Let me apologize from the start for asking another newbie question. But I hope someone out there may have some experience that would be a good guide.
We are a band playing a wide blend of ethnic music based around the cultures of the Silk Road. Our current members play mostly string instruments and percussion. Wind instruments, with the exception of a Chinese Hu Lu Si, are very very new to us.
We would like to ask your advice and help in exploring the Low Irish whistle as an option.
A few years ago I heard Dead Can Dance play a low D flute on a piece in their DVD. It was magical and the sound was very fitting for what we do. After reading a bit more about Low Whistles we found out that the sound character can be very different from maker to maker. So we hope you may be able to steer us to one that fits.
We hope to find an instrument that has a very natural and earthy sound. It should not be too pure and concert like as it may stand out as modern vs our traditional instruments.
Breathy but still able to sound very clear notes is also desirable. A slight flute or reed like quality may be good for our sound.
Reach is not too much of an issue, but something not impossible for average size hands is best.
Not too hard to play for new players. We are pretty good at picking up just about anything and playing it, but winds are still pretty new for us so something not too steep in learning curve is good.
Price range is open as we hope this instrument will be a good long term add to our sound.
Just for reference we have been reading about Alba, Domnal Na Gruen, Michael Burke and Ethnicwind.com low D whistles.
You will certainly receive many opinions and replys. This website, http://pipersgrip.50webs.com/, has a number of low whistle reviews.
I play an Old Style Chieftain Low D, which I enjoy immensely. The review on the pipersgrip website well describes this whistle, both strengths and weaknesses. I’m very partial to the tone, which I have described at different times as warm or smoky.
This particular model is no longer manufactured, and I have no experience to compare it to the newer Chieftain whistles.
You will find a vast spectrum of experience and expertise on C&F, and I always enjoy the newbie questions (maybe it’s because I understand them).
I am sure you will get many replies to your question…
It may be worth contacting direct the folk who make whistles by hand, and discussing your requirements with them. I have only had experience of such discussions with two makers (Colin Goldie and Phil Bleazy) both of whom are extremely knowledgeable and helpful. There are many more out there, and some are regulars on this forum.
I may be wrong here (about to plunge out of my depth ), but there may be a choice of temperament(?) to consider - things like Just, Equal etc. Many people here here will know more than me about this.
I suggest getting a whistle that has good playing characteristics to begin with: clear, reedy timbre, good volume and intonation, and so on, and then experiment with manipulating the exit window with a bit of blue-tac putty or tape to get the earthy (less pure), breathy, hollow tone. If you get a whistle that sounds earthy to begin with, you really can’t go the other direction.
Merry Christmas and thank you all for your answers.
About key. Many of the Silk Road instruments are pretty limited so we usually write songs around a combination of instruments and adapt to their key limitations. Many of the strings also have microtones in Turkish or Persian scales. They base key can be D, G, C, Bb but with a lot more notes available than the usual western scale.
We have used a high D whistle along side Shamisen and managed to make it sound a lot like a Japanese festival flute, so much so that a real flute player wondered if we had sampled one. That was one more motivation for us to explore the low whistles.
Two instruments that keep coming up as we search are the Alba and the Burke instruments. From what we have read the Alba is very nice but somewhat breathy overall. The Burke we hear is very pure and clear. I have heard a Low C Burke locally here in Tokyo and found it to be very nice, but perhaps too perfect.
I would love to hear more about the method you suggested to add breathy quality to a more pure instrument.
Thanks again and wishes for peace and happiness for Christmas.
I have an Overton low D whistle I’ll never part with. It’s got the haunting, earthly sound you describe and is comparable to what you mention concerning Dead Can Dance (still amazing music!!!): www.colingoldie.de. It is the most beautiful whistle sound ever: http://www.youtube.com/watch?v=LzHaaAu44o4. Colin also makes bass whistles. Hear its sound, it’s amazing: http://www.youtube.com/watch?v=KR-G8mWg5qo. Good luck!
In terms of easy to play, I don’t think a Burke can be beat. You also have the option of any key (which is also true of Goldies and Susatos). I’ve owned Burke whistles in low-C, D, Eflat, and E. The low C was kind of an air hog (lots of air required, very little pressure required). The D aluminum is fantastic; it’s the only low D I’ve kept. I was also quite fond of the composite E and Eflat, which I think have a little bit more reedy/woodier sound.
On the other hand, I don’t think there’s much room for customization in Burkes. Mr. Goldie can adjust things like air requirements and sound, so you might want to email/talk to him and tell him what you like and see if it’s within his design parameters.
Thanks for the wonderful advice. I have sent emails to both Goldie and Burke web sites asking for their advice too.
I read that Burke whistles are available with a thumb hole. From the regional flutes we try, this seems to make big difference in how flexible the instrument can be. Has anyone tried this yet with a low whistle?
An earlier post mentioned our terribly dark video on youtube. Sadly we don’t have much up yet. But here are a couple links with our sound.
), but there may be a choice of temperament(?) to consider - things like Just, Equal etc. Many people here here will know more than me about this.