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PostPosted: Mon Oct 15, 2018 11:39 am 
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Don't have a Carbony so far (not ready yet to shell out that kind of money) but I can say that carbon fibre ist a nice material in itself. I got a "Goldleaf" carbon whistle and the velvety smooth surface is really nice, as is the low weight. Even though it doesn't make much difference in weight of course in a standard soprano D but it is noticeable when you play longer times and have already damaged joints like I have.


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PostPosted: Mon Oct 15, 2018 6:15 pm 
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First, if this thread is a CP it's an advert and I shouldn't be giving any opinions about the product being advertised.

If it is not a CP and is an ordinary thread open to commentary, I'll thrown in mine. The Mods can certainly delete this post if it's inappropriate.

I'm no "name" player so take it for what it's worth but at several events, including yesterday, I played a number of Carbony low whistles (at their booth) and to me, coming from years of playing cylindrical alloy Low Whistles such as Goldie, MK, Burke, etc, the Carbony low whistles aren't something that interest me.

Like some conical wood whistles I've played the low range was weaker than I would like. However the upper range is very sweet.

A personal thing with me is having the upper-hand fingerholes widely spaced, and the Carbony Low C had it's upper-hand holes much more widely spaced than my Goldie Low C. I found the Carbony Low C more difficult to finger than my Alba Bass A. (I've gravitated towards Low Whistles with closer spacing such as Goldie and Alba.)

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PostPosted: Tue Oct 23, 2018 6:49 pm 
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PB+J wrote:
I don't doubt they're good whistles, but I don't see the value in carbon fiber.


For me the selling feature of the material is that the thermal coefficient of expansion is effectively zero.

So for a wind instrument that means that the pitch doesn't change with temperature. The head is aluminum, so they're not completely impervious to temperature, but probably about as good as it gets in that regard.


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PostPosted: Wed Oct 24, 2018 7:37 am 
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I've been playing these whistles in sessions, and it has indeed been my experience they don't seem to change in pitch with temperature changes. That is a plus, for sure.

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PostPosted: Wed Oct 24, 2018 11:59 am 
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PB+J wrote:
I don't doubt they're good whistles, but I don't see the value in carbon fiber. The primary virtue in carbon fiber is strength to weight ratio, so it makes some sense for, say, the top and back and sides of a guitar. It's more durable and less weather-responsive while remaining thin and light.

But I'm not sure it confers much advantage in a whistle. Tubes are inherently strong; a PVC whistle is extremely hard to do any damage to and is extremely light, and for that matter a brass whistle isn't exactly heavy. I suppose with a low whistle it might be an advantage over aluminum, but aluminum is pretty light and I'd have to work pretty hard to damage any of my aluminum low whistles.


Rob has a history in the aerospace industry. He casts the things on a mandrill rather than machining them, and it's a process he's comfortable with. Makes perfect sense to me.


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PostPosted: Wed Oct 24, 2018 12:01 pm 
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greylarsen wrote:
I've been playing these whistles in sessions, and it has indeed been my experience they don't seem to change in pitch with temperature changes. That is a plus, for sure.


I'm a fan as well (recorded several clips for Rob, too) and I would describe them as a "respectful" session whistle. It's a good volume, good tuning and isn't going to blow anyone's ears out like so many of those widebore hand cannons people seem fond of these days. If an Abell walks into my session, I walk out! :lol:


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PostPosted: Wed Oct 24, 2018 12:02 pm 
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He casts the things on a mandrill rather than machining them


A terribly dangerous job at the best of times.


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PostPosted: Wed Oct 24, 2018 12:20 pm 
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Mr.Gumby wrote:
Quote:
He casts the things on a mandrill rather than machining them


A terribly dangerous job at the best of times.


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and *that's* why they need to be carbon fiber. Those things will f*** a brass body tube RIGHT up.


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PostPosted: Wed Oct 24, 2018 3:23 pm 
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All kidding aside, for those who are interested, based on my discussions with Rob, here's the process for making CF whistles.

First, he machines a steel rod that equals the bore. Then he puts the CF material and the resin on the steel mold and bakes it. After baking, he removes the body, drills it, and matches it to the two part head joint. It's an expensive process compared to just drilling holes in a tube. Obviously it's up to the individual to decide on the "value" for him or her self. Rob does a lot of creative stuff and I appreciate that aspect of his business.

