stiofan wrote:I'm trying to find reviews...thoughts/perspectives/opinions on the MK Pro, particularly in comparison to the Goldie low D, which I play now.
-tuning across octaves
Now I too play a Goldie Low D as my primary thing, so unlike those old threads I can address Goldies instead of Overtons.
I have found a number of different approaches to the tuning of the octaves from various makers:
1) a flat 2nd octave, meaning that to play the octaves in tune you have to blow the low octave more softly and the 2nd octave more strongly.
2) a sharp 2nd octave, so you have to blow the low octave more strongly and the 2nd octave more softly.
3) a middle-ground octave tuning.
My Goldie Low D has #3, as does many other Low Ds I've tried such as the Burke, Susato, Reyburn. The half-dozen MK Low Ds I've owned had #2.
For sure there are benefits and drawbacks of each approach; none is more "right" than the others.
All Low Ds have a built-in volume differential between the octaves, and the slightly sharp 2nd octave tuning of the MK helps to make the octave more similar in volume. It also makes the 2nd octave exceptionally "light" or easy to produce- there's not much pressure difference between the octaves.
stiofan wrote:
-Cnat cross-fingered
My Goldie has the C hole just how I want it: a perfectly in-tune crossfingered C natural
oxx ooo but C# slightly flat and needing to be blown out. The MKs were fine too, but as I recall they preferred
oxo xxx
stiofan wrote:
-clogging propensity
I never had any clogging issues with MKs, possibly due to their curved windway. With the Goldie I had to do the toothpaste and dish detergent thing, which is very effective.
stiofan wrote:
-'sweetness' at the top of the second octave
My Goldie has overall a stiffer 2nd octave than the MK, which I think helps High B, because you're blowing more strongly overall in the 2nd octave anyway. With the MK's sharpish 2nd octave you're blowing it fairly gently, and it's a very fine line between blowing High B correctly and underblowing it just a tad and it going harsh.
They're both excellent professional instruments, just very different!
About some things you didn't ask about:
-Overall tuning: My Goldie Low D has needle-straight-up tuning from Bottom D to High B including crossfingered C natural. My several MKs shared a common tuning quirk: Bottom D was a tad flatter than Middle D. Some had a shorter tube giving an in-tune Bottom D but a sharp Middle D, others had a longer tube giving an in-tune Middle D but a flat Bottom D.
-Bottom D power: For that honking old flute style you want a fat loud strong Bottom D. The strongest I've found have been with Susatos and Burkes. The Goldie has a fair Bottom D. The MK's Bottom D can be vague and fluffy, and if you blow it harder it breaks.
-Air efficiency: Both the Goldie and the MK were the most efficient Low Ds I tried (around 20 different makers).
-Ergonomics: Both the Goldie and the MK have nice comfortable holes slightly closer-spaced than some other makers.
I ended up selling off the MKs and sticking with the Goldie due to it being the best bundle of compromises, and not having any real Achillies Heel.