frankley, i just blow the thing, but if theres a way to get a better sound out of my whistles using embouchure then im all up for some extra practice.
To that end; could somone offer some pointers on how one ‘embouches’(!?) a whistle?
I think this is about it, tight with no leaks.
/M
pfff. anyone on this forum who claims never to have played two whistles at once using their nostrals is clearley a liar 
Hi Chris
There are many ways to control “embouchure” on a duct-flute. The most simple way is through breath control.
Examples: easing off at the end of a note will give a sliding lilt to a lower half note. Glottal “growling” in the back of your throat will give a form of fast trilling and a fast tongue stop followed by a hard breath push will give a “chirp” on the front of notes. The techniques are legion when it comes to “embouchure” ornamentation. Only experience and play with others will bring out advanced techniques. I suggest you seek out more experienced players to practice with (ITM sessions?).
Chris, here was my try at a comprehensive description:
https://forums.chiffandfipple.com/t/whistle-embouchure/56403/39
Basically, anything you do to control the flow of air going into the windway can affect the sound.
Here are some additional links to whistle embouchure threads:
https://forums.chiffandfipple.com/t/whistle-embouchure/56403/4
And here’s a thread about one player’s experience in discovering the difference that embouchure control can make with a particular whistle:
https://forums.chiffandfipple.com/t/a-word-about-overton-whistles-actually-a-lot-of-words/58255/1
If you keep the whistle just barely in your lips instead of all the way into your mouth, you can focus the air stream by pursing your lips. This can give you more control over the intonation. Try jumping octaves using your lips relaxed on the lower note and pinched in on the higher one.
Angelo
Yes, bingo! Controlling the tightness and focus of the airstream is one of the big things you can do. It’s particularly effective on whistles with a large windway, like Susatos and Copelands. Less so on Generations, etc., but always worth experimenting to find the sweet spot for the sound and responsiveness you want.
There’s a lot more to it than is being presented here.
The whistle gets the air for maybe an inch–the length of the airway.
You get the air for well over a foot, from the diaphragm to the throat, the mouth cavity, and the lips–all of these can shape and angle the air. You have enormous control over the airstream.
Here’s just one example (if you have a high D Overton handy): to sweeten the upper octave on an Overton, let the cheeks puff out a little. I have found that this allows me to play in the upper octave on my Overton at greatly reduced volume levels…even softer than my Burkes. Think I’m nuts? Try it!
–James
Well, the shape of the mouth cavity is one of the 5 dimensions I talk about in my post.
Yes. But what does whistle embouchure have to do with that? 
MTGuru, I wasn’t meaning to dis your excellent thread! 
There’s a lot that can be done with these techniques. The “first goal” folks usually have is the taming of the second octave, but you can also get some real volume control on a whistle with these techniques. Or you can sweeten some notes and put a hard edge on other notes; i.e. you can make notes “pop out,” similar to the powerful breath accents that flute players can use.
–James