Fred Rose and Paul Busman…both are great in the “pure tone” category. I find that based on my experience, the Rose is slightly purer and the Busman is a slightly less picky player. Can’t go wrong with either, ask any of my whistle gnomes (Hi Jessie! ). If you want a whistle with a wee bit of chiff, Abell makes a great whistle. I haven’t tried Green or Bleazey yet. Hey, those Fausts looke like someone in the Recorder community came to the “dark side”…gorgeous ferrols. Wonder how they sound?
It will be interesting to see how those horn ferrules hold up over time. I give the guy props for doing something different and creative though, nice looking instruments.
With regard to the original poster’s question: I’m with those who have suggested Abell and Rose whistles. I too prefer the older Abells, mine is from the same batch as Jessie’s, just a few serial numbers apart, however even so, they sound and play more different than one might expect. I’ve owned 4 or 5 Rose whistles, mostly all at the same time and made from various woods. I liked them all, but there were two of those that were phenomenal, two that were a bit weak sounding, and one that fell in the middle.
I just realized I’ve never played a Busman , so I can’t comment on how they play or sound. However, Paul seems to be doing very fine work these days, and his whisltes might well deliver significantly better bang for the buck than some of the other expensive whistles mentioned.
I haven’t run across a Lon Dubh either. In fact, if anyone has one of the older, very thin walled models they are thinkig of parting with, please shoot me a PM.
The only wood I have experience with are the Syn Ironwood prototype and Teak (custom), Greenwood (cocobolo and blackwood), and Abell (blackwood). Of all, I liked the sound of the Abell and Greenwoods best. I agree with Jim that the Abell felt (to me) like a classical instrument. Beautiful in tone. The back pressure on it is different than what I’m used to, and the mouthpiece takes some getting used to. Personally, if I could afford to have all Abell whistles, that’s what I would do. But, since my other whistles are more similar in back pressure to my Greenwood in blackwood/brass, it’s a no brainer for me. I have seen pics of other Greenwoods, and I have to say, I got a cherry one. The finishing on mine is beautiful, smooth, it’s a gem. I also have a Burke DBSBT, and the Greenwood has a smoother transition between octaves in terms of necessary air, so the volume doesn’t jump as much. I can’t complain.
Interesting that no one’s mentioned Grinter. They were featured on much (if not all??) of the Lunasa recordings I believe. His flutes have a great tone, and from all accounts I recall, his whistles are top notch as well.
Grinter Whistles have to be special ordered. Plus, the Low Whistles are featured on Lunasa, I don’t even know if Mike makes High Whsitles. I know someone with a Ginter Flute and it is quite nice.
I believe that most wooden whistles have to be special ordered. Not something many makers keep a large on-hand stock of I would expect. And there are more than a scant few floating around out there. They turn up for sale or trade on the boards every now and then.
Grinter whistles are nice (yes, of course there are high ones), but VERY thin-walled. I always worried about their long-term stability. The tone was not pure, not airy, in between, but required quite a bit of blow.
I bought quite some time ago second hand a pair of gorgeous Grinter red lancewoods in soprano D and Low F. The D was terrific and I can’t remember whether I sold or donated that one. The F developed cracks and I gave it to someone who both appreciated it and had the ability to possibly repair it successfully.
So yes, he does, or at least did make high whistles and yes they were thin walled but I think the instability of the wood was due more to the type of wood, not particuarly dense and showing big swirling grains.
I have or have had Grinters in D, low-G and low-F. The D is one that my wife will never let me part with. The sound is just SOOOO sweet, but not pure and recordery. I love the G, I sold the F. That just shows to go ya, different strokes for different folks – Grinter low-F’s are the stuff of legend, but I just didn’t bind with it.
As Avery said, you have to catch Michael at the right time – my D came in just a few months, the G and F were well over a year.
He does. I owned one of them for a while. I eventually sold it, but it was very nicely made and finished. The mouthpiece is all wood, including the plug, except for a brass pin. It had kind of a woody/airy sound, and was pretty loud. Similar in backpressure and playing characteristics to the two Abells I’ve owned.
It sounds more pure than I remember it in the recording above…one of the reasons I sold it was to look for a more pure sounding whistle. I got a Rose next and it was definately pure, but the one I had (the Rose) was too weak on the low D…I think Mr. Rose has ‘fixed’ that in his more recent whistles.
). If you want a whistle with a wee bit of chiff, Abell makes a great whistle. I haven’t tried Green or Bleazey yet. Hey, those Fausts looke like someone in the Recorder community came to the “dark side”…gorgeous ferrols. Wonder how they sound?
, so I can’t comment on how they play or sound. However, Paul seems to be doing very fine work these days, and his whisltes might well deliver significantly better bang for the buck than some of the other expensive whistles mentioned.
Not something many makers keep a large on-hand stock of I would expect. And there are more than a scant few floating around out there. They turn up for sale or trade on the boards every now and then.