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Peter Laban wrote:'Session-grade' sounds about as silly as the often heard here 'professional' (looking) whistle, what does that mean?
That's like my bamboo Sazzad in A, brought back to me from India by a good friend. I especially like the packing tape to affix the gold label. And the metalized Mylar tape at the end is stunning.
Peter Laban wrote:Fair play to you if you managed to find a Sweetone C in tune, personally I think that's probably the worst whistle I have ever come across.
I was playing with the concept of "session-grade." It's a decent whistle and I do ok with it. Maybe because I played a Freeman Tweaked Sweetone D for maybe the first 3 or 4 months of my whistle playing. http://www.beancurdturtle.com/Whistle/2 ... High-C.mp3
The little articulation at the end - I think it called a "blatt" - really pulls this tune together.
A-Musing wrote:I just had an incredible realization. At my current rate of progress, I'll be able to play at Peter's level by my hundredth birthday. Somebody pass the vitamins...
He's not too shabby for a session-grade player.
Daniel
It's my opinion - highly regarded (and sometimes not) by me. Peace y'all.
The best C whistles for me are Busman, Abell, Black Diamond and my O'Brien Rover in blackwood.
I believe that C may be Paul Busman's best key (that is saying alot because he does make terrific D and Eb whistles as well). Priced in the middle between my O'Brien and Abell, my Busman C has a very appealing woody sound with terrific balance across octaves. Paul makes them in a variety of woods (mine is in satinwood - just lovely). My D is Tulipwood and my Eb is Pink Ivory and all are stunning.
I sold my Black Diamond D and kept the C which plays much better (although the standard Bb fingering of oxxooo is very sharp).
I also do love the O'Brien 3-piece wood Rover in C. Both the D and C Rovers are great wood whistles at a very attractive price. My Rovers have great tuning and balance through the octaves. The 3-piece design with shirt pocket sack is really fun and works well.
What can you say about Abell? I love my D/C set and feel they C body is sublime. The most traditional sounding wooden whistles I own, Abell's represent world-class craftsmanship. Possibly the most spot on tuning of any whistle I own, oxxooo splilts the uprights on my tuner whithout changing how you blow the note one bit.
My Reyburn C/D set is due in this week and I can't wait as Ronaldo is a master craftsman. I have the NB D and Bb and love them so, although I have not yet played the C, I'm sure the previous Reyburn recommendations are justified.
Peter Laban wrote:'Session-grade' sounds about as silly as the often heard here 'professional' (looking) whistle, what does that mean?
That's like my bamboo Sazzad in A, brought back to me from India by a good friend. I especially like the packing tape to affix the gold label. And the metalized Mylar tape at the end is stunning.
And it plays like a dream - a bad dream. Yet I can't part with a gift from a friend.
I bought an Indian whistle at a denominational conference, at the international shop. Surprisingly, it wasn't horribly out of tune, but the C had to be half-holed. I played it about four times.
"Whoever comes to me I will never drive away." --Jesus Christ.
dfernandez77 wrote: That's like my bamboo Sazzad in A, brought back to me from India by a good friend. I especially like the packing tape to affix the gold label. And the metalized Mylar tape at the end is stunning.
Hey -- I've got one of those, but not the deluxe version like you have. I don't have the mylar tape prettying up the end, but it only cost about 4 bucks at a ren fest, which means I only overpaid by about 2 dollars.
Are you sure yours is in A? Mine appears to be somewhere between A and B flat, tuned to a pitch that has yet to be seen in western music except in really crappy accordions. If yours really is in A, then you probably have one of the rare G sharp models.
The uniform finger spacing really helps my piper's grip, and the only downside to this fine whistle is that it tastes and smells like old socks.
Crazy for the blue white and red
Crazy for the blue white and red
And yellow fringe
Crazy for the blue white red and yellow
Some of these can be good--at least better.
I believe a good number are sold in Ireland--saw
them in the music stores a good deal when I
visited, anyhow.
dfernandez77 wrote: That's like my bamboo Sazzad in A, brought back to me from India by a good friend. I especially like the packing tape to affix the gold label. And the metalized Mylar tape at the end is stunning.
I bought about 20 whistles and flutes last time I was in India. It was slightly easier to find nice flutes than whistles but you have to try LOADS of them to find the gems. The good thing it that they cost almost nothing there.
Tell us something.: So, please write a little about why you are interested. We're just looking for something that will make it clear to us, when we read it, why you are registering and that you know what this forum is all about.
Peter Laban wrote:'Session-grade' sounds about as silly as the often heard here 'professional' (looking) whistle, what does that mean?
That's like my bamboo Sazzad in A, brought back to me from India by a good friend. I especially like the packing tape to affix the gold label. And the metalized Mylar tape at the end is stunning.
Peter Laban wrote:Fair play to you if you managed to find a Sweetone C in tune, personally I think that's probably the worst whistle I have ever come across.
I was playing with the concept of "session-grade." It's a decent whistle and I do ok with it. Maybe because I played a Freeman Tweaked Sweetone D for maybe the first 3 or 4 months of my whistle playing. http://www.beancurdturtle.com/Whistle/2 ... High-C.mp3
The little articulation at the end - I think it called a "blatt" - really pulls this tune together.
A-Musing wrote:I just had an incredible realization. At my current rate of progress, I'll be able to play at Peter's level by my hundredth birthday. Somebody pass the vitamins...
He's not too shabby for a session-grade player.
This instrument must be seriously out of tune, judging from the sizes of the holes and their position? Or is this a joke I don´t really get?
Tell us something.: So, please write a little about why you are interested. We're just looking for something that will make it clear to us, when we read it, why you are registering and that you know what this forum is all about.
I'm very happy with the volume, tone, and versatility of my Colin Goldie Overton in 'C'...if you're lucky enough to find one of them out in the market place.
Peter, are you telling me you never saw a 'session grade' whistle in Tom Malone's Pub? (I'm friends with Fintan).
I'm very happy with the volume, tone, and versatility of my Colin Goldie Overton in 'C'...if you're lucky enough to find one of them out in the market place.
Peter, are you telling me you never saw a 'session grade' whistle in Tom Malone's Pub? (I'm friends with Fintan).
Just when I was about to call Peter a troublemaker, I realized much to my chagrin that I agree 100% with him about the Sweetone. Although the Sindt is a fine whistle, I'm not quite sure about whether it rises to the expressed "volume" requirement. The two Cs I have that really cut through anything are Copeland and O'Riordan; however, it took me 10 years to find a Copeland C that I liked and Pat has a really long, if not closed, waiting list. Seems it's hard to come by a lot of the good Cs - Walton Golden Tone is no longer made, and the WW is unfortuneately no longer made as well.
I like the Burke just fine as well as a couple of Gens I have, but I don't play in sessions, so ignore everything I say.
Philo
"This is this; this ain't something else. This is this." - Robert DeNiro, "The Deer Hunter," 1978.
(I'm friends with Fintan).