Sedi wrote: I think it is quite strange however that there seem to be makers out there selling whistles for a lot of money that don't even play as good as a 10€ Generation. Why make whistles then in the first place?
There's a market for them.
My impression of them is from my decidedly un-Irish point of view, coloured by these factors
1) having spent quite a bit of time in the Hollywood/LA studio musician scene
2) having spent quite a bit of time in the Church music scene
3) having spent some time in the NFA/Boehm flute/Baroque flute scene, attending their conventions etc
which has put me in contact with players coming from a very different place than I did (as pure a trad learning process as was possible here in the 1970s).
What I've consistently found is that musicians coming from the "mainstream" music world, recorder players and Boehm fluteplayers and so forth, prefer a quite different sort of whistle than I do.
I see the booths at the NFA conventions, people making incredibly expensive whistles out of Sterling Silver and African Blackwood etc.
It's the market: a Baroque fluteplayer with an Ebony or African Blackwood flute that cost thousands of dollars, and a Boehm fluteplayer with a Sterling Silver flute costing thousands of dollars, isn't going to be interested in a Feadog or Generation whistle. In these fluteplayers' eyes those are mere toys. Their flutes are made by boutique craftspeople using the highest-end materials, and they're only interested in whistles that are like that.
It doesn't matter to those fluteplayers that the whistle's action isn't nimble enough to play a complicated reel at full speed, or that it's not efficient enough to play the long high notes of a
sean nos air. They've never heard trad Irish music, or if they've heard it they'll never play it. In fact most of these boutique whistles will never get played at all. They're ornamental. They'll sit on a shelf in the fluteplayer's living room, more of a conversation piece than a musical instrument. I've seen them.
Remember that professional musicians can write off instrument purchases. Buying a thousand dollar instrument on a whim is nothing.
As I've mentioned before, I was at a booth of one of these makers a few years ago, and tried a couple $700 sterling silver and ebony whistles. They were virtually unplayable for ITM, with quite stiff intransigent 2nd octaves. I doodled for a bit. The maker asked "how do you like it?"
"The second octave is too stiff for me."
"That's what Mary Bergin said when she played one."
Now if Mary Bergin tells you that, wouldn't you think you would get it sorted? But this guy's market isn't Mary Bergin, or me.