Colin Goldie: The Chiff & Fipple Interview

with Dale Wisely

Colin Goldie hand-makes some of the finest whistles in the world, which bear the name of one of the most important figures in the history of whistles, Bernard Overton. Overton and Goldie both make Overton whistles, working separately in crafting the instruments but collaborating on design matters. In addition to making these fine instruments in the Overton tradition, Colin continues to work on innovations in design. Colin recently relocated and now has home and workshop in Germany.

Dale Wisely of Chiff & Fipple: Colin, thank you for participating in this interview. Without you, it wouldn't be the "Colin Goldie" interview.

Colin Goldie: Thanks for asking me, it is a pleasure to do this.

Dale: Tell us about your musical background prior to getting involved in
whistle-playing and whistle-making.

Colin: A recorder was given to me for Christmas just before my
5th birthday. I started taking lessons at school but dropped out after a few months. I would try and memorize the tune as reading music was difficult. I would sit around humming tunes and trying to put them down on the recorder but was not so keen on the sound. I played it on and off through the years. When about 10 or 11 years old I bought myself a Generation high F and found the fingering easier to get the notes. So whistles seem to be one of my first instruments I learned although having no clue on any technique then.

Dale: What were your earliest exposures to flutes and whistles? How did you begin to get interested in these instruments?

Colin: I used to go to Ardara in Ireland for the whole summer holiday every year. When about 13 or 14 I heard a band called "Horslips" a lot on the
radio. My brother Andy bought a couple of their albums. I ended up getting really into them and have all of their albums on vinyl now, even the first one in concertina form and booklet. I loved the whistles and flutes in the
music. The first album I listened to was "Book of Invasions" which was more rocky with some Irish tunes in amongst them. The next album was "Happy to meet, Sorry to part" which had a lot of Irish tunes in. Generalizing, their
earlier albums were more folk orientated and the latter albums more rocky. By the way, Brigitte found the official "Horslips" website a few days ago (http://www.horslipsrecords.com) for anyone interested. Andy also bought
another few albums consisting of "Planxty", "Bothy Band" and "Feast of Irish Folk". I remember being blown away by Planxty's "Smeco horo" and listening to it now, it still has that same effect as it did back then. Matt Molloys flute playing is superb in it. I was also listening to a lot of ballad music and most had whistles lurking in there. During this time I met a mad Irishman called Kevin Hurd (if you read this Kevin, email me, I owe you a whistle). We had a couple of sessions, me playing guitar and him on whistle. He gave me my first and second high D whistles. This now meant it was possible to learn to play along with the records I had. Breakthrough! I was completely hooked. During my teenage years "Moving Hearts" started gigging in England and would go to nearly all their concerts in London and even wandered back stage a few times. Such a good live band full of energy. With them I discovered low whistles and bought my first one.

Dale: What do you play besides whistle?

Colin: I have always been interested in different musical sounds and in the last 20 years found myself tinkering on whistles, guitar, flutes, djembe, bouzouki, bodhran, didgeridoo and other percussive instruments. I find it interesting moving around and experimenting on different instruments as they all seem to help each other. Learning percussion helps timing which each instrument needs. The didgeridoo has taught me to breathe well and circular breathing can be useful with the whistles when needed.

Dale: When and how did you meet Bernard Overton?

Colin: I first met Bernard in late spring of 1993. I had been making a low D out of a brass bathroom towel rail and was starting to make another when a friend I knew had just come back from seeing him. He mentioned that Bernard had said he was thinking of retiring. I immediately wanted to contact him to see if it was possible to learn how to make the Overton whistle. A week or two later we went up to see Bernard. I had with me my bathroom rail whistle and showed it to him. We had a long talk and he was interested because he saw two friends who were both players and had a keen interest in making whistles (albeit mine not near the quality of Bernards). I still have the two whistles that were made before Bernard showed me how to make the Overton design. My second whistle was also from brass, I very rarely play it because it feels too heavy and my hands ache after a while, it's sound is good though. Myself and Phil Hardy decided to be partners and that summer I made my first Overton whistle which was a low D.

Dale: Bernard's original intent was to retire.

