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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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