It’s here, and everything they say about these whistles is true. It’s good to look at, and incredible to play. I’m still getting used to it, but I can tell it’s love at first sight.
I’m finding the finger spacing perfect for me, as well as it doesn’t slip in my hands even though it appears to be shiny. It has a nice weight to it, yet it’s not heavy or anything like that. The sounds that come out of it amaze me,… I played it in the bathroom (all whistles sound good there) and it sounded like I’d morphed into someone else who really knew how to play :>)
The wait was worth it. It is officially my favourite possession.
I’m ignorant of the physics of the thing, but Misha makes Low Ds that are among the easiest to handle, (for me)…yet sound great. Hole size and placement seem near perfect.
Enjoy purridge face! I await my low F’er from Misha this summer - you’ve just got to try and forget about them till they arrive. I’ll try not to read any more of your posts as you keep reminding me…
I have a great old Copeland Low D and a terrific Burke Pro Viper Low D. When in Custy’s in Ennis, I fooled a bit with an MK Low D, but the love affair was broken up by my darn sight seein family. Those of you waxing poetic on the MK Low D, have you also tried Copelands, and, if so, what do you think comparatively speaking? And, how about other keys like Low F, E, G?
I have a brass Low D Copeland (and a high d in nickel) from 1999. I had Michael revoice it for better intonation and octave switching in summer of 2007 and it is a great player. It was before as well but now much better in tune and not so touchy pressure wise with jumps of a 5th or 6th in the starting range from G-d.
Sonically compared to the MK, the Copeland is much more like a flute in its sound and is very easily filled. The MK by contrast is much more reedy sounding and has greater amounts of chiff.
I run out of air on the Copeland faster because it has a bigger windway with much less backpressure. Both are about the same volume, but the MK allows for greater dynamic variances because of the backpressure without much change in pitch.
The MK’s tuning is spot on over all 3 octaves. The Copeland has to be played at pitch by varying the pressure, which requires more skill but allows for greater flexibility for playing in tune when not playing in D or G, as when playing modally.
The term “Equal but different” comes to mind,… price not withstanding.
Congratulations on your new Low D. I recieved my red MK Low D just after Christmas. It’s just like everyone is saying, it’s amazing! I think I have played it almost every day this year so far.
I also have a Burke Viper and Chieftain V3. I’m constantly surprised in how different they sound from one another.
I live within driving distance of Hobgoblin in Minneapolis, and stopped there a couple weeks ago to find out that they had just recieved 3 Kerry Pro Low Ds. I wonder if anyone has a comment on them?
I know that I don’t need another Low D, but for some reason I keep thinking about it. I believe I’m going down the path of no return… too many whistles, so little time.
I have had my red MK D for a good many years, right from the early days and I wouldn’t be parted from it for ANYTHING! I would rather loose my right arm.
I had three gigs over the weekend and as usual my green MK was my workhorse.
Playing traditional jigs and reels with a band, playing hymns with a pipe organ and choir, whatever the situation the MK is fantastic.
I’m still struggling, after a couple years now of switching from flute to Low Whistle, with the Piper’s Grip on the upper hand (and me a piper- go figure).
The MK’s combination of lovely tone, perfect tuning, air efficiency, clarity of gracenotes, and resistance to clogging set it above everything else I’ve played.
OK, well, mine came today, and I have to say I finally get it.
“It” being: A flute is not a low whistle, and a low whistle is not a flute. They are different animals entirely — like lion and tiger, soup and sandwich, Abbott and Costello…
I haven’t played a lot of low whistles, and now I have to say, it’s not likely that I ever will. This’ll do just fine, thanks!
I’ve had my whistle for a few months now, and I’m getting used to how great it is. So,.. I took it down to the music store to buy it a saxaphone fuzzy thing (to clean it with.) I needed it with me to figure out which size to buy. I pulled the whistle out and there was an audible intake of breath from the 2 fellows helping me. (Must have been the lovely green colour!) The one guy could really play, if I were a nicer person I would have given it to him,…
I’d expect that reaction. That’s some beautiful craftsmanship.
Three days in, I’m still just getting to know the MK. A few things stand out, though. It’s very nimble, fast and accurate for such a large whistle. Fingering is easy with a sort of half-piper grip, and I’m having no trouble with fatigue or getting good seals on the holes. Also, it has a lot of volume — plenty enough for session playing. It likes to be pushed, and sounds better as you lean into it. I’ve really never been one for low whistles, particularly that “cosmic drainpipe” sound. This is not that. This is this.
One thing that concerned me: the tuning slide was very loose when it arrived. I rubbed on a bit of beeswax, and it’s just right now.
