Okay.
I received the new hj from Doug today. I have recorded the same two tunes, basically in the same manner though the tempos are probably different. The first recording is the Tipple C w/ lip plate and wedge, and the second is the original post, a hj w/o lip plate or wedge.
Arbo
http://www.box.net/shared/5o8njvep08
http://www.box.net/shared/xgmsxisb53
EDIT: I should note that the original hj has a round embrochure cut and the new hj has an elliptical cut (rounded oval?).
Guess I’m stupid… “hj” means what?
Pat
If you lived through the 60s, you’d know: head and joint.
hj=head joint
I have had a lot of experience with joints, mostly the beer kind, so hj was easy for me.
Arbo’s flute playing is pretty good, by the way, but is the flute supposed to make that honking noise?
Thanks Doug.
About the ‘honking noise,’ you tell me. After all, you made the darn thing… I just picked it up.
Arbo
Arbo, I’m only joking here. I am certainly no authority on what ITM music is “supposed” to sound like. Actually, I think that the booming low C honks sound good. Whether that’s traditional or not, I will leave it up to the experts.
Doug,
I’m just messin’ with ya, man…
The flute is great. And, I’m no expert either 
Arbo
Doug, you need to offer one of these as a bolt-on flute accessory:
Maybe, but DON’T offer one to Arbo!
Funny, funny, flute players! 
I’m kinda shocked as to how good the Tipple sounds. The addition of the lip plate and wedge seems to bring it to the quality level of much more expensive flutes. I have seem recommendations on the board of Tipples for the newbies. I would now say to same to anyone who approaches me thinking of trying the Irish Flute.
Oh, and the playing was damn good too :-p
Yup, Doug Tipple offers a lot of flute for the money.
However, I’d say to get the lip plate, too.
Go Tipple!
Here’s a set of reels without so much honking. Keep in mind that I am still getting use to the Tipple ‘C’ flute.
Arbo
Very nice clips! I just got a 3-piece 6 hole D flute from Doug with the eliptical embouchure hole, and I’m very happy with it. Doug should start marketing these as whitewood flutes! 
Bob
Whitewood. Of course. Why didn’t I think of that?
Lovely clips.
Thanks Jim, Mark, and Bob for the feedback. I’m finding the Tipple ‘C’ to be a wonderful instrument. It is still a bit if a stretch finger-wise, and if you listen closely you’ll hear where I haven’t quite got the holes totally covered. That aside, I am slowly getting used to the nuances of the flute. I believe on the last couple of clips I have laid off of the honking somewhat.
I am also trying to get a sense of the different styles of tunes. Jigs seem easier to manage at the moment.
Here’s another reel…this one has some honks in it. 
http://www.box.net/shared/vce1661ny7
Arbo
Arbo, you asked for my input, so, here goes: I think you do a pretty good job of getting what the Tipple flute has to give out of it, both the original small embouchure/no wedge and bigger embouchure+wedge versions. Your comparative posts show the difference in tone colour the different embouchure cuts give nicely, I think - nothing wrong with the small cut, but I can almost feel you struggling to get more from it, which was my feeling in the first place when doing Doug’s demo videos - very nice, but… The larger cut immediately gives more, though with some changes in character - maybe a little less “warm” and intimate (for what such subjective words are worth). The intonation issues without the wedge are also apparent, though you do a good job of lipping it in. Your “reduced honk” reel set is really starting to get the sonority going. The latest clip with honks works less well to my ear - sure, the flute can give 'em and you can assuredly get 'em, but I (still) think they detract from the flow of the music. Don’t misinterpret me here, I like very strong (and consistently so) low tone at honk quality: the pushed honk accents need more judicious (and reserved) placement, IMO. I’m by no means agin 'em, just prefer them used less frequently/more selectively. The only area where I think you aren’t getting the best from the Tipple is further up the range where you need better focus to get a cleaner (and maybe sweeter?), more focussed sound. I think it is a feature of how Tipples play that, regardless of player or embouchure cut, greater embouchure variation between registers is necessary than on other flutes - not a “problem”, just part of “playing oneself in” to a particular instrument. On a personal playing note, I seem to recall that you always have/had some issues on your other flute/s switching from your fantastically rich low register to clear, full tone in the 2nd register, so a flute that requires a bigger switch will take more work/expose that.
All in all, a grand advert for Doug’s Low C! I do love the sound you’re getting from it.
Good form Jem!
That was a lovely job of critique “sandwiching”. Giving good, constructive and useful feedback is a high art. Well done!
Clinton
Jem is exquisite at supplying a useful, thoughtful, and in-depth analysis.
BTW Jem, thank you so very much. I wanted to add with respect to upper octave ( on the Tipple anyway), that I do recognize the missing of notes and the tonal quality. Even though I can reach the holes on the ‘C’ easily enough, I do find the tone holes very large, and if not covered completely… well, you know the result. I shal certainly pay attention to that upper octave as I play. Thanks again,
You da best!
Arbo