Just got a Sindt D

[Mr.Gumby]

and I've not heard before such comments about the Sindt.

Well, there you have it.

It's as near to an ideal whistle as you can probably get for certain purposes but there's also something to it that I might not be in the mood for some days. It's a compromise again, as most of these things are, some sweetness has been sacrificed to gain something in another area. But then, some days you find yourself longing for that sweetness. Doesn't make it a lesser whistle.

[scheky]

I've stated it before. I think the Sindt is a fine whistle. When I realized I was playing my Dixon Trad more often and liked the sound of it more, I decided to sell mine. Honestly, I've never missed it. I'd hold up a Blackbird or Mellow Dog to it any day as a nice comparison (I've never played one of Obrian's tweaked whistles).

We tend to fall into hype, and it's cycled. Copelands, Thin Weasels, Abell, O'Riorden, Sindt. What it really boils down to more than anything is the feeling that it's the WHISTLE that will make you so much better. The reality is that more often than not, it's your skill.

I'm not knocking any of the makers, and paying a premium for good craftsmanship is absolutely worth the cost. However, I think that people give too much credit to the particular instrument and not enough to the skill of the people blowing into it.

That's my curmudgeonly opinion.

[Mikethebook]

Well said but out of curiosity what was it in the tone of the Dixon Trad that you preferred?

[Mr.Gumby]

There's that too, didn't we have nice shouting matches here about things like that over the past decade or so.

There's on the one side fine craftmanship going into creating instruments capable of nuances of sound that beginners won't be able to appreciate because they're not up to bringing these things out (yet?). And on the other hand utterly bland whistles with a pricetag that are made to be foolproof to give a beginner the illusion they can actually play.

And there's one of my hobby horses, a top rate instrument can only be made by a good player and by all accounts John Sindt is just that. He can be trusted to design and set up an instrument from a good player's perspective.

I would not for the life of me consider an instrument by a maker who advertises himself with a video struggling through, say, the Sally Gardens (or struggling through anything for that matter). If a maker doesn't understand the demands of advanced playing how can he make something that will satisfy those demands?

But a Dixon trad wouldn't do it for me. But as usual YMMV and everybody is different.

[crossposted]

[scheky]

Mostly I like a bit more breathyness in my whistle for a high D. The Dixon Trad is just a little bit too much in that respect for me, but the Mellow Dog fits about exactly what I'm looking for. What do they have in common? Wide Bore more than anything else. Narrow Bores are a bit too pure in voice for me. I do think the Blackbird sounds about as good as a Sindt for whistles of the same tonal quality. Both required craftsmanship.

Remember, I'm not saying that that high end whistles are a waste of money, as YMMV on what you are looking for in a whistle. We just tend to deify one or two maker's products around here and forget all the other completely valid options available.

Now, with Low Whistles...that seems to be a whole other can of worms...I wonder why that is..that may be worth it's own discussion thread.

All said, I'm glad the OP loves his whistle. He paid for it, and if it's the sound and feel he wants, it seems he made a damn fine purchase.

[ecohawk]

A lot of good points have been made here but I think there is one element that seems to be missing or at least it's the 800 pound gorilla. One whistle is simply not enough if you want to sound your best. I know this will spur arguments but I don't know any musician that has only one instrument. Even my friend who plays piano with the orchestra has two at home. I find the Sindt to be the best whistle I own in high D with a Busman D+ right next to it depending on where and what I'm playing.

Of course others have their preferences and that's the beauty of having free will and passion. Music is to be explored, to immerse oneself in and to bring joy. If a whistle makes you happy and you find it brings out the best in your playing, then that's the best for you no matter the maker. Gumby is right about certain instruments not sounding their best until the player has enough skill to bring out the nuances. You've got to learn to play well first so make sure you have an instrument that is made well and is in tune with itself and those with whom you play. But if your musical interests are broad, you won't experience as much satisfaction from the journey with just one whistle IMHO.

And I have a few Sindt's and Busman's so, though I shall bequeath some to worthy players, I will still be buried with my favorite.

ecohawk

[ytliek]

All I know for sure is the past few whistle albums mentioned here on the forum included the word Sindt in the liner notes. Maybe it's just for recording? That's beyond me as of yet.

