Hi I brought a feadog tin whistle a couple of years ago, but was only able to play really simple tunes from it because I always had trouble hitting the higher octaves without sounding like I killed a few cats.
A few months ago I decided to try a susato and found the whistle to be better, but I still had problems hitting the high A and B on it without breaking octaves (I had to blow really hard on it and it sounds really squeaky)
Since I am really serious about learning the tin whistle, I decided to go looking for a higher end whistle. After reading the reviews today I decided to purchase a Burke D session.
Reading the reviews on that site from other customers, they said it was a really good whistle for a beginner.
Anyone have experience with this whistle? I was looking for a whistle that doesn’t sound annoying on the higher octave. Since I’m still a beginner, I don’t want to annoy the heck out of my friends when I play. Also, any suggestions to make my higher octaves sound not so harsh on the ears? I find that in public places even I cringe when I try to play them.
Many here will quickly tell you that “difficult” whistles can be tamed and sound completely “different” --far better with more practice and improved breath control.
That being said, I found the Burke D to be a very “forgiving” whistle, dependable, and not overly touchy. I never regretted getting mine…
…UNTIL I began to play lower-keyed whistles (C, Bb, and now A), which are MUCH less offensive at the top of the upper range than the D whistle. And therefore less embarassing to play in places where people might show up and throw rocks. After playing lower whistles, I only pick up my Burke D occasionally.
It is easy to over blow on the higher notes. Takes some practice to back off on them.
You might need a little extra subtle push to reach a high note but then back off subtly to remove the shrill. As simple as the whistle seems, it still needs practice.
Actually its not so much overblowing as underblowing. When I hit high A or B, I play a normal A and B instead. The only way I can get it to high A or B is overblowing on it. Which is really strange. My feadog is toast as I had accidentally sat on it a few months ago so I can’t really play that one anymore.
So I only have the Susato. I managed to get it to sound a little better with some joint grease but I still have to blow really hard on it for high A and B.
I also have a Susato Low D and I have no problems getting it into the higher octaves, but the holes are so far apart on that one that it is hard for my beginner fingers to play.
Do a search on this forum for “Burke”…I don’t have that particular whistle, but I know there are extensive discussions on almost every whistle out there. Also, don’t think your other whistle is defective…all it takes is practice and you learn how to hit those high notes. There is also alot to be learned from practicing or learning with one whistle. I have several whistles and I am going to do all my learning on one–till I get that one right..before moving on.
You have come to the right place to learn everything you wanted to know about the Tin Whistle..so welcome and I hope you keep coming back and participating in the discussions. Also, do use the “Search” function for your questions too..there is alot to learn out there with soo many years of archives plus the knowledge of all these great whistle players!
Most of all..have fun! That’s what whistle playing should always be!
I had a Burke composite session C. Beautiful sound, probably couldn’t be more perfect, but it’s so very loud and in the upper register it’s not as easy to play as you might think, because of the wide bore. I find small bore whistles easier to play and they are less loud. An exception is maybe the Impempe, which has a wide bore, is loud (at least mine is) but very easy to play and responsive (and relatively very cheap). Most easy to play I still find my Generation D, which I tweaked a bit to make it more stable and consistent. Burke is also quite expensive to start with ($190,-, $170,- second hand). If you’re a beginner, you might consider Dixon or Freeman tweaked whistles or imho. Impempe. Those whistles are easy to play, not too loud, and you get nice sounds without having to work too hard on your breath.
Hmmm, Maybe I should have brought the narrow bore Burke instead? I only just ordered today so I have not received it yet, maybe I should call them up and change the order?
I don’t think my Susato is defective, but I shouldn’t have to spend extra effort to hit 2 notes on the higher octave. Not when it is so easy to hit the lower notes with so much less breath.
The difference is very noticable. I have to almost blow twice as hard into the whistle just to get high A and B. I didn’t have to do that with the Feadog when it was still in one piece.
