Kerry Optima review

[greenspiderweb]

Glad to hear you like your Optima a lot too, and nice review, Ubizmo! And yes, I agree-it's very "whistley" sounding, and has a good hoot to it-and I have come to appreciate that difference as well, compared to a lot of other whistles, and flute. It does have alot of things going on in the tone-some would say overtones.

I'd also like to point out that in your reference to the Kerry Pro-that isn't the whistle you had before and sold-I remember you commenting on your Kerry (plastic head) Low D before, about how much air it took, and selling it. Kerry Pros do not require that much air, and are an entirely different whistle-being handmade by Phil Hardy. The plastic head Kerry Low whistles were the cheapest version and factory made-more like a big Generation type whistle.

I too have since come to the conclusion that it just takes more time in getting used to playing the uppper end more effectively (like most low whistles), and think as you do that I can live with it as is, since I like it's other attributes so well. I won't be playing the upper end much in my apartment, but when I'm away from here, I will use it too. Guess I have come to use octave folding more than some, living in such close quarters with my neighbors here!

About the low end-it may not be able to be pushed hard, but it still has a very good presence, if you use proper breath control to keep it from breaking too soon. Anyway, it's a very nice whistle, on sale or off!

Enjoy!

[ubizmo]

I'd also like to point out that in your reference to the Kerry Pro-that isn't the whistle you had before and sold-I remember you commenting on your Kerry (plastic head) Low D before, about how much air it took, and selling it. Kerry Pros do not require that much air, and are an entirely different whistle-being handmade by Phil Hardy. The plastic head Kerry Low whistles were the cheapest version and factory made-more like a big Generation type whistle.

You're right! I got my wires crossed on that one.

I too have since come to the conclusion that it just takes more time in getting used to playing the uppper end more effectively (like most low whistles), and think as you do that I can live with it as is, since I like it's other attributes so well. I won't be playing the upper end much in my apartment, but when I'm away from here, I will use it too. Guess I have come to use octave folding more than some, living in such close quarters with my neighbors here!

I live in what we call in Philly a "row house", so I don't want or need a whistle that shrieks. I haven't taken the Optima to a session yet, but will do so on Friday. It's fine with me if it doesn't stand out too much; I'm not exactly a headliner. I've used the Dixon at the session, and it's not a loud whistle either, but it works fine. I always bring a low whistle, since if there are more than two high whistles it starts to sound like mashing cats.

About the low end-it may not be able to be pushed hard, but it still has a very good presence, if you use proper breath control to keep it from breaking too soon. Anyway, it's a very nice whistle, on sale or off!

Enjoy!

Yes, that's exactly right. That low D isn't bold but it has a nice character, especially when pushed just south of the breakpoint.

[retired]

I played the tour Optima and bought one for myself - I concur with all that's said above - what I find interesting is that the tour whistle and the one I bought are very similar - and after hearing other's opinions it seems they are consistant and that, to me, is a big deal. Damn good whistle.

[ubizmo]

I was playing the Optima last night and experimenting with fingerings. I found that for a sustained high B, XOOXXX works even better than XOXXXX, which is just slightly flat, on my Optima anyway. In addition, the XOOXXX fingering lets you do vibrato on T3, if you so desire.

Si Bheag Si Mhor is, I realized, a commonly played tune where you need to hold that high B a bit with confidence.

[caroldelorenzo]

I had the Optima for a brief day before leaving town for a couple weeks. I didn't get to play it much before sending it on--no session playing or extended practice. So really all I can offer is a first impression:

-The whistle felt fine to hold, hole placement was comfortable.

-It played okay. It seemed a little quiet to me and the upper register notes tended to begin with a "chirpy" sound which bothered me. I just looked back at some of the other reviews. I noticed someone referred to a "bark". This might be the same quality I am describing. It might possibly be an idiosyncrasy that I could overcome with more familiarity, however those chirpy attacks may be a deal breaker for me.

