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PostPosted: Sun Dec 02, 2018 6:16 am 
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The brass is thicker. The pro high D is heavier than the standard C Feadog.


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PostPosted: Sun Dec 02, 2018 6:19 am 
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Sedi wrote:
The brass is thicker. The pro high D is heavier than the standard C Feadog.


Thanks Sedi :thumbsup:


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PostPosted: Sun Dec 02, 2018 9:10 am 
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Backhold wrote:
ytliek wrote:
Yes, Timothy Potter whistles worth the mention.


What does that have to do with O'Briain or Dixon Trad whistles?

The Potter whistle had been mentioned along with the Freeman Mellow Dog and Dixon Trad in reference to comments about loudness.


For someone who has never played an O'Briain whistle and rarely plays a High D you certainly comment here often enough.


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PostPosted: Sun Dec 02, 2018 11:56 am 
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Backhold wrote:
ytliek wrote:
Yes, Timothy Potter whistles worth the mention.


What does that have to do with O'Briain or Dixon Trad whistles?


The Potter whistle is a somewhat neglected, splendid whistle that the OP may not have heard of. That is the connection.


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PostPosted: Sun Dec 02, 2018 12:51 pm 
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Tyler DelGregg wrote:
Backhold wrote:
ytliek wrote:
Yes, Timothy Potter whistles worth the mention.


What does that have to do with O'Briain or Dixon Trad whistles?


The Potter whistle is a somewhat neglected, splendid whistle that the OP may not have heard of. That is the connection.


I was just having a joke mate, a couple of weeks ago someone started a thread about Swayne whistles and in the same premise ('splendid whistle that the OP may not have heard of') I posted a link to McManus whistles, Ytliek took umbrage at this and rebuked me.


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PostPosted: Mon Dec 03, 2018 9:20 am 
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Tyler DelGregg wrote:
Backhold wrote:
ytliek wrote:
Yes, Timothy Potter whistles worth the mention.


What does that have to do with O'Briain or Dixon Trad whistles?


The Potter whistle is a somewhat neglected, splendid whistle that the OP may not have heard of. That is the connection.



I was not aware of those--thanks for the link.

I'm interested but I'm put off by the religiosity. I'm a not a religious man, and the consistent emphasis asks me to endorse something I'm not part. I can certainly see his reasons and admire his commitment and Im sure he's aware he might lose some customers.


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PostPosted: Mon Dec 03, 2018 9:24 am 
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I'm interested but I'm put off by the religiosity.


It's a bit hard to get past that.

He seems OK in email contact though. The whistle is nice enough, quiet-ish and light to the touch. It's well balanced but as a by product of achieving that there's not a lot of life left in it. I have in the past compared it to whistles that have been tweaked to within an inch of their life. Or a whistle made to sound like a recorded whistle, heavily equalised and compressed. It plays well and does everything right enough but after playing it for a while you want to put it away and play an off the shelf Generation for a bit, or an O'Briain 'improved', just to play unconstrained music.

I once asked Martin Rochford how he liked the new house his son had built him, just after he moved into it. He quipped 'you can't even throw a dirty look in it'. It's that sort of feeling.

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PostPosted: Tue Dec 04, 2018 1:34 am 
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So, when talking about a high D whistle, what is everybody talking about when they talk about its loudness or if it is loud or not?

And what would be the example of a high D whistle that is "loud" and yet has a good tonal quality, is not easily *overblown and easily or smoothly moves between octaves, for under $40?

I know, I should probably just ask what is the perfect whistle?
But I guess what I'm asking is how close can you come to what I described for under $40, including offerings "off the shelf" and tweaked ones.

*and by "easily overblown" I will give the example of my Clark Sweetone, which sounds in the first octave basically if I just exhale a normal breath and doesn't take much more to jump into the second.

I'm just returning to whistling after a Hiatus and in the past I had some 13 whistles. Four of which were in C the rest were D. Now I only have three. An original Clarke; a Clarke Sweetone and my Susato Dublin D ( the non tunable series they made out of white plastic and have since discontinued)

Of those three my favorite is the Susato. And with that in mind I have just ordered a plastic Dixon D. I'm interested in expanding a little bit, but I'm not a big connoisseur and I'm now looking for a little bit better bang for my buck this time around, as opposed to willie nellie acquiring a Generations or Fear of or whatever just to have on of that brand for the hevk of it.
But if the Feadog Pro really is a good whistle off-the-shelf I might go for it, unless somebody convinces me that the basic Feadog tweaked by mr. O'Brien is even better. But then again I thought somebody above said that was easier over blow, so that wouldn't be as great an interest to me.

Anyway, the main question revolves around loudness and how that is defined. I look forward to your thoughts. Thank you in advance


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PostPosted: Tue Dec 04, 2018 2:22 am 
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MichaelRS wrote:
And what would be the example of a high D whistle that is "loud" and yet has a good tonal quality, is not easily *overblown and easily or smoothly moves between octaves, for under $40?

Your Susato is probably as close as you'll get. But 'not easily overblown' and 'easily or smoothly moves between octaves' are basically opposite characteristics when nimble octave switches depend on easy overblowing, at least when slurred and upwards.

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PostPosted: Tue Dec 04, 2018 2:32 am 
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But if the Feadog Pro really is a good whistle off-the-shelf I might go for it, unless somebody convinces me that the basic Feadog tweaked by mr. O'Brien is even better.


Feadógs are variable, it's a feature of how they are made. The Feadóg pro I got was no good at all, it had a raspy second octave that was unpleasant. I ditched the head and put a different one on the tube. The last batch of Cillian O'Brain's I went through was surprisingly consistent. Previously I had gone through boxes of them to pick the nicest one (they were all fine but not in quite the same way) but the last time I tried there was surprising little variation. Better by several country miles, as I said.

Do note however these whistles are very different in character from Clarkes, Sweetones and Susatos.

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PostPosted: Tue Dec 04, 2018 6:11 am 
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MichaelRS wrote:
So, when talking about a high D whistle, what is everybody talking about when they talk about its loudness or if it is loud or not?


But if the Feadog Pro really is a good whistle off-the-shelf I might go for it, unless somebody convinces me that the basic Feadog tweaked by mr. O'Brien is even better. But then again I thought somebody above said that was easier over blow, so that wouldn't be as great an interest to me.

Anyway, the main question revolves around loudness and how that is defined. I look forward to your thoughts. Thank you in advance


I'm no expert. I have a Feadóg pro and a standard Feadóg. The Feadóg pro is louder sounding, but it might just be because it's harsh sounding. The standard Feadóg, after a bit of sanding and a bit of putty, became a nice whistle with a light and lively tone, but I prefer the Killarney whistles.

I think Mr. Gumby nailed it in that there is a balance going on between loose and lively and tight and consistent, and also between "loud" and "sweet." I hear good music being made on all kinds of whistles but lean towards whistles that don't sound like recorders or flutes.


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