefish** » Thu Oct 11, 2007 6:30 am

Guinness wrote:
cavefish wrote:you need to just try whistles -----------------your qualities could - be different than someone elses--------------most tin whistlers have tried many different whistles it is a hit and miss thing-----------
Yes. The requirements have been stated qualitatively, which are subject to a great deal of [mis]interpretation. Furthermore, they are quite possibly self-conflicting, e.g., sweet and high volume; "Have to push...without a lot of breath gymnastics." Nothing wrong with that except for the broad range of responses it tends to illicit. There's also that ubiquitous problem of focusing on or blaming the instrument rather than adapting to it, which leads to an endless search for a better whistle.

wow

-I myself , like the random results the eludium pew 38 explosive space modulator gives-------------it will perfect your high and low range with maximum efficiency

Guinness · Post by **Guinness** » Thu Oct 11, 2007 10:16 am

cavefish wrote:]wow -I myself , like the random results the eludium pew 38 explosive space modulator gives-------------it will perfect your high and low range with maximum efficiency

That is if you can unscrew one from a launcher whilst Marvin isn't looking. A mic and a Marshall stack set on 11 might be a good substitute.

Parkwood · Post by **Parkwood** » Thu Oct 11, 2007 10:57 am

Goldie Overton (mine has a very rich flutey sound - surprisingly so for such a high pitched instrument)

Else try a Susato (standard wide bore)

Chiff and Fipple Forums

strong bottom end on a high D.

Re: strong bottom end on a high D.