[Mr.Gumby]

All I know for sure is the past few whistle albums mentioned here on the forum included the word Sindt in the liner notes

There's a bit of a tendency towards gear-fixation these days. Any instrument is as good as the person driving it. There was a time someone just played flute, pipes, or concertina. Now you get music involving 'a Murray, a Wooff full set and a Jeffries. Or better still, years of manufacture attached, because, let's face it, an 1860s Jeffries is really the distinguishing factor innit?


I noticed one example of this recently when a contributor here had an outing on concertina.net:

Three Anglos attended, Ken's Lachenal, Michael's Wally Carroll, and a young lady's immaculate Wheatstone.

What does that mean? Surely music is a product of the players, the players are the most important ingredient?



(in fairness he did add : Some lovely music being played. but you get my drift)

[Jan >^..^<]

What it really boils down to more than anything is the feeling that it's the WHISTLE that will make you so much better. The reality is that more often than not, it's your skill.

I'm not knocking any of the makers, and paying a premium for good craftsmanship is absolutely worth the cost. However, I think that people give too much credit to the particular instrument and not enough to the skill of the people blowing into it.

That's my curmudgeonly opinion.

I think this is an important point. If the truth be known, many people keep buying looking for the perfect whistle that will make them sound great. But often, they spend their time looking instead of playing and so none of the whistles makes them sound great!

I only say this because I did this in the NAF world - kept looking for the perfect sounding flute. I forgot about the nut behind the flute that had to play it!

Nothing is going to sound good if you don't work on playing it!

However, I also know that playing a crappy instrument isn't going to help matters and we should get the best we can afford. We just have to remember the playing part . . .

[Mr.Gumby]

However, I also know that playing a crappy instrument isn't going to help matters and we should get the best we can afford.

Just remember that in whistle world, something costing you a fiver could be the better option, price is not really any reliable indicator.

[Steve Bliven]

However, I also know that playing a crappy instrument isn't going to help matters and we should get the best we can afford.

I would agree with Mr. Gumby (at least I think I do) that quality of instrument ("crappy instrument") doesn't necessarily relate to the cost ("best we can afford"). It may be that the best instrument for a particular purpose or a specific individual may not be the higher cost one.

This seems to be particularly true of someone just beginning with whistles. In this situation it is often more important to get control of the instrument and begin to learn what features you like and dislike about the whistle before making the (almost inevitable) choice of the-next-whistle.

That being said, I personally think there is good value in starting out with a whistle that has been tweaked, or at least reviewed, by a competent whistler. This allows the beginner to be sure that it isn't the whistle that is causing problems but rather the person attached to the top end of the whistle.

Best wishes.

Steve

[Mr.Gumby]

at least I think I do

I think so too. Spot on.

[Jan >^..^<]

OK, that's good to know. I don't have to break the bank getting a good whistle.

The important thing is knowing it's a good one and sounds the way it should - which isn't a decision a newbie may be qualified to make without some help.

Thanks, guys!

[Anita's Dad]

Out of curiosity, how do you get on with the absence of an in-tune OXXOOO Cnat?

John Sindt is a scholar and a gentleman, and a MASTER craftsman. His work is awesome and the value of his work is superb.

But...

I wish he would offer an alternative version. We wound up selling ours to a very good home.

Today, my kids are so much more advanced musically, I bet they could have found a way to get around it.

We now regard the sale as a big mistake and we've imposed a "never sell musical instruments" policy. The bills will get paid somehow... we hope.

I need to change my handle to Anita AND Wesley's dad

[Mr.Gumby]

I wish he would offer an alternative version

He doesn't need to. He has designed a whistle the way he thinks best, a whistle that does exactly what he wants it to do.

Any player should have the flexibility to cope with different fingerings for certain notes, especially the C natural. If you are not able for that you have the choice of picking a different whistle that matches your abilities or, as described above, sticking a different tube, Generation, Oak, Feadóg, onto your Sindt head. Not a bother.