I’ve been away from these forums for…four, almost five years now? Has it really been that long? Holy cow!
Anyways, I’m now in a position to buy a “high end” flute and was wondering what people here would recommend.
My budget is in the range of < $250
I purchased a Burke Viper D years ago and love the thing. I’ve been impressed with it ever since.
I now want to invest in a high-end high whistle, but there are so many options, I’m not quite sure which way to go.
Burke is my first gut choice and I’ve been looking at the D Brass Session DBSBT for years, but after searching around a bit, the trio combo of the WD Sweet Model Pennywhistle in Plastic appeals to me for some strange reason
A few years ago, I picked up the Xaphoon Pocket Sax, a tiny saxaphone-sounding instrument that is made of (what I believe) the same material these flutes are made of. I love the thing. It’s durability and resonance are second to none. My hope is that the plastic Sweet has the same qualities, and the idea of the fife head appeals to my flutist side as well.
Has anyone played one of these before? Any other recommendations in this price-range?
I haven’t played a Burke but I have a WD Sweet. Very nice whistle. Good intonation. Plenty of volume so it’s good for sessions. Strong first octave. Easy response in the second octave and even up into the third. Nice sound for a plastic whistle; sweeter than Susato. Never clogs. Being plastic it’s not much affected by the weather. Only negative: due to the wide windway it does take some air. You might have to take breaths more frequently than on some other whistles but once you get used to it it feels pretty comfortable.
This is such a subjective topic. The price range you’ve stated offers you many choices though.
I wouldn’t argue with the Burke choice at all though the choice between composite, brass and aluminum is really a personal choice. I have all of them and each has it’s own merits. The Sweet is similar in tone but much louder. I don’t own every whistle made but the Sweet Delrin that I recently sold was the loudest whistle I’ve heard and I do own some very loud instruments. It is well made as and in tune with itself and the world.
I do own a plastic xaphoon and I don’t know how you’d compare them to a whistle. The Sweet Delrin is much thicker and I wouldn’t describe it as particularly resonant. The composite Burke however is very resonant.
If you’re interested in Delrin, Tommy Dion makes a really nice delrin model for quite a bit less money than the Burke, about the same price as the Sweet if I recall correctly. It’s pure sounding but not nearly as loud as the Sweet. It’s not quiet either but the Sweet is overwhelmingly loud to me unless one plays outdoors a lot.
You can’t go wrong with a Busman Delrin or wood whistle either. It’s right about at the top of your price range but they are as good as you can buy from anyone.
@addtheninth: Hi, can you give more information about what you are looking for in a high whistle? Loudness, sweetness, breathyness, responsiveness, chiff (transient sound when a note begins to speak) powerful bottom end, easy top end, third octave capabilities, easy blower, hard blower, beak shape?? Any material preferences, how tough?
The Xaphoon is made of ABS plastic via injection moulding, same as Susato whistles. The Sweet is made of acetale (Delrin) and turned I believe (please correct me if I’m wrong here!). Two very different kinds of plastic and manufacturing processes.
If toughness is important, how tough does it need to be?
I don’t know if there is any whistle which can withstand a drop onto a stone floor without showing some mark. Some might break. Some will show a mark or dent but are perfectly playable. If it falls on the beak it may be more irritating and may need sanding to remove sharpness of a mark.
Some whistles will withstand being stood on/ sat on. Others will squash or crack. Is that something to consider? I think I’ve never seen a toughness discussion on this forum, maybe something to do in its own topic?
@ecohawk: I suppose you mean resonance of the material, not of the tone. Why do you think resonance of the material is an important factor, and what does it mean exactly? When you knock on the body it rings? Does it have any bearing on how it sounds?
Think it’s polycarbonate head and acetal body but, yes, turned. Haven’t got one (getting cagey about buying these things without trying!), but was quite tempted when I first saw it.
You really can’t go wrong with a Burke. That said, though, after playing hundreds of whistles, including Copeland, Abell, O’Riordan, etc., my favorite soprano D whistle over the last several years is the Sindt.
I haven’t checked in here lately, but I have a WD Sweet high D. I love it. I play in church and it is in tune with itself and the other instruments, loud enough to carry well, and sweeter sounding (to my ear) than any of the other whistles I have played. I had a Burke for awhile, but it just didn’t appeal to me the way this little delrin whistle does. Walt does beautiful work.
I hadn’t heard of these so I went to the website. I think they sound great. I was really intrigued so I recorded myself playing Ore Valsen on my MK Low D so I could compare with his recording on his Low D. His sounds very much like a flute. It sounded totally different than mine. I like my MK Low D sound but if one is looking for a flute sound I think the WD Sweet Onyx would be a good choice.
I then listened to his flute recordings and recorded my own Fanny Power to compare with his. It was very interesting to hear the difference between my low D and a flute. One thing I really noticed is when I hit the high notes I had to play louder and opposite for the low notes, but on his recording the volume looks pretty constant throughout.
It was a fun comparison and I think WD Sweet makes really nice instruments.
That’s the nature of the beast. On an air-reed instrument, there are two basic ways to get to a higher register: blow faster, and reduce the distance the jet travels. A flute player can use both, but whistle players can use only the first. While there may be advanced techniques (that I haven’t learned yet), and whistle designs, that reduce the amount of difference, faster generally means harder and louder.
I also have his low D. The main consideration there is comfort and the ability to cover the holes with my skinny fingers. I had a Reyburn, but I couldn’t get the holes covered, even with piper’s grip. It aggravated my arthritis and was generally not fun for me to play. The more I get to know the Onyx, the better I like it.
I too struggle to cover the holes on my Low D and I’m a tall guy.
If you have any recordings of you playing the Onyx I’d love to hear them. I think it sounds lovely. I just can’t justify another Low D. Too bad he doesn’t make other keys but what he says about specializing makes a lot of sense.
On his High D I tried to do a comparison with my Guido high D but I can’t play the tunes he’s playing especially not that fast. He is a really good player. I’d love to find an air played on his High D so that I can compare it to my whistles.
I would very highly recommend the Ormiston high whistles. Full, strong tone, smooth response, and the top register does not require any particular push (which is a problem with many whistles, especially from top A up). Fantastic whistles, the best I’ve played. I wish George made a low D. Rose would be another option for a quieter, more concentrated tone.
If you can wait long enough, get a Sindt, I have an A and it is consistant throughout and up to the lower notes of the third octave. Reasonalble volume that caries well in a session and can also be played quietly without loosing any of it’e tone, Beautfully crafted in brass and will not break the bank. John is a gentleman to deal with. This my favourite followed closely by Bb freeman tweaked Generation and Low D Kerry Songbird.
I am surprised nobody mention Ian Turnbull’s iMpempe whistles?!
I have his whistles from Bb -E and so far noone who tried them didn’t like them. They are IMO right up with the Burkes at around half the price.. I am glad i got mine before people wake up and Ian realise he’s selling them too cheap
