I don’t have much experience with low whistles…
Practically speaking, how useful is a low D whistle in a session?
Micah
Depending upon how many people are playing, what instruments, the general noise level, people may or may not be able to hear you. In louder situations, the low d doesn’t carry well at all. (That may be a plus or a minus for you 
) If the environment is quiet, it can be very cool and people enjoy the sound of one. It’s great accompaniment to singing, for instance. How fast you can play on it also matters; most of a session is jig/reel type stuff. I’d bring it along and play it when it seems a good idea.
Tony
I have no trouble being heard at the session with either my Kerry Low D or my new Cosmic Drainpipe (Overton Low D). I don’t know about sissy-jobs like Copelands or Burkes. I like playing it when there are more then one high whistle, which can… errr, rub against each other a bit…
Like Tony says, it really depends on how loud the session is and how noisy the pub. Flutes are louder and cut through better, but a good Low Whistle like the Overton or Copeland will get you though most of lower to middle volume sessions. Loud sessions, noisy pubs…Overton or not, you’re going to have a hard time hearing yourself.
In general, a good flute is louder and cuts better than a good low whistle, by quite a bit. Have to master that pesky embouchure thing though…
Loren
I was told by one very accomplished and opinionated flautist that low whistles “suck” and “have no place at a real session”.
Just for the record I agree with those of you who are thinking, “what a pillock”!
While I don’t agree that low whistles “suck”, I do agree that they are of limited use in a session environment, based on a couple of observations.
- Low whistle is truly at its best when played solo or accompanying ballad-type singers. It is an instrument that needs a good deal of space that a noisy session environment can not provide.
\ - A warmed up, half-decent wooden flute in competent hands is louder than most makes of low whistles. Most people who can span the gaps between tone-holes on a low whistle can manage this on a wooden flute as well. This begs the question: why use a low D whistle when there’s a louder alternative that sounds great, too?
-patrick
Because a flute is harder to play than a low whistle… It’s 90% of the answer. Another 5% would be that for slow airs, a low whistle is hard to beat. There’s 5% left… Hmmm, it’s cheaper? (beside the mega-silver ones)
On 2003-01-09 17:46, Pat Cannady wrote:
I was told by one very accomplished and opinionated flautist that low whistles “suck” and “have no place at a real session”.
He wouldn’t originally have been from Detroit, would he? 
Low whistles are awesome instruments, but I think it’s fair to say they are of limited usefulness in even moderately noisy sessions. Flutes have a lot more volume and edge.
I basically agree with the session issue.
Now “why not play the flute, which is louder and has a great sound too” ? Yeah, so does the cornet…
And why play the high whistle, when there is the piccolo the bombarde 
Sounds ok, and THAT is loud.
Answer is, to some like me : the whistles, especially low, have their voices. I fell for it.
I have a low D that I play at sessions. It is definitely not a loud instrument, but I don’t feel that I’m completely drowned out. That said, I do play the flute most of the time (which as others have pointed out is considerable louder), but the low D is fun for slower tunes. If you really like the low D, then by all means give it a shot, but I don’t know if you’d want to use it as a primary session instrument. It’s better as something to use for a change of pace.
I’m using my sissy-job (Sissy-job!)
Copeland low D at sessions as
my main instrument. It gets through
fine, at least where I’m playing–
which includes banjos, flutes, high
whistles, and pipes.
It has a flutey, warm sound that isn’t
the sound of a flute, and it seems
to add something nice to
ensembles of instruments. Because
of the conical shape it can
be played very fast. I don’t
think it would do so well
in a really noisy venue,
but i’ve never tried.
The real advantage of the Low D (in sessions) to me is the ability to play certain tunes that I can’t get the accidentals on with an unkeyed flute, especially that damn Eb note: No frickin’ way you can half hole and decent Eb on most cone bore flutes, the last hole is too damn small, hmph.
So, to play tunes with Eb, like Crested Hens or Roslin Castle, it’s nice to have a Low D along for the ride, which also works well because those tunes are slow, and sound great on the low whistle. Although I do wish I had keys on my bloody Olwell…well, I suppose I’ll have 'em in about 6 years…
Loren
On 2003-01-09 18:31, Zubivka wrote:
Now “why not play the flute, which is louder and has a great sound too” ? Yeah, so does the cornet…
LOL!
Jim, I am just kidding, of course. 
One problem I see is that unless the player give the low D enough practice time, the playing is going to be less clean than on a high whistle. That, and the larger tone holes, which are harder to cover, can muddy up the sound of a session.
\
/bloomfield
[ This Message was edited by: Bloomfield on 2003-01-10 10:05 ]
He wouldn’t originally have been from Detroit, would he?
I can neither confirm nor deny this individual’s previous residence in the City of Motor.
-Pat, doing his best to keep a straight face.
Last Sat’ night, I was at a session with about 20 musicians.
The rule at our sessions is that anyone can play any instrument they like.
The sessions flow from one tune/beat to another spontaneously as people drop out/join in.
I always take my Kerry Pro D, which has no trouble with violins, guitars, mouth organs, didgeridoos - tunable , drums of various types, rattles/shakers etc.
Somebody takes the lead and people just join in.
People like the low D in preference to the
high D (Dixon or Chieftan depending on tune - the Dixon has a sweeeter top end than the Chieftan).
I find that I can play the low D a lot longer than my flute e.g. I played about ten minutes of pentatonic ‘noodling’ with the beat from some drums, after playing Fanny Power, South Wind, Planxty Irwin, Kesh Jig, Donnybrook Fair, Maggie in the Wood, Ambran A Lebhair, Sliabh GEal gCua, Return from Fingal ‘straight off’. There is no way I could do this with the flute - at the moment!
So ‘horses for courses’ - if it sounds good - do it!
I love my low whistles - but, I just had to share this because I think it’s funny -
Another accomplished flute player, who shall remain nameless, said something to the effect that low whistles are only good for two things, imitating whales and hanging curtains
Chris
[ This Message was edited by: ChrisLaughlin on 2003-01-10 12:03 ]
Not that I really have a lot of session experience… but one of my common philosophies with music in general is that an instruments doesn’t necessarily have to be “heard” individually in order to make a useful contribution. Sometimes the way it blends with another instrument creates a whole new, unique timbre that enhances the sound. For instance, even though a low whistle might not be heard above the violin, it may blend with it to create a new sound-- because you don’t just hear the violin alone anymore, you hear it blended with a touch of low D beauty. =) Ok, so I like low whistles, but anyways, that is my 2 cents worth.
Well, my only problem with that is that when I can’t hear myself, then playing well enough to blend with others is virtually impossible for me. Others may be able to do it, but not me. I don’t care to be the loudest person in the room, that’s bad mojo, I just need to be loud enough to hear myself so I can fit in and be a positive contributor to what’s going on, and that’s not always possible when playing low d, but then that’s just me.
Loren
Same for me, Loren – if I can’t hear myself, I can’t play.
If you have a good strong low D, like an overton ar Kerry Pro, they’re useful for knocking out offending bodhran, guitar or flute players.