I’ve noticed through the years that even when buying a set of two bodies (different keys) with one head piece that the sets seem invariably better suited to one of the two tubes. That said, there are still some good sets out there. I’ve also had some three body sets that worked well generally but were better suited to one of the three tubes. Specifically, I have an old Susato D/C/Bflat set that may be the best matched set for consistency of all; a WW Eflat/D/C set that is also fine all around but best fitted and suited to the C tube; a Syn D/C/Bflat set that is well suited all the way around; an Abell blackwood Bflat/A set, wonderful but better in Bflat; an O’Riordan Traveler D/C set , also wonderful but better suited to the C tube; a beautiful Alba A/G set, better suited to the A tube.
Now, I’m seeing sets on the Board that come with a single headpiece and five tubes. I also saw a Syn set at the Gathering that had either seven or eight tubes. I was surprised that all the tubes sounded as good as they did in the various keys, but there was noticeable drop off after a couple of tubes.
My question is is it feasible to go beyond three tubes to a single headpiece? Is it even possible to cut two tubes of different key that will play evenly well (hard to define I know) with the one headpiece?
This may be a question more for makers on the one hand and for players on the other.
Interesting, Philo…I have had these same questions, myself. I have always purchased complete whistles, for this reason…I will be carefully reading the answers of those who build and use such beasties…
Best to you.
Byll
But that doesn’t do you any good if the maker is making all those whistles with the same tube diameter. I mean, my Water Weasel C is a complete whistle, but since it still made from the same tubing as the WW D, it’s still weaker than it should be. By comparison the Thin Weasel C was the exact correct diameter for that key – a bit wider than the Thin Weasel D – and the one that I’ve tried was a freaking amazingly good whistle.
I have a Humphreys narrow bore D/Eb set. They are both excellent. I play the D more often than Eb. But that is only because it takes some effort to get the other tube out and make the change. If I put the Eb tube on I am likely to play it for weeks before I change again. I don’t see this combination favoring one tube or the other. Both are great.
In speaking with Pat O’Riordan a few years ago, and if I recall correctly, this was backed up by Mack Hoover during a visit to his shop (Mack??):
You’re always going to be better off with a head mated to ONE body. As soon as you start adding key tubes, the compromise sets in, and you’ll begin to loose things in either tone or playability - or both.
Depending on many factors, this effect can be very subtle or quite pronounced, and can onset quickly or not be noticed much through several key changes.
Yes, you can stretch the sizes out pretty far. The tech word for this is the Length to Bore Ratio. Concert Flutes usually have the value well over 30.
In this example, I’m going to talk about cylindrical whistles and not conical.
A typical optimum value for a whistle is around 24 to 26.
Lower numbers are wider bores in relation to the whistles length.
Higher number are narrower bores in relation to the whistles length.
Given a 1/2" inside diameter bore:
Key Length/Bore Ratio
Bb 28
B 26
C 25
C# 23
D 20
Eb 20
E 19
F 18
F# 17
G 16
Given this chart, the B and C whistles are about average bore sizes gradually the bore is appear relatively large for the whistle untill we reach the High-G which is considered a wide bore.
So by know this chart, you can actually predict the the C tonebody (tube) is best suited to this diameter. Note, I mentioned 24-26 and C is 25.
Now if the ratio gets any smaller, you begin loosing the ability to play notes in second octave.
For a whistle maker to use these sizes, you have to change your tonehole diameters for each set in order to have a good number of overtones produces (aka cutoff frequency).
I’m in agreement with Brian and Daniel. I will use the same head for 2 different key tubes, but not more. The playability suffers when the bore to length ration is too far off. Of course how the instrument is used can be an exception to this. Some tunes (non-Celtic) can be played in the bottom end of the scale and will work as a wide bore, but for traditional Celtic music the bore should be close to the prescribed B/L ratio, which by the way is a bit lower for my instruments (because I like a louder instrument) compared to what Daniel is suggesting.
It’s interesting that Phil and Byll both like their WW C’s, while I’m with Col. The WW D and Thin Weasel D have the same bore diameters (1/2"), while the C is somewhat larger (I want to say 9/16) and the E is smaller (I think 7/16). The C TW plays with so much more authority than the CPVC version, while the wooden E is much better balanced than the CPVC.
Regarding what Daniel said, Glenn always made his whistles with wider bores than the ~25 L/B ratio; I think he worked at about 20. I suspect that’s why his whistles have such amazingly large tone holes and why they play with such authority.
I used to have a Syn set with 8 bodies (a full set) which is the one Phil is reffering to as I still had this back during the Gathering and I brought it, it seemed to be best on the C/C# and the A and Bb we really weak but I liked the grat strength the Eb had the E was just weird in the upper octave ad the D was farily strong, the B nat. was great though it was my favorite of the set even thought the C was really the best I just really like the B nat.
The Dixon tunable G and A whistles both have the same size head. Even when I switch heads, the A still needs much more air than the G, which I think is to be expected with higher-pitched whistles of the same bore.
All of my own whistles are the same inside and outside diameter, and I get Eb,D and C out of that size tubing. For me, the difference comes when I voice the whistles. There are tiny differences in the blade to fipple distance that can make a big difference in how a whistle plays in a given key. I’ve tried swapping heads from a C onto an Eb, and they never seem to be quite right. Some first rate makers make sets and get away with it just fine, but I’m happiest making complete whistles.