-I didn't find the Optima easy to play, but low d whistles are generally a bit of a chore for me to play well (I gave a band mate my first low d, a Howard on which I could only play slow airs, and in his hands it sounds gorgeous). Most of my practicing I do on a mezzo g Burke --the range is lovely and I can still play speedy quick. I would love to find a low d I could play as well as that G Burke. Walt Sweet's Onyx is by far the easiest low d I've tried. I am trying out an MK right now. Although I like the volume and tone quality, the anodized flat black finish is very slippery in my hands--I struggle with holding the darn thing! I really liked the Reyburn tone and playability. As these whistles are all more expensive they may be unfair comparisons. I think what the Optima really offers is a decent whistle at a great price.

Thank you, Phil, for the opportunity to try your whistle. I look forward to trying the V4.

Carol

[ubizmo]

I took the Optima to a session last night and played it exclusively. Usually I switch back and forth between low and high D. It was a small session--two fiddles, guitar, accordion, high D whistle, flute, and me. I got a lot of compliments on the tone of the Optima. I've brought other low whistles to the same session and no one ever commented. I'd say the volume held up okay, but clearly if the session were much larger it would have been lost. Other than that, I had no problems.

If I list my four low Ds in order of descending breathiness, they are: Chieftain V3, Optima, Dixon, Gonzato.

If I list them in ascending order of how long I can hold a G, the order is the same.

In order of loudness, the order is the same.

It's probably not surprising. The Gonzato may be the loudest and most breath-sparing because it sacrifices no air in producing breathiness.

[Cayden]

I'll try this again, as for some reason my review on the Optima did not show up. I just parted with the tunable Kerry Optima yesterday in sending it off to the next tour participant. Seeing the whistle move on was not a big deal as I already own a non-tunable Optima with the black fipple head.

Overall the Kerry Optima is a nicely voiced whistle that seems to play quite reaponsively. For someone looking to buy a nicely made low whistle without parting with upwards of $300, the whistle fits a particular niche quite nicely.

Not a particularly stunning looking whistle, the Optima plays well, allows for some push, especially in the upper register. The whistle plays well and is made of standard color aluminum tubing with a seemingly thicker wall thickness. The Overton influence is clearly present within the design as made by Phil Hardy. Air consumption allows for rather lengthy phrasing and coupled with the responsiveness allows for expressive play.

The Kerry Optima is a nice whistle for those wishing to make the transition from soley playing high whistle, over and into the world of low whistles. Give a Kerry Optima a try, and you will likely be pleased with the instrument.

Cheers,
Cayden

[retired]

Let's keep using this thread for review of the tour Optima to avoid confusion - thanks - Santa Claus.

[pancelticpiper]

I'm going to add my impressions of the Optima... I have a few other low Ds: A Chieftain V3, a Dixon polymer (slightyly tapered bore), and a Guido Gonzato Low-Tech. I used to own a Kerry Pro...

I'd be very interested to also hear reviews of people who play Goldies, Overtons, MKs, Burkes, Reyburns.

Is this the sort of whistle under discussion?

http://www.ebay.co.uk/itm/KERRY-OPTIMA- ... 0907337030

I love the look of the thing. With the clear top it gives you a cool Pete Fountain-ish swagger.

http://www.youtube.com/watch?v=s-S5r0rwFu0

I'd love to try one. I hope it's better than the old Kerry Low D I have, with the fat black plastic top, that has a very flat 2nd octave and thus never gets played.

[retired]

Richard - the Optima on tour will eventually get to you - it's heading to the mid-west soon. I know you favor the MK pros - have you played a Kelpie ?

[ubizmo]

Is this the sort of whistle under discussion?

http://www.ebay.co.uk/itm/KERRY-OPTIMA- ... 0907337030

I love the look of the thing. With the clear top it gives you a cool Pete Fountain-ish swagger.

That's the one.

For the record, my references to the Kerry Pro in this thread are, as has been pointed out, mistaken. My old Kerry wasn't the Pro, it was just the budget Kerry with black plastic head. I guess it was the ancestor of the Optima, but the Optima performs much better, in my opinion.

My Optima isn't the tour whistle.

