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PostPosted: Fri Jan 05, 2018 6:46 pm 
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For some reason I kept wanting to hear Fred Flintstone's voice yelling "Yabba-Dabba-Doo!"

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And now there was no doubt that the trees were really moving - moving in and out through one another as if in a complicated country dance. ('And I suppose,' thought Lucy, 'when trees dance, it must be a very, very country dance indeed.')

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PostPosted: Fri Jan 19, 2018 1:23 pm 
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Removed the Paypal link in the OP at Doc's request due to a purported security issue. Since we have no further information on the matter, presumably you should contact Doc directly if you still want to buy the CD.

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PostPosted: Fri Jan 19, 2018 1:49 pm 
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Paypal in someone else's name. Contact info in another, different name. He's "unavailable". All seems a little "dodgy" to me. Regardless, I will deffo not be ordering.


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PostPosted: Fri Jan 19, 2018 1:54 pm 
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whistle1000 wrote:
Paypal in someone else's name. Contact info in another, different name. He's "unavailable". All seems a little "dodgy" to me. Regardless, I will deffo not be ordering.

Really? I thought you sounded enthusiastic earlier in the thread?

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PostPosted: Fri Jan 19, 2018 2:02 pm 
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No, I'm pretty sure you have whistle1000 confused with someone else, Ben.

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PostPosted: Fri Jan 19, 2018 4:30 pm 
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That's funny lads!! I/We remember the last TSC threads. That asside, I just do not like the kind of stuff that he is putting out. My new-agey ex-wife? She prolly has a TSC shrine built already. At least he didn't record it in his car, or did he? :lol:


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PostPosted: Fri Jan 19, 2018 4:34 pm 
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From the voice-over for the 'Promo' track, your guess is as good as mine!

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PostPosted: Fri Jan 19, 2018 4:46 pm 
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whistle1000 wrote:
I just do not like the kind of stuff that he is putting out. My new-agey ex-wife? She prolly has a TSC shrine built already.

Maybe if she uses headphones? That might go a long way to help ease any strain on your domestic bliss. Not that there's any call for me to butt in, of course.

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PostPosted: Fri Jan 19, 2018 5:50 pm 
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ytliek wrote:
I'm not much of a low whistler, but, I do listen often to as much as can be found. ... To my untrained and uninitiated low whistle ear the sound reeks of too much tube with not enough air.

In the three decades I've played flutey instruments, I've harbored mixed feelings about low whistles. "Too much tube with not enough air" is one of the most compelling descriptions I've heard, so I had to jump in with a reaction.

On the Irish trad side of my musical life, until earlier this week, I exclusively played a low D for close to a year. Fine whistle though it was, I finally soured on the low D thing (much as I did with a low F ten or so years ago). It's hard for me to articulate what's missing (or perhaps what's there that I'm not keen on), but I'm going back to the high whistle. The music just sounds right(er) on it, to my ear. (Now, in a perfect world, all whistle music would be performed on a Bb. But I digress.) There's, I don't know, sort of a foggy quality to low whistles that seems a bit out of place with dance tunes; maybe an argument can be made for it on slower stuff. But regardless of what I was playing, the instrument finally felt a bit distant, almost impersonal...sort like one's playing the kitchen plumbing. (For any plumbing enthusiasts, check out the bass--or, even better, contrabass--flute!) Together, the feel and sound ended up feeling a bit one-dimensional to me...like "too much tube with not enough air."

Of course, those are just my musings at the nadir of my low whistle appreciation. I do get why some people find them enchanting, and indeed, there's some fine music played on them. For me, though, the spell took pretty long to take hold, and once it finally did, it wore off pretty quickly, too.

But good on Talbert for giving these super low whistles an outing. They certainly have a distinctive sound, and there aren't too many opportunities to hear them.

And all I can say about Shetland fiddling (on which I'm no expert, beyond knowing a couple of tunes and having a few albums, notably those yummy Aly Bain/Ale Möller albums) is that it's the bees knees. It's a distinctive syle (I love the ringy, sympathetic string thing) and the tunes are great. The Peerie Willie Johnson swing-style guitar comping is very cool, too. Plus, after a lifetime of saying "the," it's fun to say "da."


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PostPosted: Fri Jan 19, 2018 7:48 pm 
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whistle1000 wrote:
At least he didn't record it in his car, or did he? :lol:
Peter Duggan wrote:
From the voice-over for the 'Promo' track, your guess is as good as mine!

I only just now remembered that TSC has indeed done so in the past (good memory there, whistle1000), so it actually is a fair question.

tin tin wrote:
Of course, those are just my musings at the nadir of my low whistle appreciation. I do get why some people find them enchanting, and indeed, there's some fine music played on them. For me, though, the spell took pretty long to take hold, and once it finally did, it wore off pretty quickly, too.

But good on Talbert for giving these super low whistles an outing. They certainly have a distinctive sound, and there aren't too many opportunities to hear them.

How to put this delicately? Just so long as you understand, tin tin, that on this thread, the greater part of any antipathy will really not have had all that much to do with the matter of low whistles themselves.

That said, carry on.

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PostPosted: Fri Jan 19, 2018 9:06 pm 
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tin tin wrote:
...the low D thing...hard to articulate what's missing...distant...impersonal...one-dimensional...


I play Low Whistles now as my primary instruments, and I think I know what you feel.

They are indeed impersonal and one-dimensional, as are all whistles and recorders, due to the fixed sound production mechanism, as opposed to the flute where the human physicality of the lips creates the sound.

You can make a flute do almost anything; whistles just do what they do.

It's a testament to the immense musicality of the great whistle players that they make you feel like a whistle is a very flexible and expressive instrument on par with any other instrument.

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PostPosted: Fri Jan 19, 2018 9:17 pm 
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Nanohedron wrote:
How to put this delicately? Just so long as you understand, tin tin, that on this thread, the greater part of any antipathy will really not have had all that much to do with the matter of low whistles themselves.


Very tactful.

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PostPosted: Fri Jan 19, 2018 9:52 pm 
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duplicate post


Last edited by tin tin on Sat Jan 20, 2018 12:33 pm, edited 1 time in total.

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PostPosted: Fri Jan 19, 2018 9:54 pm 
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Nanohedron wrote:
How to put this delicately? Just so long as you understand, tin tin, that on this thread, the greater part of any antipathy will really not have had all that much to do with the matter of low whistles themselves.

That said, carry on.

Oh, don't worry, I know my history! But perhaps it doesn't always have to repeat itself...

pancelticpiper wrote:
It's a testament to the immense musicality of the great whistle players that they make you feel like a whistle is a very flexible and expressive instrument on par with any other instrument.

Indeed...and maybe (I know this isn't your drift), my limited enthusiasm for the low whistle (in my hands, at least) is a testament to a less than immense musicality on my part! I do think it's perhaps harder to create that sense of flexibility and expressiveness on a low whistle than a high one, or at least, I think it is for me.


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PostPosted: Sat Jan 20, 2018 1:52 am 
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tin tin wrote:
Shetland fiddling [...] It's a distinctive syle (I love the ringy, sympathetic string thing) [...]
Eh? What "sympathetic string thing"? The Shetland fiddling I know uses standard fiddles. Am I missing something?

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