Got this addition from Kevin, so thought I’d post it…
"Just in case you’re wondering, my tin whistles are a varied bunch. Ranging from Susato ‘C’ and Burke ‘D’ at gigs to Grinter ‘D’, Sindt ‘D’, Freeman ‘Eb’ ‘C’ and ‘Bb’ for recording etc.
Kev "
Pat
Eric, I just wanted to add that Kevin Crawford sounds fantastic on most any whistle. So looking for what whistle he plays on a particular recording is only part of the equation. I have a recording somewhere around here of him playing one of my self-made low whistles. He makes anything sound good. He’s just a very powerful and expressive player. So don’t discount the magic that comes from years of woodsheding.
The Grinter is still a great sounding whistle though. Oh, and thanks for mentioning “The Last Pint”. I had forgotten that Pierre Bensusan was going to be playing in the area soon. So thanks for the reminder. Kind of cosmic really!
Feadoggie
Now that’s made my day and then some.
Best wishes,
Jerry
Some time ago amidst one of the many anti-Susato rantings, I came across him playing a Susato and thought well there you go; isn’t that a fine and wonderful whistle. 
As for Grinter, I once had a red lancewood low F and a high D in the same material - absolutely gorgeous. I think I gifted one that might have been developing a crack and donated the other; red lancewood is not as stable as some other woods (curing being equal) like blackwood or ironwood or cocobolo. Those Grinter whistles though had a beautiful and unique tone. Red lancewood is very grainy.
Philo
@Pat: ok, so i’m confused again… you didn’t mention any F flutes at all, and i thought we established that his Grinter is an F and the rest got stolen?
@Feadoggie: yeah, i know my mystical holy grail quest for the perfect whistle is doomed to failure; any whistle i find will still be played by me, and thus poorly…
@Mr. Freeman: did you get my email? i also need to order a C whistle from you…
cheers,
eric
I was thinking a bit more optimistically. There are other ways to get there than one particular whistle. Have you thought about taking a workshop with Kevin? He’s a good teacher and a lot of fun to be around.
Feadoggie
tucson:
Look at the message of 6:06PM on the 20th - It is a Grinter low F…
Pat
The fact that Kevin is happy to play Susatos, or whatever is at hand, should tell you something. 
yes! i almost caught him in Dublin, but then couldn’t make it. it is definitely on my list of things to do though. in fact, i think i might technically be cyber-stalking him now.
cheers,
eric
It’s nice to be able to hear these perspectives from a player of his quality.
I was thinking about this and I came up with the following
Yes, FM(ajor) could play in CM/Am(inor) by playing Bb as Bn(atural) and DM could play CM?Am by playing C# as Cn and F# as Fn. However it seems that it would be easier for the D to play Em while the F played GM.
Here is why:
The cords mentioned are,
FM= F,G,A,Bb,C,D,E,F = Dm= D,E,F,G,A,Bb,C,D
CM=C,D,E,F,G,A,B,C = Am= A,B,C,D,E,F,G,A
GM=G,A,B,C,D,E,F#,G = Em= E,F#,G,A,B,C,D,E
DM= D,E,F#,G,A,B,C#,D = Bm= B,C#,D,E,F#,G,A,B
For the DM to play Am he would start at A=XXOOOO,
Or worse yet, CM he would start At C=OXXOOO.
The D instrument would also have to Correct the two sharps,
C# as Cn, and F# as Fn=XXXX/O.
For the FM to play Am it’s not so bad he would start at,
Am A=XXXXOO or C=XXOOOO.
The F instrument would only need to correct one flat,
Bb as Bn=XX/OOO.
This leaves almost all of the burden on the D instrument.
Now Consider playing in GM/Em. There would still be three corrections between them but the difference is the starting point.
The DM would play Em, to do this he would …
Start on E=XXXXXO, and he would correct C# as Cn.
THe FM would play GM, TO do this he would…
Start on G=XXXXXO, and he would correct Bb as Bn,
and correct F as F#=XXXXX/
Now both instruments are playing relative cords, which happen to start with XXXXXO.
Here is a chart I use to remember which keys to sharpen or flatten.
(4#)=#,#,-,#,#,-,- [to-EM]
(3#)=#,-,-,#,#,-,- [to-AM]
(2#)=#,-,-,#,-,-,- [to-DM]
(1#)=-,-,-,#,-,-,-, [to-GM]
(–) no change [CM]
(1b)=-,-,-,-,-,-,b [to-FM]
(2b)=-,-,b,-,-,-,b [to-BbM]
(3b)=-,-,b,-,-,b,b [to-EbM]
(4b)=-,b,b,-,-,b,b [to-G#M]
There are a 5 and 6 #/b but the pattern should be clear now.
To use the chart.
For example a C whistle would play DM by correcting…
(1#) Fn (=XXXOOO) to F# (=XX/OOO) and
(2#) Cn (=XXXXXX) to C# (=XXXXX/)
b keys are corrected by flattening the key (half holeing the key below it).
For example a C whistle would play BbM by correcting…
(1b) Bn(=OOOOOO) to Bb(=/OOOOO, or =OXXOOO) and
(2b) En (=XXXXOO) to Eb(=XXXX/O)
-note the key below is being played normally (A=XOOOOO, D=XXXXXO) unless it is also being flattened).
Personally I don’t mind going 2b or 1#.
I’m working on 2# (EM on a D whistle) but it still feels very foreign to me.
While playing with a D instrument the 4 Keys I don’t mind playing are CM(Am), Em(GM), DM Bm), and AM(F#m). I expect other instruments to meet me on those keys.
I don’t know if this helps you comprehend it better but it’s how it works out in my mind. 
#|F#,B ,E ,A ,D ,G ,C ,F ,Bb,Eb,G#,C#,F#|b-Major
#|Eb,G#,C#,F#,B ,E ,A ,D ,G ,C ,F ,Bb ,Eb|b-Relative Key Minor
-Mike