Who makes a great Low F whistle?

Whistle
1

Who makes a great Low F whistle? I would prefer one where the top two or three notes on the second octave don’t require a big push and increase in volume. I have an MK Kelpie low D, and though it’s a nice whistle it does seem to have that problem, so I am a little weary of trying his F. Of course I would like a strong Bell note too, and yes, I do realize those two things are always a compromise. I am curious about Bracker and Alba whistles, and am about to start rereading reviews here, but I don’t believe that accurate reviews of one key will always apply to another.

I have a couple of low G whistles, a tweaked Generation and a Dixon (trad model, or at least it looks like the trad), and I am not a huge fan of either. They both seem a little thin and wispy, both in tone and feel. I think I would prefer a thicker tube, and that would solve at least one of the problems, if not both.

I recall a C+F tour of a couple of whistles, I believe one of them was in F, made by a guy who mainly made NAF flutes, but I can’t locate the thread now. A wood whistle would be a strong contender, but I’m not necessarily looking to spend a lot of money (or endure a long wait) at this time.

On the other end of the cost spectrum I know that Dixon used to make an F flute/whistle duo set, but I’ve been unable to find any info about them online, and I know that the older duos were are considered inferior to the newer models, but I don’t know where the Fs fit into that time line. Speaking of flutes, I would also consider an F flute, to scratch the F/Gmin itch, but perhaps that’s another thread for another board. Fidgin Fain seems almost too good to be true, and the reviews are thin on the ground at the moment. I don’t need the Holy Grail, but I’ve been disappointed by ‘bargain’ instruments too many times to be a guinea pig.

Also, does it seem like makers shy away from the key of F? Perhaps it’s just not a very popular key.

Edit - It appears that Alba whistle might require a little more push than I am looking for.

2

I’m partial to Burkes so of course I’m going to recommend those, but I feel it’s worth mentioning that my Burke low F is my favorite of the lot. It’s a little chiffier than the rest (whether they’re all like that or mine’s just got “personality” I can’t say for sure) and plays extremely easily. If my fingers weren’t so stumpy I think I could play it without piper’s grip.
Burkes are known for needing a larger volume of air but as far as the “push” is concerned I don’t have any problem with it. They also have the strong bell note that you mentioned.
Your mileage will vary as with all whistles.
As to why there aren’t many low Fs out there, my guess would be because it doesn’t appear to be a particularly common key in trad music. It seems that after D and C there’s a pretty sharp dropoff in whistle commonality.

3

From experience (because they’re what I play by choice and more than any others), Hans Bracker’s whistles are very consistent from key to key and really do sit on a continuum where each new size smaller or larger is close to the previous one. So of course you’ll notice differences as well as similarities if you pick up two an octave apart, but huge amounts in common for adjacent sizes (though the standard low D/Eb heads take noticeably more air than the more economical E/F and smaller). But then again, I’d expect most good makers to achieve some kind of similar continuum across their range. What’s also useful with Hans is the opportunity to go down a bore size in most keys, although the standard (20mm bore) low F is just great and he doesn’t seem to be listing an 18mm alternative lower than F#.

Also, does it seem like makers shy away from the key of F? Perhaps it’s just not a very popular key.

Not my perception at all… if you look at videos of professional performances etc., it’s probably the most popular low whistle after D, hence possibly explaining those makers who’ve offered just D and F like (up till now) MK.

4

I think Alba would be a good choice. I have an excellent A and just received a G in the mail today.
They are easy to play and yet quite powerful. Much more so than Freeman Generation G and A and also the Dixon trad G.

As for actual F whistles, the only ones I have are a Dixon poly F and an old Overton. These are both good whistles. I play the Overton quite a lot.
If you want something similar to the Overton, then a Goldie or a Chieftain would probably get you close.

5

Reviol, Copeland, Carbony, and Lofgren would get my vote.

Burkes are really very nice as well, but I prefer the above more. Burkes play nicely, are well in tune, and have a nice honkin’ bottom end like no other, but tone-wise I think they fall below my other preferences. Still always happy to play them, though. If you like something that plays a bit harder and is a bit more “intense” , then I’m sure something like an MK or a harder blowing Goldie would suit you well, but those aren’t my cup of tea really.

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Much food for thought here, thanks everyone.

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I have the Chieftain tunable and Dixon low F whistles, both sound lovely, but the Chieftain sounds the best IMO.

