There has been a rise in the number of whistle offerings of late. They seem to be getting better and better. When I heard Ronaldo Reyburn was coming out with a new low D, I knew I had to try it. Ronaldo had tried the MK low D and found it to have a strong lower octave with good focus and intonation coupled with an edge or bite to the tone. He determined to make a new low D with volume similar to the MK. I have been playing my MK almost exclusively since I got it. I knew I had to try the new model so I ordered one. Ronaldo asked if I wanted it in Itrad or just intonation. As I had not played his Itrad tuned whistles I ordered it with that as well as a just tuned body to go with it. He said I could try both out and keep the one I liked and send the other back. If I wanted to keep both the second body would be $40.
On opening the package I saw the whistle made to Ronaldo’s usual high standard of fit and finish. As my camera is in for repair, I refer the reader to Ronaldo’s web site, which shows what his present production looks like. He has switched from wood to delrin heads a while back and the delrin is what is on this model as well. The whistle weighs in at 324g, which is just bout 11 1/2 oz. The MK weighs 207g or about 7 1/3 oz. The whistle, having a heavy wall brass body, yields a rounder tone than the MK. There is just small amount of chiff which gives the tone nice character. There seems to be a touch more backpressure than the MK. The bottom octave seems about the same volume as the MK and ornaments are full and crisp. The second octave is well balanced and without shrillness. It seems to be easier to reach and hold the upper part of the octave than with the MK and does not require as much support there. The MK has a bit more edge to the tone while Ronaldo went for a lushous rounder tone. Both are very good and very useful. I have been able to play it at sessions and find it blends well with that lovely Reyburn tone and can be heard throughout its range.
I have been using the Itrad body. Ronaldo has flattened the F# and especially the C# on this tuning a bit more than on the just body. I am used to just tuned whistles, like the MK. The F# blends well with pipes and fiddles who tend to play in just intonation. Where this body shines is in the C natural. It gives a C natural with the oxxooo fingering. This note is strong and full and can be layed into. Whistles requiring finger(s) down in the lower hand for this note often are a bit choked in tone due to the extra closed holes. A strong C natural is a real advantage to this whistle. The cost for it is a slightly flat C#. Though flat, it is not objectionably so. It can be pushed sharper in a slow air and I find it very pleasing. Conversely, the Boehm flute is a bit sharp of C#. I really could play either body and be happy with it with ITM but the strong C natural is a real plus. I think Ronaldo has hit a home run with this whistle. Several session mates remarked about the lovely tone that this whistle produces and, as more players are using low D’s, it is good to have a whistle that does not get lost in the crowd in the lower octave. Balance, warmth, volume and response all in this new offering by Ronaldo. I noted that the bottom hole seemed small and was worried it might have weak E’s. Not so. The E’s in both octaves are fully present. Ronaldo added a perturbation in the bore to accomplish this. The top hole is about a 1/4" lower than on the MK, but hole sizes are similar.
This whistle is a real improvement to Ronaldo’s older design and puts it up there with the MK as one of the top whistles produced today. There are others I have not yet tried, but if any can produce the volume and tone that these whistles can, I would like to try them. Instruments just keep getting better over time and this one is a real outstanding addition to the low D field. Ronaldo told me he will sell these at the old price of $240 until the end of the year. On Jan. 1, 2011, the price will go up to $300. I will try to post a clip of the sound when I can figure out how to work my new recorder.
Sorry for lack of paragraphs I ran out of time and posted my rough draft. (edited review by making paragraphs)
I tried the thumb hole thing years ago. The big problem with the thumb hole C natural is keeping it closed. The hole is not exactly where I put my thumb naturally to hold the whistle. I like to move my thumbs around a bit for comfort. A key would be a better solution, if there was a problem. I don’t consider cross fingering a problem. I also don’t see the thumb hole catching on. It is difficult to use in very fast passages. I have seen more thumb holes abandoned, by being taped over, than I have seen being used by players. I know of no experienced players that use them.
I took the Reyburn to a session last night. It sounds better to me every day. More comments on the great tone.
Ted, could you please comment a bit on the differences between both tubes in terms of playing ergonomics (reach, grip, finger placement)? Thanks!
Also, I thought the options were iTrad and Equal Temperament, with the iTrad being a different name for Just Intonation. Did I get that wrong, or is Mr. Reyburn producing whistles in three different intonations?
Fair enough. But since the mods have to read everything, readability does count. To us, “deal with it” could mean deleting it … if we’re in one of those snippy moods, you know.
Since you’re still within the 3-day window, you could edit/reformat the OP if you’re so inclined.
