I ordered and received an MK low D whistle in a beautiful purple color.
SUMMARY: a most excellent low D whistle – the best I’ve ever played – with one major problem which the maker swears is easily redressed.
This is not at all meant to be a backhanded review, but I’d rather get the negative out of the way first:
This was the first time Misha Somerville had had his whistles coated in purple. His standard finishes are
Polished aluminum, black, red, and now green. These four finishes are all apparently down to a science and have given no one any problems. The purple, however, came out still somewhat sticky over the whole whistle. This left finger and lip prints on the finish which were quite visible, even from a distance.
Misha was probably the most accommodating fluthier in terms of customer service that I’ve ever had dealings with (with the exception of Mr. Chris Abell). At my request, my money was refunded. He offered to replace the whistle with another in a different color. I opted not to, having come to the conclusion that I am a wood snob. I’ve been a cabinetmaker; perhaps that has rubbed off on me (no pun, those of you who use oil finish!). I am resigned to the fact that I prefer to play wooden instruments rather than metal ones.
That having been said, this is the single best low D whistle I have EVER played.
I have played a number of low Ds:
Howards (both old and new versions)
Cillian O’Brien
Tony Dixon
Jubilee
Burke (“Viper” with rotatable D hole)
“Byll” (on C&F), my bandmate, has played many low Ds as well, among them, these three:
Overton
O’Riordan
Burke
Byll concurs with me:
Strongest bottom D we’ve ever heard on a low D;
The rest of the notes VERY nicely balanced to that strong low D;
Surprisingly easy finger reach (my fingers are slender and long; Byll’s are shorter);
The lowest air requirement we’ve ever experienced on a low D.
Byll holds that this one easily beats out both his O’Riordan and his Burke, and that it is the equal of (for different reasons) his Overton.
This from Byll:
“Ease of playability, back pressure, and bottom end over the O’Riordan.
Glorious sound over everything except the Overton.
I remember that the positioning of the finger holes was excellent. It was difficult NOT to cover them properly.
The whole instrument had a comfortable feel about it. Looking at the lack
of a ramp on the whistle’s blade, the thing should not have worked, but it
did. It growled…”
In fact, I remember him telling me that if he hadn’t already ordered and had in his possession his Overton low D, he would order an MK in a heartbeat.
Tonally, very similar to Overton, but easier to finger, better balance, a stronger low D note, and a much lower air requirement.
If I could bring myself to stop being so snobby about wooden instruments, I would have MKs in my possession and use them often.
