Thanks Richard for sharing your video. To my ear your Feadog Mk1 sounds better than the higher dollar whistles. I've got a Mk1 and it sounds like yours. There's just something special about their sound. It's purer and gentler on the ear and it's what I want my high D whistles to sound like.
I totally agree. That Feadog has a certain something that sets it apart. The tone is darker and more complex, yet pure. I have played better High Ds, they have been vintage Generations in the hands of owners not willing to part with them! So I know that truly superb Generation Ds are out there, I've just not found one for sale.
Thank you very much! I have been looking for this video during the whole eternity, I guess. It is really useful and I'm really glad you created this video with comparison of those kinds of flute.
Thanks so much, Richard. An 80s cheap TW is a great instrument. The pro level instrument of the first decade of new millenium is very close to a cheap TW. And an actual Pro grade TW is a low quality instrument. In other words: 80s to 2010= old good times for buy and play the TW, and later in time= a big shit for buy and play the Whistle.
I think it depends what characteristics the maker was aiming for. There seems to be an American school of High Whistle making, what I call Boutique Whistles, with emphasis on materials (Sterling Silver, exotic expensive woods), artistic appearance, and the loudest possible low octave. The drawback of the big-bore loud low octave invariably is a stiff shouty incalcitrant 2nd octave. Ralph Sweet was making High D whistles like that in the 1970s. A few years ago I attended a flute industry trade show and a guy had a booth with silver & exotic wood High D Whistles, lovely things to look at. I tried one and it was a beast, with very stiff harsh high notes. The maker asked "what do you think?" and I replied "the high notes are too stiff for me." He said "Mary Bergin told me the same thing." Now if I was a whistle maker and Mary Bergin told me the high notes were too stiff I would re-think what I was doing! But this guy's clientele isn't Mary Bergin, or me. He sells whistles to Boehm flutists who play $20,000 flutes and think nothing of paying $1,000 for a fancy-looking whistle that they'll display on a shelf at home.
Thanks Richard for sharing your video. To my ear your Feadog Mk1 sounds better than the higher dollar whistles. I've got a Mk1 and it sounds like yours. There's just something special about their sound. It's purer and gentler on the ear and it's what I want my high D whistles to sound like.
I totally agree. That Feadog has a certain something that sets it apart. The tone is darker and more complex, yet pure. I have played better High Ds, they have been vintage Generations in the hands of owners not willing to part with them! So I know that truly superb Generation Ds are out there, I've just not found one for sale.
Thank you very much! I have been looking for this video during the whole eternity, I guess. It is really useful and I'm really glad you created this video with comparison of those kinds of flute.
Thanks!
The Garryowen Pub in Gettysburg has sessions on the first and 3rd sundays of every month.
That's cool! I will keep that in mind, I do visit family in West Virginia fairly regularly. (I'm in California.)
Who is the maker of the roll case?
The maker is on Etsy, her Etsy name is CowKaren. Mine was custom made by her to hold every key of whistle from Low C to High Eb. I love it!
Thanks so much, Richard. An 80s cheap TW is a great instrument. The pro level instrument of the first decade of new millenium is very close to a cheap TW. And an actual Pro grade TW is a low quality instrument. In other words: 80s to 2010= old good times for buy and play the TW, and later in time= a big shit for buy and play the Whistle.
I think it depends what characteristics the maker was aiming for. There seems to be an American school of High Whistle making, what I call Boutique Whistles, with emphasis on materials (Sterling Silver, exotic expensive woods), artistic appearance, and the loudest possible low octave. The drawback of the big-bore loud low octave invariably is a stiff shouty incalcitrant 2nd octave. Ralph Sweet was making High D whistles like that in the 1970s. A few years ago I attended a flute industry trade show and a guy had a booth with silver & exotic wood High D Whistles, lovely things to look at. I tried one and it was a beast, with very stiff harsh high notes. The maker asked "what do you think?" and I replied "the high notes are too stiff for me." He said "Mary Bergin told me the same thing." Now if I was a whistle maker and Mary Bergin told me the high notes were too stiff I would re-think what I was doing! But this guy's clientele isn't Mary Bergin, or me. He sells whistles to Boehm flutists who play $20,000 flutes and think nothing of paying $1,000 for a fancy-looking whistle that they'll display on a shelf at home.
@@RichardDCook Yes. I think the same respect that matter.