Colin: Yes, this is true. When the partnership started he did semi-retire for a few years where he made just a few whistles for old customers. In 1997 Bernard was more aware of what was happening in the whistle world and he had more feedback about the Overton whistles and the confusion about them. After a lot of consideration Bernard decided to take the license away from the partnership when it broke down. Fortunately for me I was allowed to carry on making Overton whistles. He decided to come back from retirement and still continues to make whistles. He is nearly 70 now
and although his hands are not as good as they used to be he still plays
various instruments with his band the "Dixie Ginger Snaps" a five-piece jazz band.

Dale: Many of your customers write me to tell me how pleased they are with
your service. I wonder about your "philosophy" about working with
musicians to make their whistles.

Colin: Fortunately for me now my work is a pleasure--although it can be very hard and physical and mentally torturing at times, such as doing tax paperwork in Germany. Before the Internet I did not have a lot of contact to players because the whistles where mainly sold via distributors. A side affect of this is you do not get a lot of feedback. Sometimes when whistles have gone out it felt as if they had disappeared into a black hole, never to be heard of again and this was not always inspiring. Since working independently, I am not only a whistle maker but also a sales person, buyer, trouble shooter, packer, cleaner and tea boy all rolled into one (luckily Brigitte helps me a lot). The contact to the people is inspiring and talking to and hearing their requests for the whistle helps me to understand better what they need in a whistle. It is also thrilling to hear from someone with one of my whistles from places I sometimes never heard of before. Having the Internet media now is really great, it makes the world a small village and makes it so easy to be in contact with someone on the other side of the world. I try to treat people and their request how I would like to be treated. This way I find is really enjoyable and it looks that people appreciate this. I always offer a lifetime warranty with my whistles. Just recently an 18 year old whistle was sent back for repair from a customer. I would like my customers to feel comfortable that whatever question or query that they may want to ask then they do not hesitate to contact me even in 18 years time.

Dale: I know that you are interested in making whistles individually to suit the needs of the player, whenever possible. You often state that all the Overtons differ slightly from each other.

Colin: Yes, this is correct. After playing many different whistles I know what I like in a whistle which is quite helpful when making them but this can be different from you or the next person as it all depends on how a player likes their whistle to play and sound. Knowing this I would like to give anyone the chance to ask any specific requests and would try to fulfil them. Although I think I make really nice whistles when I solely work to my specifications I believe that this way helps making more players happy with the instrument I make for them. I had a lot of requests for smaller finger spacing for low Ds and then designed a whistle to that spec and use it now for my standard low D. I occasionally get asked for wider finger spacing and still do them. Having an idea of how the musician plays either from personal contact, from their CDs etc. and learning some of their tunes helps me to create a whistle for this particular player. When voicing and tuning the whistles then I tempt out the tunes to make sure they are in there.

Dale: Now, I yield to no one in my affection and respect for your instruments. But what in the hell were you thinking in making this enormous Baritone A? (Note: The Overton Baritone A is considerably larger than the a Low D. Chiff & Fipple subscriber Jim Dunn lent me his Overton Baritone A. I was reduced to covering the holes with black electric tape so I could hear the low notes). Were you TRYING to embarrass the Undisputed King of Internet Whistle Journalism by making this monster which my hands are too puny to play?

Colin: Yes!

Dale: Seriously, tell us a little about your adventures in the low frequencies.

Colin: I like to experiment every now and again and at the moment have a
Baritone G in the making. (If I send one to you to look at I will remember
to put some sticky tape in there too, so you can hear the notes :) I do like the low whistles more than the high, so does the cat actually. I think I overdosed on high notes with the soprano F when I was a kid. Playing the
bass A through a big PA-system is something else and had the chance to play
it in a big church over here and it was amazing. When starting making low
A’s, I had some problems with the finger stretch as I could put all 6 fingers down but could not move around on the whistle very well. Adapting to it did not take as long as I thought it would and now I can run around on it comfortably. We have quite a few didgeridoos which produce also some really nice low frequencies and are excellent through a Quadra verb. Just wish I had more time to play them.

Dale: Describe the instrument you like to play the most.

Colin: This is a tough question. This depends on my mood or situation. My blue low D is ultimately still my favourite whistle. I made it in 1993 and is well traveled. It has a good "wooden like" tone and still surprises me
after all these years. Beside the whistle I also enjoy playing my djembe. It is different from most other djembes in that it has a really big head on it and the skin is not as tight as on "proper" ones so it creates a deep warm bass. I like to play this with other people in sessions or gigs. It is really too loud to play in the house as the windows vibrate from the bass even when trying to play quietly. If playing in pubs with it I normally do not mic it up and it is often loud enough even if there is a drum kit being played. I also love my guitar and........

