A while back I bought one of Ronaldo’s newer-model Low D’s with the alloy/aluminum body and black plastic head.
Like every Reyburn Low D I’ve tried it had perfect intonation, very smooth voicing, a powerful Bottom D, and the octave relationship just exactly where I like it (neither as flat as the Dixon nor as sharp as the MK but in the middle where Burkes and most Low D’s are).
This alloy/plastic Low D had a very interesting tone which I liked to “a Native American Flute in a Fog” having a wonderful dark warm-and-fuzzy resonance, but also a fat beefy presence. It seemed to blend with other instruments exceptionally well. The Bottom D and Low E were particularly powerful and resonant. (I really cherish a strong Low E.)
A bonus was that the upper-hand toneholes were closer together than on most Low D’s. This is a big thing for me, because for some reason I have hand issues on Low D’s not with the lower hand like many people but with the upper hand. Even with piper’s grip my hand tires quickly if widely splayed out on those three upper holes.
The only thing I didn’t like about the whistle was air consumption. I like to be able to play long phrases and not be constantly huffing and puffing. It’s one of the many strengths of the MK: it’s the most air-efficient Low D I’ve played, quite powerful but very stingy with air.
Ronaldo was very willing to work with me on this and without hesitation offered to revoice the whistle. Just a couple days ago the revoiced Reyburn arrived and it’s wonderful. All the things I liked about the whistle initially were still there, but now the whistle is more efficient and has (so it seems to me) more clarity and focus. For sure this whistle is going to replace the MK in my roll for “legit” work where the flawless intonation and extreme smoothness and interesting warm tone and powerful low notes and civilised high notes will make my job easier. And I already know that this whistle works great in a traditional music setting… there’s something about the sound that ‘plays well with others’.
It’s intertesting how a great solo instrument is not always so great in combination with other instruments. And it’s always fantastic when you get both in one.
Richard, I"m very happy to hear that the revoiced Alloy Low D is “Wonderful” for you. And yes the more focused tone is the result of the tighter airway as well as greater air efficiency so I’m glad that this new set up will be your “legit” work instrument.
It’s interesting and strange to switch back and forth between this Reyburn and my MK: both excellent, but so very different from each other in many ways. Both have that “can’t put it down” thing equally, the thing where it feels so good in the hands and plays so well.
Another attribute the Reyburn has which I prefer over the MK is the very comfortable mouthpiece. I’m not a fan of putting metal in my mouth (as on the MK).
I haven’t looked back since I got my first Reyburn, for most of the same reasons you listed here Richard. I loved my MK. Just love the Reyburn more. How is the low C doing?
Without having both versions to hand simultaneously I have to rely on memory, but it seems to me that the very special tone quality has been retained, though perhaps it’s a hair more focused, in my opinion not a bad thing at all.
The volume of the low notes, Bottom D and Low E, seems to be about the same as on my MK. The 2nd octave is more mellow on the Reyburn, which I prefer. Volume is a hard thing to evaluate without some measuring device, because the Reyburn seems at the same time softer, and fatter, than the MK.
The timbres are so different! The MK, compared to the Reyburn, is focused and bright and even brittle. However the MK has that wonderful dirty undertone I love. The Reyburn is warm, tubby, fat, round, and wooly in comparison.
About posting YouTube videos, I haven’t been able to access my YouTube account for nearly two years now. I guess I’ll have to create a new account with a new identity.