As a confirmed beginner, I can assure you that you made a good choice. The Burke D Session, like the Gary Gary Humphrey D and Sindt D, is quite forgiving and rewarding to the ear–as well as pleasing to the eye and hand.
You’ll love it.
Why “shouldn’t”? Ideally, maybe. But you’re describing a characteristic of many whistles, that the high A and B require different breath control and embouchure. Experienced whistlers know how to do that. Beginners don’t, so they tend to blame the instrument. Chances are your Susato is fine, as was your dearly departed squeaky Feadóg.
The Susato A and B can be tricky to tame. Some people find that the O-ring tweak can help this problem specifically:
You also might need to narrow your embouchure at the lips, or by angling the whistle to the side. And widen out your mouth cavity.
The Burke is definitely an easy-playing whistle, one of my favorites. But the same principles of breath control and embouchure apply. Work on your technique, and you won’t need to go in search of the next magic whistle.
I am not too experienced to forget the problems I had when starting. Sometimes when people have been doing something for a while they forget the problems they experienced.
I started, (just before Christmas) easily with a Sweetone except I kept getting condensation in it with the amount of time I was practicing on it so I bought a Gonzato PVC one. The difference in them was amazing. I really had to blow hard to get the top notes and the bottom D was really unstable - TO ME - as a beginner. I wondered if there was something wrong with the whistle as I wasn’t experienced enough to know. There isn’t, of course, it just plays different.
It’s not that you blame the whistle MT it’s just that you don’t know it’s you. You don’t know whistles play differently - That’s different
***The Clarks Sweetone is easy to play, sounds nice (to my ear) and cheap to buy, so it doesn’t matter too much if you sit on it.
Just accept that that is the way the whistles play and choose the one you find easiest to learn on until you get more experience then you can decide if you want to stick with your susato.
PS There are some lovely characters around here so don’t always expect a straight answer first off (and I mean that in the nicest possible way)
Thanks Pammy, thats exactly what I’m saying. I know I’m not an expert. I’ve only been playing the Tin whistle on and off for the last 2 years. The only thing I got going for me is that I have a very good ear and I can tell if a note is off tune just by listening to it. (Which is also why I’m so picky on getting just that right sound)
My feadog was ok, but it squeaked. Even my friend who has been playing music since she was 8. (I think she’s in her 40s or 50s now). She can’t stop her feadog from breaking out in squeaks either and her playing sounds 10x better than mine.
As a beginner I’m just looking for the more tolerant instrument vs a temperamental one. I do like the susatos, they have a nice rich sound, but the higher octave sounds too sharp to me. I prefer a more melow higher octave.
The Burke may not be perfect for me either, but I won’t know til I actually try it. If it doesn’t suit me, I’ll just go buy something that will.
Right now I own 2 susatos high Ds, 1 Susato low D and the bottom part of the Susato Bsharp and C. My feadog is dead. I also have two wooden recorders.
Well, Pammy, that’s not entirely logical. If you think your whistle doesn’t play well, and you discount yourself as the reason, what else is left?
That different whistles play differently is fair enough, you’re right. People will settle on what they like best.
But … You acquire whistle X, with a reasonable expectation that the maker has designed it properly to play well (or why would they sell it?). You learn or read that many other people play it without a problem. But in your hands it sounds … bad. So cognitive dissonance sets in. And off you go in search of a “better” whistle, with possibly a different set of “problems”. It’s a natural reaction.
This is one of the reasons that, as a sort-of teacher, I’ve come to believe in a degree of standardization. The basic Generation-type whistle - metal tube and plastic head - has a long history of fine playing behind it, and literally thousands of players playing one of these well. That’s an excellent baseline standard.
You know it can be played well. So if you can play it well, then you have a common ground of technical skills with all those other players. And a common basis for evaluating any other whistle for its unique characteristics that happen to please your personal tastes, or suit the musical use you put it to.
is it good???