Dale: Do you have keys that you enjoy more than others?

Colin: Yes, although not having a full set of whistles myself. If I need a
whistle in a key I go in my workshop and make myself one. WHOA! I want to make myself a mezzo Bb I like them and have made two for myself and on each occasion had to let them go. The keys I like best are D, F and A (low
ones). The alto F I can really run around on and it is easy on the fingers
for doing quite complicated tunes. The D as I said I really love the sound
and can get lost in time when playing it. While typing this in Brigitte
pointed me out "what about the alto G and the mezzo A and ..... and ....."
Dale, this is too complicated a question!

Dale: Do you get out and play with other musicians much?

Colin: I do get out every now and again to play with other musicians. We
actually have a little band here where I mainly play whistles but also a
little bouzouki, guitar and percussion depending on the tracks we play. We
did manage to do a few gigs so far but all of us are very busy. The aim we
have for this year is to get together every week. We do have a gig in April
in a mansion house. I play whistle a lot around the house and my playing has improved since moving over here. It is quite handy that Brigitte likes whistles and my playing, I think she deserves an award as she very rarely complains and then only when it is late in the night. When living in England I would play a few times a week, jamming with friends and perhaps a gig or two with "Wing and a Prayer". A duo, or trio if I was with them. They are great musicians and entertainers and always have a full house. The sessions over there were great and the musical style depended on who turned up and what they could play. There was a great assortment of good musicians in the area who used to like coming along.

Dale: What's the Irish music scene in Germany like?

Colin: I do not know, if anyone does please let me know. No, that is not quite true but around my area there is not much live Irish music although there are a lot of Irish pubs. There is live music but mainly rock and pop cover bands. I have heard there are Irish music sessions in Bonn and Cologne which is not too far away but it is in the middle of the week and there is not much time then. There is a great interest in Irish music in Germany and Riverdance or Michael Flatley always seem to be in the country. There are a few Irish musicians I have spoken to but they are in Berlin and Munich (each about 500 miles away). Hopefully I can get more involved here in live playing and recording. So if there is anyone out there who wants to get together please contact me.

Dale: How is business these days?

It is going very well, thanks. My waiting list seems to be growing faster
than I can fulfill. I am investigating ways to speed up the pre-work but it is going to take a little bit of time to organize as I do not want to loosen the standards I have set myself. It makes me happy that the players are willing to wait for my whistles although it is a long wait. At the moment I am about 35 weeks backlogged which worries me but hopefully can bring this down soon.

Dale: Does the design of the Overton continue to evolve?

Colin: Yes, of course. In my rare spare time which is normally a Sunday
afternoon I go into the workshop and tinker. I have been working on
developing some of the already existing keys like low D, high D, mezzo C, low C, alto G and am working on a new bass G. I now offer three different low Ds, the close spaced fingering, wide spaced fingering and one with big holes (wide spaced). There is also the choice between easy and hard blowing whistles. As I said before if anyone has a specific preference with any whistle then I will try and do this for them. Every whistle is made for an order and if a whistle needs a certain spec then I incorporate this in when building it. I have also modified the C whistles to a slightly different specification and think they are easier to play in the upper end of the second octave although if any one has a request for the older type I can still do this. Besides the normal whistles, I am working on another kind of whistle, still using the Overton head design but different body. I have made prototypes that play well but it is still under wraps. As soon as they are available you will be the first to know. It is something completely new as far as I know. I would just like to thank all the players out there for their feedback and encouragement which helps me in my work.

I would also like to thank you Dale for Chiff & Fipple in helping to bring
whistle players from all over the world together. I am sure we all
appreciate it deeply as I know it must be an awful lot of work for you to do every week.

More information about Overton whistles and Colin Goldie is available at http://www.overton.co.uk

Photos courtesy of Colin Goldie, Brigitte Frein, Bernard Overton.

Dale Wisely is the Undisputed King Of Internet Tinwhistle Journalism and is the webmaster of Chiff & Fipple: The PostStructural Tinwhistle Internet Experience.

This page posted 1/8/2000

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