I am considering the purchase of my first wooden high whistle. Prior to now, all of my high whistle playing has been on a brass Feadog high D with a plastic head (not tweaked) in any way.
I am leaning toward a whistle made with wood body, but that incorporates a Delrin head (mouthpiece and fipple) as opposed to a brass mouthpiece, with the thoughts of playing quality without condensation and warming being a major consideration. From tonal, volume, and air supply considerations, I am looking for a whistle that is not overly loud, that is maintains a “sweet” sound and smooth transition throughout both octaves, including not a great gain in volume or shrillness in upper octave. I would also prefer not to be forced into laying into the instrument real hard, especially to play in upper octaves. I know there is no such thing as the perfect whistle and that there are compromises found in all. I also realize that much of the intonation realized from a particular whistle are imparted specifically by the player and their overall ability / skill.
I really like the appearance of the Milligan, O’Brien, and Busman whistles, and would appreciate any opinions from owners of these makes. I like the appearance of
African blackwood and brass fittings. I particularly like the overall appearance of the Milligan and know he now offers a quieter version of his whistles. I also like the O’Brien Rover and the ability to add different key bodys to the one head.
i am not locked into one key choice, though I know this is somewhat limited by the keys offered by each maker. I like to play Irish music and know that the D is probably the most versatile whistle for that application, though I play alone almost exclusively at this time.
I am also curious as to what kind of wait estimates are expected from these makers?
Thanks in advance to any responses and opinions provided.
You know the fipple’s the block? And that no material is condensation free (although some may be more playable cold than others)?
I also realize that much of the intonation realized from a particular whistle are imparted specifically by the player and their overall ability / skill.
Not sure you mean intonation here (?) because your whistle’s basically got to have inherently decent intonation to give any player a chance!
Peter, your points are well taken. I do realize the fipple is the block and that all materials are susceptible to condensation. I made reference to the materials involved with a focus on the relative warming requirements needed to play well.
With regard to my comment specific “intonation”, perhaps a poor choice of terminology on my part. I do concur that any given whistle must have inherent tonal qualities in order for it to be desireable and an effective instrument for any player. I also assert that any instrument that has such desireable characteristics are brought to their maximum potential through the individual skills of the player and not strictly the voice of that given instrument.
The O’Brien Rover (I have a blackwood C/D set) has been my main whistle for five or six years. It’s loud enough for sessions, mellow enough for use around the house, has a great woody sound, and breaks down into three parts for convenient carrying. I have lots of other whistles, but the Rover’s my favorite, and I recommend it highly.
It does sound like you’re confusing “intonation” with “tone”.
Intonation refers to the tuning, not tone. Specifically, whether the notes of the instrument are in tune with one another, and conform to the pitches of the scale it was designed to play: equal temperament, just intonation, etc.
It’s true that the whistle player has some control over intonation, by blowing the pitches into tune. But Peter means that the basic intonation (or let’s say the potential for good intonation) is a function of the physical design and construction of the instrument itself, which is out of the player’s control.
As for tone, “timbre” can be a less ambiguous term to refer to the mix of harmonic and non-harmonic components that make up an instrument’s sound.
You are correct and my thanks to yourself and Peter for correctly defining intonation and setting me straight. Having done so, might I ask you what your opinion is with regard to the timbre of blackwood versus Delrin? Is there much of a perceivable difference? Also, do you feel that the relative minimized maintainance of Delrin is without much sacrifice to the overall tonal qualities of an otherwise similar instrument in Blackwood? I live in New England and there are Fairly extreme variables in humidity throughout the year. thanks for your help John.
I think you would be hard pressed to hear a difference between a delrin and a blackwood whistle. There is more difference between whistles in the construction of the fipple than in the materials used. If you don’t like the looks of a colored whistle in delrin, you can opt for black. There is a huge difference in maintenance. Much easier to crack a wooden whistle than a delrin one due to moisture. Wood or delrin, the wall thicknesses are similar and that influences tone more than the materials themselves.
Glad MTGuru chimed in there — on which note ‘the basic intonation (or let’s say the potential for good intonation)’ expresses my intent exactly — when I’d ditched a similar response of my own at preview stage for fear of overdoing it!
Having done so, might I ask you what your opinion is with regard to the timbre of blackwood versus Delrin? Is there much of a perceivable difference?
To me, no. I think people like wood because they, well, like wood (and who doesn’t when it can be such a lovely material?), but doubt you could tell them apart in a blind listening test. And, while I might have argued once (when I was younger!) that only wood buzzed like wood under your fingers, I now find Delrin and other polymers doing the same. So my preference is now generally (not exclusively) for polymers for wet-blown instruments (ie those you blow with real breath) where I’m still attracted to wood for dry-blown ones (eg bellows pipes). But then again, I’ve got fine wood recorders etc. I’ve been playing for 30+ years in my west-of-Scotland climate without ever being concerned about humidification!