[pancelticpiper]

Richard - the Optima on tour will eventually get to you - it's heading to the mid-west soon. I know you favor the MK pros - have you played a Kelpie ?

Awesome! Looking forward to getting to try the Optima.

No I've not played a Kelpie. I've owned a half-dozen different tunable MKs, but in truth I may not have ever owned an "MK Pro", because my MKs were probably all made before the Kelpie was introduced.

[pancelticpiper]

My old Kerry wasn't the Pro, it was just the budget Kerry with black plastic head. I guess it was the ancestor of the Optima, but the Optima performs much better, in my opinion.

Thanks for the clarification. Yes the old whistle I have is probably the "budget Kerry with black plastic head" you had. It has a very flat 2nd octave, nearly unplayable, and besides B in the low octave is very flat, and I had to carve out that hole, to even have one usable octave. It was used on one studio gig- a TV show- but I only needed low notes. It was the only Low D I had at that time.

[Joe Gerardi]

Kerry Optima shootout...
First, I want to apologize to everyone on the tour. Between not knowing I was on this instrument's tour, the holidays, and work staffing shortages, I had the whistle far too long. It's gone now and should be in Louisville KY at its next stop already, or if not, later today. Sorry about that folks...

This is my first tour, and first review. I've only been playing about 6 months, but been a musician (piano, organ synthesizers) for 51 years and a violinist for 9 years. So I'm used to music and whilst not an expert, already do have a moderate level of proficiency on the whistle.

For this shootout, the Kerry was compared to a Chieftain V3 Low D nd an original Bernard Overton Low D. I didn't include tmy Dixon TB003, because I felt it unfair to use that inexpensive whistle with these, each of which were well more than twice as expensive. (Or more.) I have no tunable whistles, so that side of it will all be subjective. But if anyone else plays Classical violin, you know what we go through tuning those beasties...

Appearance:
That red mouthpiece sure makes for a noticeable whistle! Construction is all top-notch. Well-built and well-fitted. I have to admit I'm far more partial to this style of mouthpiece/fipple than the curved ones. There's just something about that shape that both says "whistle," and feels right to me. Perhaps it's the Overton. Regardless, I really like it, and any whistle today that has that style mouthpiece is immediately one step ahead of the round-style mouthpieces. The Tone Holes? Not so much, but I won't blame the whistle. Again, with my main instrument the Overton, the holes seem to be in the wrong place: small and close together. It took me a while to get used to the Overton, now everything else feels kind of weird.

Tuning:
My first tunable whistle. Maybe it was me, but the Low D was hard to get in tune, regardless of the blowing techniques. The octave D snapped right into tune, but the lower was consistently out; if I tuned the low D, then the octave was out. I settled on a happy medium where the both were close, and went on from there.

First notes:
The very first thing I noted about the Kerry was the bell tone was far rounder than either the V3 or the Overton. By "round," I mean more flute-pure sounding than a slightly shrill whistle-y sound. In fact, I would say that it does actually sound like a flute. A creamy, pure tone that is quite pleasing to the ear even if it ain't quite what I'm used to. At the other end of the spectrum is the Overton. That sounds like a whistle! The V3 is in-between those tones, but more towards the Overton than the Optima. The Optima would be quite lovely for the romantic and gentle stuff, but it wouldn't raise any hackles for adventurous music. I won't rate this section as tone is a very subjective thing: one man's dislike the another man's joy. The second octave responded quite nicely, and I didn't push it to the 3rd- I almost never go into the 3rd octave. Really, on any of these the second octave is pretty much a draw in terms of air, push, and length. Speaking of air...

Airway
Back pressure on the instrument is a dream. I could hold notes quite longer than the V3, and it's anybody's guess between the Optima and the Overton, but I will give the edge to the Optima, because the air flowed far more freely: I was able to play long notes without having to push any air though- when the lungs were empty, the note stopped. That might be the only criticism I have of the Overton- the player needs to work the airway just a little bit- force the air down the tube. The Optima felt quite effortless. The Chieftain requires - to me - constantly working the air flow. It's probably my least-favorite thing about the V3, and my biggest criticism of it.

