Hello there,
I’ve been high whistles for a year now, and I’m looking to venture into the lower octave. I prefer a rich, flute-like sound. I like a clear tone, however. Breath control isn’t a big problem for me, since I play many other wind instruments. I’m not really sure about back-pressure. I’ve never experienced it first-hand. I would also like an instrument that is tuneable, and transitions between octaves well. I don’t have a particular price range, since most are under $200. Thanks for any thoughts.
Not sure where you have been doing your research on Low D whistles, but the better ones I’ve come in contact with are all over $300. You probably wouldn’t go wrong from a “semi-custom” standpoint with Reyburn, Burke, or MK Low D whistles, but I’ve recently been lucky enough to get a Sweet Low D Onyx and can highly recommend those also. It is particularly nice for those of us that prefer to play a low D with standard whistle fingering rather than “piper’s grip”, as the conical bore allows closer spacing of smaller tone holes. It is rather flute like in sound, without losing the characteristic overtones of a whistle entirely. Certainly not the "cosmic drainpipe sound of a classic Overton, but still has a substantial bell note to dwell on at will.
Thanks for the reply Latticino. I realize now that the website I was looking at for approximate prices was very outdated. $300 is more of the ball game, and that’s still fine. Now I will have to do a little research on YouTube and the company websites (Hopefully they have sound samples) to get a handle on which whistle would suit me. Thanks again.
Reviol has easy action between octaves and is my personal favourite. Prepare to spend over 350$, though. Most of the good low D’s out there are over 300$, just so you know.
Coming from a flute player’s perspective, you won’t find a low D that actually sounds like a flute. If you like the sound of a flute, play a flute. You’ll have much more tonal and dynamic flexibility on a flute.
Also, as has been suggested many times in the past, get yourself a Generation Bb whistle (typically referred to as the “gateway” low whistle). They are rather inexpensive (~15 USD) and can give you a first impression of the trend in breath management that you will need to develop as you move from a high range whistle to a low range one.
Agree about the typical price point for a higher end whistle – if that’s what you’re after, then you’ll probably need to bring a couple more c-notes to the party!
One thing I have learnt from reading C&F for the last God knows how many years is that whenever you ask any six whistlers their opinions about their favorite whistle, be it low, high, bass or wee, you can be guaranteed that those half dozen whistlers will offer you at least sixteen different opinions! So, mine: I think like many folks, the low whistle has a very attractive sound (particularly for airs and the like). Me I like whistles in D and G, so can’t really speak to having whistles in every key. (I also play the G whistles differently, I suspect, from everyone else, using the G fingering rather than the D fingering, but I guess that’s a different matter!) I won’t argue against starting with a Bb whistle, though I don’t believe one mùst start out there and move down. I’ve played other bass and contrabass wind instruments, from tuba to contrabass clarinet to bassoon and ophicleide, so the low D whistle just seemed the natural leap to make.
In low Gs, I have Shaw, Susato, Overton, Hohner, J.H., Barnet Samuel. I like the Shaw’s breathy sound, and the G doesn’t take a lot of wind. The breathy quality is not everyone’s cup o tea, and probably won’t be for you especially if you’re looking for a flutey sound. The Overton is very nice, much more comfortable than the low D (no pipers grip required) and has a more flutey sound. The Susato is nice sounding, but the mouthpiece is much thicker than any other whistle I’ve played. For me, that’s uncomfortable, but YMMV. The Hohner is pretty sweet, and really only starts screeching well into the third octave. In all, though, I think I like the B.Sam best of the lot for sound and ease of playing. (And yes, the lead block is well shrouded in clear nail lacquer!) Of them all, I think the Overton and B.Sam are the flutiest, and of those two perhaps the Overton.
I have low Ds from Shaw, Overton and Copeland. As I said before, I do like the breathy sound of the Shaws, though it does take a bit of wind. This was my first low D whistle, and I’ve been pleased with it. The Overton is certainly well built and has a lovely sound. More flutey than the Shaw and less breathy, but seems to be loud. I don’t seem to do very well in the upper half of the second octave in either whistle (the Shaw perhaps needs some adjusting) – but I don’t believe that’s an engineering or craftsmanship issue more than a player issue. Of course, neither are tunable (and none of the low Gs apart from the Susato are); the Overton requires a pipers grip or very long finger stretch. Or use the pinky for hole 6!
That leaves the Copeland. In my opinion, and I know others may or may not agree, but this whistle is an absolute dream to play. It is tunable and pipers grip is not required and is about as flutey as a whistle can be without headjoint reassignment surgery. Powerful sound, especially down low, without being overpoweringly loud. Doesn’t require hurricane force wind up high, even up to the third octave d. Its tone is beautiful and stable throughout the range and I am sure that if God played the tin whistle, it would be a Copeland that he would want to play! Mind you, it is well out of your stated price range (I’ve seen them sell for around $1000 on Ebay), but in my humble opinion would be well worth the price if you ever found one for sale.
One I haven’t mentioned is Mack Hoover – I like his quieter approach to whistling and very much appreciate the narrow bore high D I’ve got. Sweet and quite a bit on the quiet side, and won’t shatter your windows right up to fourth octave d. I’ve asked him to make a low G, but haven’t received it yet, so can’t comment.
Cheers, and hope you find the low whistle of your dreams!