David

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I know this is not the type you want but I just wanted to say how much I am enjoying my recent acquisition of a Goldfinch low F. I had originally ordered a low D from Jakub at Goldfinch but had been disappointed not because it wasn’t a quality instrument but because I like a whistle with really strong dynamics as in my MK and Jon Swayne instruments. So I ended up returning the D and replacing it with an F from Jakub. The Goldfinch F has the same bore diameter as the D so being an F this meant it was more wide-bore by comparison and with stronger dynamics than the D. This gives it a massive bell note and great dynamics through the octaves even though higher second octave notes do need a deal more pushing. I guess it depends on your preference for sweetness or fire. As you can guess I like a bit of fire and the Goldfinch F meets all my requirements.

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My hobby is making Irish whistles (when I get the time) …I have a low F …nicest sounding whistle I’ve made, I think, and totally playable without needing the pipers grip.

Don’t know if that’s any help ?

John (from http://www.redheadwhistles.com)

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Hi S-E

May be not to everyone’s taste but you might consider a Shaw. They take a lot of air but there is a simple tweak ( note about this on the forum) to get around this. They also have a strong bell note and play well in tune in the second octave and at a reasonable cost.

11

I play a Burke F, which has all the pros and cons of other Burkes: big bore, huge bellnote, strong low octave, smooth voicing, great tuning, slightly stiff 2nd octave, slightly loud/harsh “one finger note” in the 2nd octave (fingered B, sounding note D) and greater-than-average air consumption.

I’m a recent Lofgren convert, due to acquiring a great-playing Low D secondhand. As opposed to a Burke Low D the Lofgren has an equally powerful bellnote yet considerably easier/sweeter high notes, more interesting tone, and considerably less air consumption. Thing about Lofgren is that I attempted to contact him several months ago and never got a response. So you may have to go the secondhand route, like I did.

I’ve not played a Colin Goldie F but I would expect it to be excellent.

12

Thanks everyone. I’ve decided to give Shearwater a shot. Time will tell if that’s a good decision or not. I’ve also put in an order for a Killarney D while I’m at it.

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I’m very happy with the Shearwater. The Killarney is going to take some getting used to. Appearantly ‘sweet second octave’ means different things to different people.

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If the Killarney doesn’t have a sweet second octave, then what does, in your opinion? Killarneys, Sindts, and Potter whistles all have a very sweet, non-piercing, pure, second octave that is gentle in the highest notes, which is what I imagine fits most people’s description of “sweet”. What does the term mean to you? A non-sweet second octave, in my book, would be something like a Susato, hard blowing goldie, or MK, which have a lot of intensity and increasing volume as you reach the top of the scale.

I’m wondering if there is a difference in how people interpret the word “sweet”, of if Killarneys simply vary quite a lot.. or possibly people are blowing them wrong, I’m not sure. I have two, and both are what I’d deem to be sweet.

15

I have three Killarneys - a nickel body D, a nickel body Eb and a brass body D. All three have a very sweet second octave, which is very easy to blow. The only way to make my Killarneys not sweet would be to blow them too hard.

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I’m initially finding mine to be loud and shrill with the a and b jumping out much more aggressively than the other notes. No doubt a more skilled player could minimize this, and I expect I’ll learn to compensate as well, but just as a starting base, this is not what I was hoping for. Still it seems really well made and feels good in the hand, so I’m not giving up on it. I’m very much open to the idea that the problem is user error, especially as this whistle comes so highly recommended.

17

I think that’s pretty much true of all whistles, that High B is going to be the most “aggressive” note of the 2nd octave, perhaps of the whole Bottom D to High B gamut.

But overall the Killarney, and good old Generations and Feadogs, have a clean easy sweet 2nd octave. Usually, it seems to me, it’s not a problem with High whistles, but an issue that is more pronounced on Low D whistles, where High B can be quite touchy, and sometimes considerably louder than the other notes.

18

I think I might have just spoken too quickly. I’ve been taking a gentler approach with this whistle this morning and it’s working out much better. Probably hopping back and forth between this whistle and the f whistle wasn’t helping things either.

19

I’ve had a Goldie and currently a Kerry-Pro, made by Phil Hardy (chieftain). I think they are both great whistles but the Kerry Pro has a more mellow sound, which I prefer. So I would suggest either of those!