That’s my impression, too, from reading the description on the Reyburn site. Two options: Equal Temperament, and Just Intonation (= ITrad).
Evidently the Itrad is different than the just tuning. I have both bodies with this whistle. Perhaps Ronaldo will clarify this for us. He told me that equal temperment is a third option.
The ergonomics are no problem for me. The top hole is about a 1/4" lower than on the MK. The bottom hole is a bit smaller. It may be easier to finger for some due to these differences. I have large hands and notice almost no difference, but then I have played low whistles for years and have not had problems with any whistle I have tried. I am not a good judge of this.
Yes, my bad, now I realize “both tubes” was ambiguous: I meant both Reyburn tubes. I’m curious since , per the Reyburn site:
Also, Tony Hinnigan commented on his review of an older Reyburn Low D model how B3 was further apart from B2 than in other low whistles. Apparently, this is (was?) a feature, the player having to use the pinkie for covering B3 (other players have commented on this).
I wondered what was your experience on grip (piper’s vs B3-pinkie) and if you found significant differences between both Reyburn tubes, or between the Reyburns and other designs.
The Reyburn is the heaviest of the three, the tube being brass, with a solid head machined out of black plastic.
It’s playing characteristics are surprisingly similar to the MK despite the different construction. The “breaking point” of various notes is similar, the smoothness across the registers, the spot-on tuning. (Actually this Reyburn has the most perfect tuning of any Low D I’ve had.)
The Reyburn’s tone is sophisticated and elegant. There’s something about the tone of the Susato I don’t care for, something hard to put into words, a reediness but not in a good way, a tinny quality perhaps. The Reyburn’s tone has a bit of that cool Kaval-like tone that I like, the MK more so. I’m not sure to what exent the tonal differences can be heard in the video.
The volume is about the same as the Susato. The low register of the MK is stronger than either the Reyburn or the Susato. Both the MK and the Reyburn are more even in voicing than the Susato, which has a very strong Bottom D and a Low B which can be played very strongly, but a Low E than cannot.
All in all the Reyburn is a “big boy” whistle that could handle professional gigs quite capably.
There is little difference between the just and Itrad bodies. As you can see from the photos above, the bottom hole is not different in location than other low D whistles. This may not be true of the old model Tony H. reviewed, but I don’t have one to compare. I find only a subtle difference between the just and Itrad bodies. Some difference in sound due to the slight tuning differences. I actualy like the Itrad body sound when played with other instruments. It plays easily with the pipers’ grip. Ronaldo mentioned that the Itrad E hole was 1/64" smaller in diameter than the one on the just tube. I think the C# is also a tad flatter. You can see the closer spacing of the top holes on Richard’s photo. The new bodies are similar to others in the bottom hand now with a smaller spacing in the top had, making for an easier reach. (see Pancelticpiper’s photos).
Richard, The new Reyburn head is BRAND new, less than a week old. It is even better than the one you have, which was the new model not that long ago. It is the result of Ronaldo being able to study an MK whistle from which he got some new design ideas. The sound is fuller and richer, with even more volume in the lower octave. It is on par in volume with the MK, with a freer upper octave. I got the first one of these that he has made and promised a review of it after I had it for a couple of days. It is still growing on me and I am finding the more I play it, the more I like it. Nice comparison with the other whistles you have. The bodies have not changed, to my knowlege, only the head.
Pancelticpiper to be clear Ted is the ONLY one that has the latest version of my low D. The one you tried was a prototype on the way to my latest and the newest one is MUCH stronger in the first octave. Regarding Itrad tuning… there are differences between the two from my standpoint with the E note being a tad sharper on the “Just” scale and the C# being flatter (to accommodate the two fingered Cnat) on the Itrad scale.
When I make a “Just” tuned scale I tune the C# note precisely to the tuner and don’t concern myself with the finger position necessary to play the Cnat, and the player uses whatever fingering works best for that note. When I tune the Itrad top hole I tune it with the Cnat note being the priority using a two fingered position and the result is a flatter C#. I actually like the transition best with the Itrad tuning. Aside from that the two scales are virtually the same. Interestingly enough the Itrad scale has a slightly different tone (which I prefer) as a result of the changes of those two notes.
This is all very subtle stuff but matters to me and may not matter to anyone else.
Long delay getting anything recorded as I have had pneumonia in the meantime. Some friends asked me to record some tunes with them yesteday, as they were posting something up on YouTube. They were doing some American tunes. That can be found at: http://www.youtube.com/watch?v=SNlIiqYPr1s&list=ULFN9aR0QzL68&playnext=2 . Will try to record some ITM on it soon. This will give you an idea of what it sounds like though…
