Whistle Stream...

Whistle
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This is a stream of whistle consciousness mostly in response to Colomon in the thread on the e-bay O’Riordans. I had a go at my Low Ds because Colomon and I seemed so far apart in evaluating the O’Riordan Traveler Low D. Appreciate anyone else’s feelings or experiences as to the following noted whilst comparing Low D whistles - Copeland, O’Riordan, O’Briain, Kerry.

  • First, the O’Riordan did sound better than I’d remembered, although I still prefer the Copeland. Oddly, I found it relatively easy to play both the Copeland and O’Riordan both on airs and faster paced tunes. The O’Briain, which sounds lovely, became a bear to play at anything faster than a simple air and on anything with ornaments. Usually, this is for me due to a blending of factors, most notebly tone hole size and required air/attack. The Kerry was just not as responsive as the first two.

  • Second, I realized yet again that I can handle Low F whistles (I can wail pretty good on the O’Briain, Grinter and especially Copeland) about as well as soprano Ds, but begin to get uncomfortable at Low D (never played a Low E). I guess, though at some point in the past, I may not have been so comfortable with Low G or F, but I don’t really remember.

  • Third, I sort of use whatever fingering works wo thinking about it, which is probably some bastardization between regular and piper that varies hand to hand, depending on the specific whistle, mostly hole size and spacing. For example, I use piper’s grip on one soprano D, Serpent dreadnought.

  • Finally, I realized exactly what words to use to characterize the sound or tonal quality that appeals most to me and that is exemplified in Copelands; that is “sonorous” and/or “resonant.” The second and third meanings for sonorous (the first is “noisy”): Characterized by full or loud sound often with clear or rich tone. marked volume, or easy audibility. Marked by imposing or impressive effect or style. Resonant - tending to reinforce or cause prolongation of sound; intensified or rich.

I’d be curious to hear others thoughts and especially if I’m missing something in never having played a Low E whistle…(I’m pitiable or pitiful when it comes to excuses for WHoa).

Regards and sorry for rambling,

PhilO

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what about michael burke’s new low D!! https://www.sslzone.com/burkewhistles/write/michaelburke/Product_Info.asp?ID=92

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It sure sounds great, but I haven’t heard from anyone (other than Michael’s blurb) yet who’s tried it. Have you?

Philo

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no, sorry philo, me miko blurby’s low D EZ compo is good enough.

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Agreed wth the resonance of the Copeland, and responsiveness too.
It is one low whistle where you can’t possibly miss it not being a flute, precisely because I just can’t see, never heard, a traverso sounding that way.
Also, I like the way the raw brass warms up easily, when aluminium takes much longer to stop sounding–and feeling–cold in my sunny yet damp in me Armorica.
Now, sometimes I’d wish it had a bit better gas mileage… where the Overtons and Kerry Pro I had the luck to try seem unbeatable. Let me correct this: I tried out a new non-tunable Chieftain yesterday, and it’s the same as the Kerry Pro.

What may seem inconsistent from me is my trying (meakly) to sell it. I just have this Yvon Le Coant’s low D in blackwood. It sounds a lot like the Copeland–that resonance–but more woodwindish, i.e. with clarinet more than horn resonances, and a stronger low end. As for air demands, it’s worse, a V-8 or at least a straight-six! Another difference is the holes, small on the Le Coant; one could easily play it with the fingertips, too.

What I really wonder about is how come the Copeland can’t be purchased in low Eb, which would seem a natural for its jazzy, expressive voice. If the option of such tube was available, I would not even think of parting with it. Maybe I should send it to Daniel Bingammon, see if can make me a makeshift brass Eb tube?

Meanwhile, I stick to the Le Coant, to me sorta wooden Copeland. And the Alba, for its much mellower, I’d dare say more “trad”, less resonant but warmer voice. And also its wind requirements, lying in-between the Copeland and an Overton type.