I saw Rob this past weekend. I brought along my 10 year old mezzo G. I found the newest models had a sound I preferred to my old model. Rob offered to let me trade in my old whistle on a new one, giving me 100% credit on the original purchase price. I can't think of any other businessman who has offered me 100% back after using a product for 10 years :-) Especially considering that the original product was not defective in any way -- I just like the new one better. FWIW, the new mezzo whistles have a lot less breath compared to the older models.


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PostPosted: Sun Nov 11, 2018 6:17 am 
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I will receive my Carbony "quiet" high D model this week. Will let you guys know how I like it. Oh, BTW -- @Grey Larsen: I'm currently trying to learn the tune you were playing in the youtube vid "Humours of Glynn" but I can't seem to find the correct ABC-file on thesession.org that sounds like the version you're playing. Can you point me in the right direction? And another question: that little triple tongueing thing you do -- is that 3 separate notes or the same note hit 3 times or is it 2+1 or 1+2? Can't really figure it out.


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PostPosted: Mon Nov 12, 2018 2:18 pm 
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The triple-tounged notes you speak are three different notes, B - C# - D. This basic version of the tune appears in two of my books. I'd be happy to send you a PDF of the sheet music (so you don't have to buy one of the books). The books I refer to are "300 Gems of Irish Music for All Instruments" and "150 Gems of Irish Music for Flute." The latter contains suggested ornamentation and breathing places for flute (and whistle).

That quick triple-tongued group of notes is something I like to use in that tune, but it doesn't appear in the transcription I have in my books, which is intended as a fairly straight version which people may vary as they wish.

I don't have the tune in ABC format at the moment. I haven't used ABC very much myself, and am not expert at entering music into ABC.

I look forward to hearing how you like the Carbony quiet D whistle.

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PostPosted: Tue Nov 13, 2018 10:26 am 
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'Tonguing' is now permitted, what a revelation I thought that was anathema?

I have been rebuked many times for the dread 'tongue' (and the even greater crime ... throat vibrato)


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PostPosted: Tue Nov 13, 2018 11:08 am 
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Sedi wrote:
Don't have a Carbony so far (not ready yet to shell out that kind of money) but I can say that carbon fibre ist a nice material in itself. I got a "Goldleaf" carbon whistle and the velvety smooth surface is really nice, as is the low weight. Even though it doesn't make much difference in weight of course in a standard soprano D but it is noticeable when you play longer times and have already damaged joints like I have.


What joint issues are you having Sedi?

I've had my right wrist and thumb fused ... it's done wonders for my playing.

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PostPosted: Tue Nov 13, 2018 11:37 am 
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@Grey Larsen
Thank you very much for answering my questions. I learn by ear so the sheet music would not be much use for me. I will simply practice with your recording of the song until I can play it. I got the whistle today. It sounds lovely but is louder than I thought, not really all that "quiet" :D. About as loud as my Killarney. And it sounds very "trad" -- a bit like my vintage Generation. Nice fusion of traditional sound with modern materials.

@Backhold
I use throat vibrato and tongueing all the time. I think there is many a great player who already proved most theories wrong about what are "acceptable" techniques while playing Irish trad. I learned throat vibrato (or rather diaphragm vibrato) far before I ever took up learning Irish trad (however limited my skills). I learned classic flute first (didn't stick with it though and it was 30 yrs ago) and finger vibrato is not possible on a keyed flute (and not taught in a classical context me thinks). IMO it's best to try as many techniques as possible and use whatever floats your boat to express yourself through music. I'm just playing for my own amusement, so I don't feel bound by any "rules" about acceptable styles of playing. BTW the legato-style with less or no tongueing and only finger vibrato is taken from (uillean) piping. Whistles are by far the oldest instruments out there. Why would I limit myself by using certain techniques developed for the technical limitations (can't tongue a pipe) of a far younger instrument? Just my 2 cts.
Concerning the joints -- I type on the computer all day because of my work so I think I got beginning arthritis in some fingers. Might also be that my fingers are sometimes just "tired" or it's my very bad typing technique (fast but no classic 10-finger system) which leads to strained tendons, etc. So the lighter a whistle the better, but I do still also play my low whistles every now and then.


Last edited by Sedi on Tue Nov 13, 2018 12:39 pm, edited 2 times in total.

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PostPosted: Tue Nov 13, 2018 11:41 am 
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Quote:
(can't tongue a pipe)


But does that mean you can't play non-legato or staccato runs on them? :really:

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