One hears the “flutelike” description thrown around a lot. In sitting in a number of sessions where there are fluteplayers, and me on various makes of Low D Whistle, it seems to me that Low Whistles always sound like whistles, and never could be mistaken for a flute. (I think the method of tone production is just too different.)
I’ve owned a fairly large number of different makes of Low D and the tone varies quite a bit, even within the same make sometimes. Some whistles are rather pure/bland with just a hint of a recorder or Native American Flute in the tone, others have a lot of the NAF thing, some a lot of the recorder thing, and some having the ‘cosmic drainpipe’ or kaval-like thing, with lots of gravel and dirt.
I know what you mean! I play bagpipes and to me all whistles have negligible backpressure. However what I do notice is air usage or efficiency. Less volume of air travels through high-backpressure whistles, meaning that longer musical phrases can be played.
I prize this too, facility or nimbleness of ‘action’.
There’s no substitute for actually playing different whistles. Right now I’m switching back and forth between a Burke Pro Viper, a Reyburn, and an MK Pro. The tone, ‘action’, and air-efficiency is quite different on each of these. I find that the more I play different Low Ds the more I learn about what I like and don’t like.
My favourite whistle is a beat-up old MK tunable Low D. The 2nd octave is amazingly light and facile, the tone is the most complex and interesting of any whistle I’ve owned, it’s loud, and it’s the most air-efficient whistle I’ve owned. Is it perfect? Far from it. I wish it had a much stronger Bottom D, for one thing. However the more I play different makes the more I appreciate what this MK does.
Let me second some suggestions already made. I use three lo D whistles at various times. The Sweet Onyx, the MK (now pro), and the Copeland. If I had to rate them as to closeness of sound to flutes I think the Onyx and the Copeland are closest. The MK is definitely a whistle. The other two, probably because of the reverse conical bore, have a bit of the flute and perhaps the (oh dear!) recorder sound. When I had to do a duet with a flutist where blend was the big issue I used the Sweet Onyx. In price I think they range of those three is Sweet Onyx, MK, and Copeland. Michael Copeland has is only making a few whistles now, and so the prices are greatly inflated. I wouldn’t recommend spending the money for one unless you had a chance to play one quite a bit and fell in love with it. They also seem to vary more than some makers instruments. I’ve played the Burke, and for me it seems rather bland. Others really like the sound though. Whatever you decide to get I would highly recommend you try to get it where you can try it for a bit with return privileges, or where you can play it a bit to see how you feel about the responsiveness and sound. I suspect you can work something out with
On the less expensive end there are the Mack Hoover and the Guido Gonzato. I like the high D Hoovers I’ve played and many folks speak well of the Gonzato instruments which are really very inexpensive.
Good luck on your search.
The flute store lists a Burke and an Onyx right now, and there is a Copeland at the irish whistle shop for $750.00
I should have mentioned that to get a basic footing on what Low D Whistles are all about, as far as the ‘history’ or tradition or lineage of the instrument, and the parameters of what we expect Low Whistles to be and do, you should spend some time playing an Overton or Goldie Low D. The way these whistles play makes for a handy benchmark or reference point for all other Low Ds.
Why? Because Bernard Overton more or less invented “Low Whistles” in the 1970s and Colin Goldie carries on that whistlemaking tradition. When you see professional players, the “big names” of Low Whistledom, they’re nearly always playing an old Overton or new Goldie. There must be a reason!
Old Overton Low Ds show up for sale fairly often.
It’s not until you personally get to play a large number of makers that you really refine all the little preferences you have, all the small ways that different whistles suit your own playing, or not.
I’ve owned or had in my possession to evaluate Low Ds by Copeland, Reviol, Reyburn (several different styles), Burke, Susato, Chieftan (several different styles), Dixon, Overton, and I don’t remember what else, and the whistle I play every day is an old tunable MK (pre-“pro”). I’ve also tried (playing for a few minutes only) a large number of other makes including Goldie and a number of different Sweets.
I’ve made some YouTube videos demonstrating various whistles but these mostly serve to show that YouTube videos don’t convey what whistles sound like in person, or what they’re actually like to play.
Hi!
Thinking of selling my SYN low D. Nothing wrong with it, i just never play it.. (I have a Löfgren low D that gets all the play time)
€60 + shipping, PM if interested.
This is a budget alternative to try out a good low whistle.
I would have to agree. I feel I do not have a strong background in whistle yet, seeing as I am just a home hobbyist and there are no sessions in my area for me to collaborate and learn. Do you know how much one of the old Overtons would run? I think I’m going to go with your suggestion and buy one of them or a Goldie. Thanks again.
I’ve picked up old Overtons and MKs for around $200 each, or sometimes a bit more.
The more different Low Ds I try, the more little things I appreciate about my MK. The several Overtons I’ve had have all been sold off, except for my Low E. I’ve offered it in trade for a Burke Low E, but I never had any takers.
So, mine: I think like many folks, the low whistle has a very attractive sound (particularly for airs and the like). Me I like whistles in D and G, so can’t really speak to having whistles in every key. (I also play the G whistles differently, I suspect, from everyone else, using the G fingering rather than the D fingering, but I guess that’s a different matter!) I won’t argue against starting with a Bb whistle, though I don’t believe one mùst start out there and move down. I’ve played other bass and contrabass wind instruments, from tuba to contrabass clarinet to bassoon and ophicleide, so the low D whistle just seemed the natural leap to make.