Does anyone out there use a pick-up (or some other amplifying device) when playing whistle with a band?
I play with a band that includes electric guitar, electric bass and a very loud drummer. To carry over them, I play into a mike, but I’d be interested to hear of other ways of making myself carry better.
Please share details – type of amplifying device, amp, where you attach pick up, etc.
–Barb
I believe almost all wind instruments use a mic. Strings can get away with sensor pickups through string vibration via the bridge, the device that holds the strings off the body. The most common pickup works through a magnet, which rules out wind instruments.
There are whistlers out there who use clip on mics, but the problem is you can’t back away from the mic. You would need to use a volume pedal for this effect.
I have found that drummers have no control over thier dynamics, and the ones that do you must stick to them like glue and never let them out of your sight, less someone will come along and steal them away.
There is an old joke that goes like this…what do you call the person that is always hanging out with the musicians? the drummer of course.
Dear Barb,
Lark in the Morning has a mike for use with flutes called the Silver Bullet, on this web page; http://www.larkinam.com/MenComNet/Business/Retail/LarkNet/InstStrings . I believe it would work best if placed next to the aperture, the hole on the mouthpiece you don?t blow into.
Regards,
Rod.
Another possibility is a headset mike. They work quite well and allow you to change instruments easily. But they make you look a little strange. There are standard and wireless models but the latter are pricey.
I own the Silver Bullet. My flute player uses it on her Boehm-style. Its okay but I believe that Crowns make just as good a product (pro audio shops will have different models for different instruments). You can attach it to the end of flute but it would be unwieldly to attach to penny whistle because of the size. I think you would be best with a standard instrument microphone on a stand in front of you. Whistles pick up well and as earlier pointed out, you can back off when you want for effect. If you used a mini mic like the Bullet you would have to clip to your clothes or some kind of stand.
For a basic instrument mike the Audio Technica MB4000C (under $100) works well for me. If you are willing to spend more, you could get an AKG C1000s ($160). I may be rusty about the latter, as I bought it mostly for mic-ing guitars and it was highly recommended. You really can’t beat a good instrument mic despite the millions of other devices for amping acoustic string instruments.I could be wrong but have experienced it this way.
They keep going up from there in price and get fantastic .. There may be a better high-end choice for the high clear pitches. Engineers sort of dread flutes (and probably whistles) cause of the soundwave chaos they produce. Find a reputable sound shop that sells mixers, speakers and does industrial/business/church installations. .. Do NOT believe anything you are told at Guitar Center unless you happen to have an unusually honest local person at one. We don;t around here. Good luck.
Hi there,
Lots of whistlers use a Shure SM57 on a stand.
Parkwood
Rob et al –
Thanks for all the suggestions, both on amps and mikes.
I am intrigued by the Silver Bullet – how heavy is it? I realize that I am quite keen to find a way, other than a mike, to amplify my sound because I like to move when I play, and I can’t do that with a regular mike stand.
–Barb
Barb, what kind of music is your band?
If you are set on being mobil, I would suggest two methods. The headset mic, can be moved somewhat so you can get a bit of dynamics in volume. Not sure how well it would work though. My first choice would be a clip on mic made for sax or flute. AKG makes a quality product, check them out. For volume dynamics run a volume pedal between the mic and amp. You may also want to mess around with effects like delay and chorus, with a volume pedal the delay can make some trick sounds. Remember though to run the volume pedal last, this way the effects get a full signal.
For amps, a used keyboard or bass amp would do the job well and cheap.
Good luck.
Jack –
My band, the Volunteers, plays a rock and blues-influenced type of Scots-Irish music. If it weren’t for me and the fiddle player, we would sound utterly like a rock band playing traditional tunes.
I appreciate your input as well. It sounds like a good set-up to get my whistle heard above the fray. As it is now, I depend on the good will of the bass and guitar players to keep the volume down when it’s my turn to play, but I can’t always count on them to be gentlemen. 
–Barb
When our band started getting gigs that required a sound system, I picked up a Shure SM58. Was on sale for $90..(bout half price). Seems to work just fine.
Greg
On 2002-04-18 13:31, Parkwood wrote:
Hi there,Lots of whistlers use a Shure SM57 on a stand.
Parkwood
Hi,
I agree about using a headset. I used a mic
for about 2 years and it was terrible to just stand in one place.(my feet would swell up and hurt even!)
Now, with a little headset, I can hide it under my hair and only a little black post sticks out with the mic on the end over the fipple hole.
I can turn side-ways out of the wind,
I can move around, and I can
SIT DOWN if I am exhausted near the end
of 4 one-hour sets. It only cost $150, even
at an over-priced city music store.
Lolly
Lolly –
After reading over all the posts, I am now reconsidering a head-set mike. I do have long hair (kind of wild and curly at times!) and I could hide the head-set in that. It would be heavenly to be able to move around on stage!
I also forgot to mention that I sing back-up vocals with the band, which is another reason to go with the headset mike.
Still, if anyone here does use a Silver Bullet-type mike attached to the whistle, and is happy with that set-up, please let me know.
–Barb
Barb: IMHO, I find the Shure SM or Beta 57 a better choice than the 58 because of a difference in the internal equalization of the mic. The sonic characteristic of the 58 is wonderful for vocals. It makes a vocalist sound bigger than life. This can cause some loud whistles to sound harsh… The lack of a presence ‘bump’ in the 57 models takes away the possible harshness in an amplified whistle.
If your band’s system has access to effects, try the following on your whistle:
Very slight delay - 30 to 100 ms
Relatively long tailed reverb - 2 to 3 seconds, but very little of the reverb in the mix.
I am no friend to compression, either live or in the studio, but should your whistle have widely varying subjective loudness between octaves, a bit of compression can do wonders.
The best to you.
Cheers.
Byll