Also, do you feel that the relative minimized maintainance of Delrin is without much sacrifice to the overall tonal qualities of an otherwise similar instrument in Blackwood?
In a word, yes! Others may (will) differ, but I’d personally head straight for the Delrin these days.
Peter,
Thanks for the sage advice of such a long time player. One of the great things I find about C&F is the pool knowledge here and those willing to help others.
I will probably opt for Delrin for my first high end high whistle. I also must confess that it is just a matter of time before I buy a wood whistle if for no other reason than I love the appearance of wood. That might be wasted on blackwood over black Delrin. some of those exotic woods just knock my socks off though. BEEEAAAUUUUTIFUL.
I’ll happily concur with the above. I love my blackwood set, but an O’Brien set in delrin would look, feel and sound pretty much identical to mine. The wood-loving thing is just a human foible that I happen to embrace.
I own only one wooden Irish whistle, and can tell you that I am a very happy owner indeed. It is a Milligan’s high D in cocobolo. I asked Gene if there is any difference in sound between wood and Dymondwood (wood/plastic composite), and he said “no”. I just like the feel of wood (purely personal).
The sound is pure, no shrillness in second octave. I asked for “less chiff”, and he offered his quieter whistle. This is an instrument with a great potential, and for now it is much better, than my playing abilities. I can definitely grow with it. I would recommend this maker in a heartbeat. In fact, I am saving for another one of his whistles.
Another happy Milligan owner here. I have two high D Milligan’s, one delrin and the other in African Blackwood. I absolutely love them both, but I do feel that the delrin is a little louder and the African Blackwood is a bit “smoother”. I know that goes against Gene’s thoughts on the matter, but it’s how it seems to me.
I’ll be ordering a Diamond wood C whistle from him soon. He’s fantastic to deal with by the way.
But can you be sure these are characteristics of the Delrin and blackwood rather than just two Milligan whistles?
(NB I’ve got two nominally identical Tony Dixon DX203 polymer/solid brass high Ds but, guess what, they’re not the same. Likewise two DX203 Cs, but can’t say the polymer/solid brass has this characteristic whereas the polymer/solid brass has that!)
Point well taken! I should clarify that I haven’t listened to these two while someone else played them either, so perhaps it’s just a “players” perspective. But you’re right, there is as much or more variation from instrument to instrument than there is from one material to the next. I’ve had flutes, recorders, whistles and Pipes (GHB and SSP) made from wood, delrin, polypenco or other “synthetics” over the last 40 or so years that once properly set up, or grown accustomed to, all sounded good, just different. There have also been some stinkers, some with well respected names, that didn’t stick around long, thus suggesting that the variation from sample to sample theory is valid.
Not that (evidence of Delrin and blackwood ‘tone’ apart) that’s ‘wrong’ when we generally buy these things to play! On which note I can feel/hear this amazing mid-range ‘silky sheen’ on one of my DX203Ds (which I’d have no trouble identifying if you handed me either blindfold) that I doubt transmits to the listener as any different from the other, but I still prefer that one and probably play the better for it…
I have a used Busman that is my best sounding whistle, hands down.
It plays wonderfully, and I swear it resonates.
I’ve seen some photos of fantastically beautiful Busmans too.
I’ve no doubt whatsoever that Paul would hook you up with the
whistle of your dreams!
That said,
Probaly, you’ld like any of the top end instruments.
Moreover, if you want to trade you have some equity and
can trade for other top of the line whistles easily.
Have fun!
You’ve received a lot of good information here. Going back to your original post, I’d offer my experience with all three whistles you mentioned and one you didn’t. I own a newer Milligan in Blackwood with a delrin head and it’s the loudest whistle I’ve ever played, particularly in the higher ranges. It doesn’t bother me because I like loud whistles.
I also own two Busman’s neither of which has a delrin head. Each is a little different, one is louder and purer (not like a Burke) than the other, while the other is not quite as loud but with more pronounced chiff and overtones. You can see the difference in the heads and I requested the second one be a little more balanced so Paul made it a little less loud and not much push required in the upper end. This might be what you’re looking for and Paul will work with you. He makes an all delrin model too.
I’d agree with previous comments about O’brien whistles. I one a Rover three piece, no delrin on this one but he makes one, and it fits your description across the board.
I’d also suggest you consider Tommy Dion’s delrin whistle. Tommy’s instruments are pretty balanced between octaves in terms of breath requirements and are well constructed. They also lean toward the moderate end of the loudness spectrum.
Except for the Milligan IMHO, any of these will work for you so it depends on your budget and how much eye candy you want. You will need to tell Paul Busman if you want one that requires less push in the high range but it will be a beautiful instrument with a wide variety of woods or all delrin, it’s up to you.