Tone Holes
The instrument is easy to play, even if I was fumbling a bit with the lower 3 holes. That's my problem, not the instrument's, and I found that it was quite responsive to ornaments. I was really pushing it with "Farewell to Glasgow," "Amhran Na Leabhar," and even "Concerning Hobbits" using lots of ornaments, (cuts, rolls, even some crans, and classical ornaments as well like turns and mordants) and it snapped right in there. Far better than the V3 Again, the Overton was superior in my opinion, but let's be honest: does anyone really think it does anything badly? That said, the hole placement was conducive to no leakage on the fast notes on the Optima. That is indeed something the Overton player has to be aware of- that large gap between the E and F# is - if not always in the front of the mind - something that can cause nightmares in terms of note leakage and the resultant squeaks and spits... The V3 takes a sorry third here, and IMHO it really doesn't respond well to ornaments.

Volume:
The first time the Optima falls into third. It is a quiet instrument. Combined with the pure tone, it sounded even quieter. It would be a fine whistle for solo music, but you get into a session and you're simply not going to be heard. Here's where the Overton shows its pedigree: with that slightly strident tone and big volume, it makes you sit up and tale notice. It screams "I am an Overton!" The V3 is about midway between the other 2- it has an acceptable volume and good tone, stronger than the Optima, less than the Overton, but more to the Overton side overall once again.

So there you have it. The Optima is quite comfortable and responsive to play, though quieter and a little more difficult for me. The lovely mouthpiece, effortless airflow, and willingness to respond to ornaments are its strongest points; its volume and tone (in my opinion) are its weakest. However, if that pure tone is your cup of tea, I think you're going to love this whistle. Me? No. I have an Bernard Overton. I love the fact that I have one: it's pretty much the goober that started it all, and it does everything well, if not outstanding. That said, I think I prefer the Optima over the V3- there's just something about the V3 that never clicked with me- it is a good middle-of-the-road whistle and - aside from the air I mentioned - has no real bad habits. It also has nothing outstanding to recommend it, and maybe that's the issue: It's neither fish nor fowl; it takes no chances, so nothing really sparkles.

..Joe

PS: Thanks to everyone involved at Faff and Chipotle for allowing this to happen. Believe me, I never heard of an instrument tour before. This is the cat's ass, getting to try out new whistles... Special thinks to Phil Hardy for allowing it at all.

Can anyone convince Steinway & Sons to do this?

[ubizmo]

Volume:
The first time the Optima falls into third. It is a quiet instrument. Combined with the pure tone, it sounded even quieter. It would be a fine whistle for solo music, but you get into a session and you're simply not going to be heard. Here's where the Overton shows its pedigree: with that slightly strident tone and big volume, it makes you sit up and tale notice. It screams "I am an Overton!" The V3 is about midway between the other 2- it has an acceptable volume and good tone, stronger than the Optima, less than the Overton, but more to the Overton side overall once again.

I agreed with just about everything else you said about the Optima, but not this. I don't have an Overton, but I do have a V3, and in my opinion the Optima is easily louder than the V3. I don't have a professional meter, but I used my ribbon mic and Audacity to confirm what my ears tell me. The volume of low D and E on the Optima is less than F# and above; I can clearly hear the bump in volume as I play up the scale. So on low D and E I'd say the Optima and V3 are about equally soft, and disappointingly so. This is my main criticism of the Optima, in fact. But from F# upward, the Optima is clearly lounder than the V3, in my judgment (and Audacity's).

This is my own Optima, not the tour whistle, but it would be surprising if they were that different.

The Optima felt quite effortless. The Chieftain requires - to me - constantly working the air flow. It's probably my least-favorite thing about the V3, and my biggest criticism of it.

I agree bigtime. My experience of the V3 is as if constantly having to push to keep the sound alive. It's not my biggest criticism, since that is reserved for the V3's tendency to play flat, but it's next on my list. The Optima is far more responsive to what I consider "moderate" breath pressure, resulting in a sound that's less muddy and more responsive in general to fast ornamentation.

Nice review!