The past few days I’ve been reading a lot about whistle construction etc, as someday I’d really like to start building whistles of my own, and until a few days ago, I knew very little about the various aspects of whistle building, aside from my own personal observations on whistles I’ve played (many of which were incorrect assumptions, admittedly). So, I am trying to become more knowledgable about the various aspects of construction, and what different methods of making the various parts do to influence different aspects of sound, playability, tone, volume, etc.
That being said, there is something I have not read about anywhere, which is a quality I noted on my most favourite whistle, and I am curious as to how this influences tone, or if it is responsible for some of the qualities I favour in the whistle.
I noticed the Sindt whistles have a groovy ramp. Instead of being smoothe, it has little “speedbumps” on the ramp. What is the purpose of doing this? I assumed this feature alone is probably not solely responsible for any feature of the whistles sound, as it probably works in conjuction with some other aspect of the whistle’s construction (or maybe not, I don’t know!). But still, I am curious as to what the purpose of this is.
Do any other whistle makers have whistles with this trait, too, or is solely unique to Sindts?
It might help to clarify whether these grooves are “across” the windway (which may act as disruptors to the airflow) or “inline” with the airflow, possibly to help with the draining of moisture. I have a Hohner recorder with the latter feature … not sure if it helps
EDIT:
On the sindt D there are four raised bumps in the center of the ramp. On the sindt Bb there are approximately 7 and they go all the way along the ramp (I can’t count them or I go cross-eyed, but very close to 7, if not exactly 7) . In that picture I linked it almost looks like light reflecting off of it, but it is indeed bumps going the entire length of the ramp.
Amusing but, no. John mills the ramp and each “groove” is one pass of the tool on the ramp. There used to be a short video of John making whistles in his shop on the web but I can no longer find a copy of it. It is a treat (at least for me) to peek into a maker’s shop.
I have often wondered why he didn’t polish the lines out but it would likely make no difference in how his whistles play or sound.
Those grooves would be difficult to polish out without also changing the dimensions of the ramp. They clearly don’t make a tonal difference, 'cause John’s whistles sound terrific.
Thanks for the responses everyone! I am not sure why I didn’t think about that. I had simply never seen such a thing on a whistle’s ramp before, that I can recall.
and I do not recommend John Sindt changes a single thing about his whistles, either! I consider them the perfect whistle, with not even a single little thing that I would want to be different, or think could be improved in any way. He’s a wizard, I just know it.
I just took note of the unique ramp, and was curious as to whether or not this might contribute to some of the great qualities of this instrument in any sort of way. I’m glad I recieved a quick answer to my question, and thanks again!
I hope as I learn more about whistles, and their construction, that I will be able to understand a bit better what he has done here. Truly a master of his trade.
Feadoggie, if you ever happen to come across that short video again, please do share it here, as I’d be very interested to see it. Was it on youtube ?
and I do not recommend John Sindt changes a single thing about his whistles, either! I consider them the perfect whistle, with not even a single little thing that I would want to be different, or think could be improved in any way. He’s a wizard, I just know it.
People have argued here in the past though about the rigorous equal tempered tuning and (related to that) the size of the F hole on particularly the D and how that again affects the playing of Cnat. Some prefer to use a Sindt head fitted to a Feadóg tube for those reasons. They are what they are and they’re fine but perfect is such a big, all encompassing word.
Perfect is an all-encompassing word, however, I do not pretend to encompass the opinion of every whistler with my own opinion. . It’s given me an opportunity to get a lot of practice at learning to do something that I previously did not do- half holing for the C natural, which I think will really benefit me as a player. I don’t consider that to detract from the instrument, personally. It’s just a different means of playing a c, rather than a restriction from doing so. Anything I’ve heard people list as a flaw of the instrument I consider to simply be part of it’s character, and isn’t anything that has really influenced my opinion of it in a negative way.
I am fine with it as it is, and it is indeed perfect, for me.
I’m satisfied that the grooves are an artifact of the construction process, but I don’t think we’ve established that it might not be doing (good) things to the whistle’s tone. I could imagine that the slight waviness on the leading edge of the ramp might add some colour to the tone.
Amusing but, no. John mills the ramp and each “groove” is one pass of the tool on the ramp. There used to be a short video of John making whistles in his shop on the web but I can no longer find a copy of it. It is a treat (at least for me) to peek into a maker’s shop.
