Bracker Whistle Tour 2013

[benhall.1]

Here's the thing though, ytliek: I've bought a few new, handmade whistles from good makers. They tend to want to talk to me about things like voicing, breath requirements, back-pressure, how easily I want the bottom and the top octaves to sound, whether I want a nice lot on the bottom end, or easy in the second octave (or both - yeah, customers are demanding) ... all of those sorts of things. I then have a bespoke whistle. As I understand it, then, there is no such thing as, for instance, a 'standard' Reyburn whistle, or a 'standard' Copeland whistle, or Goldie, or ... whatever.

Each is tailor made, and there are no 'deviations' from a norm to consider, because there is no norm. Kind of like what Hans is saying above.

[ytliek]

Here's the thing though, ytliek: I've bought a few new, handmade whistles from good makers. They tend to want to talk to me about things like voicing, breath requirements, back-pressure, how easily I want the bottom and the top octaves to sound, whether I want a nice lot on the bottom end, or easy in the second octave (or both - yeah, customers are demanding) ... all of those sorts of things. I then have a bespoke whistle. As I understand it, then, there is no such thing as, for instance, a 'standard' Reyburn whistle, or a 'standard' Copeland whistle, or Goldie, or ... whatever.

Each is tailor made, and there are no 'deviations' from a norm to consider, because there is no norm. Kind of like what Hans is saying above.

Yes, I understand hand-crafted and I am all for it. I know that when my newbie-ish wears off I'll be eating my words and asking whistlemaker's to tweak the DNA for a custom gunslinger "ytliek special".

And thanks Hans, I do understand evolution... somewhat.

[hans]

Then of course many times someone just wants to buy a whistle, and trusts that it will be good and fit, without desire to make specific demands, to voice specific needs, apart from that it should be in a certain key perhaps. So I do follow a set of metrics in the design, a certain norm, which have been proven to me to result in generally suitable instruments. This combined with the skills to make a whistle results in consistency, and I do acknowledge that consistency is especially needed when selling a whistle without the buyer being able to test it first.

But so far I've used the term "standard whistle" on my web site only to indicate what I classed as closest to an optimum bore for a given key, to differentiate from narrow bore and wide bore models. And even here my standard bore has changed for some keys over time, chiefly by finding better suitable sizes for aluminium tubing.

[greenspiderweb]

Of course, whistles from any maker vary over time, and depending on how many variations are offered, there will be at least some differences, from whistle to whistle-just from the handmade process alone (or even machine made I would think), to great differences in design and specifications through the years. That's just natural progress, necessary adjustments, and not least, iniative if the maker is so inclined, and we hope that is true of most makers-unless they just hit it on the head the first time, though not very likely!

There are also the important differences between players who enter a new dimension into the evaluation process of a whistle. Some know what they want in a whistle's makeup, and pursue that dream, yet others are just learning what they want in trial and error, and adjust their prefernces as they go along, and most often it changes pretty much through the years as you progress. So you get various interpretations of how a whistle plays, sounds and responds from all kinds of people on various stages of their epic searches for their ideal whistles (or any instrument). No wonder there are so many variations on a theme, for what is made and offered by the makers throughout the history of musical instruments. People will always be fickle, and want what they want today, and something else tomorrow-and I don't envy any makers that task of fulfilling our wants and dreams that are in constant flux! So, thank you to the instrument makers that keep us happy-it's not an easy job, for sure!!!

Yes, there are so many variables in a whistle's makeup that it's not good to generalize too much about what a whistle will be like from any maker, until we have played it for ourselves, and evaluated it for our own specific likes and dislikes, and playing abilities on the road to musical contentment. Though often we focus too much on the specifics of an instrument, when it's really ourselves that we should be focusing on, and our mastering of the playing and becoming more familiar with the music we want to play on them. But, we're only human , so that kind of puts "ideal" notions out of play, and brings it back to what we think we want at a given time, I imagine.

For instance, I have had many whistles, and flutes over time, and have revisited many I previously sold before (by buying them back again), and some I found to be more to my liking over time passed, and somet not. And very much variation in whistles from one maker's offerings enough to know that I have to play it myself to know if it meets my needs and expectations, or whim. I guess that's what makes the world go 'round, and still work for us, because there is usually something out there that will be our muse-we just have to find it.

OK, I admit it freely-I am a tone junky, and just love hearing the tonal properties and differences in any musical instrument, and variations from maker to maker, even more than the process of making music-and for me I think it's the transcendant nature of playing an instrument that attracts me to music, more than being able to play a hundred tunes in perfect unison with others-it's just not in my nature or makup, but I'm not knocking it if that's your thing. There was a time when I loved the feeling of playing in the band in school, especially in a concert-an amazing feeling, that I still remember. But, I have changed, and time has moved on. It helps to be blessed with ADD, I think, in my case, but I don't know. Could be I just am a bit different, and need my own space to be comfortable. At least, music keeps me going, and keeps me interested, even just playing for myself. You can decide what is important to you, and what chacteristics in a whistle make you smile-but there's only one way to know for sure, for yourself.

Oh heck, that's way too much verbiage, but I guess I needed to get it out. Sorry for the symposium-I'm just longwinded, I guess! (and I don't take myself too seriously), so don't you either!

[trill]

I am a tone junky

cute turn of phrase !

...The new design looks more aerodynamic. It should improve the player's speed considerably by reducing drag.

If only life were so simple !

trill

[Feadoggie]

Whoa, Barry! That's a treatise.

There are also the important differences between players who enter a new dimension into the evaluation process of a whistle. Some know what they want in a whistle's makeup, and pursue that dream, yet others are just learning what they want in trial and error, and adjust their prefernces as they go along, and most often it changes pretty much through the years as you progress. So you get various interpretations of how a whistle plays, sounds and responds from all kinds of people on various stages of their epic searches for their ideal whistles (or any instrument). No wonder there are so many variations on a theme, for what is made and offered by the makers throughout the history of musical instruments. People will always be fickle, and want what they want today, and something else tomorrow-and I don't envy any makers that task of fulfilling our wants and dreams that are in constant flux! So, thank you to the instrument makers that keep us happy-it's not an easy job, for sure!!!

I'll add a bit to that one regarding the Bracker whistles on tour. Hans has quite a good concept with these whistles and before we redesign them based on our various experiences we should give these whistles a chance to challenge what we think we know about a whistle.

Hans is making bold whistles here. They may not be perfectly suited to everybody but they are very good whistles. Having now had a chance to play them I would hope that Hans just keep on doing what he is doing according to his own preferences. Let's not confuse the issue. He's offering enough options already.

Feadoggie

[greenspiderweb]

Hans is making bold whistles here. They may not be perfectly suited to everybody but they are very good whistles. Having now had a chance to play them I would hope that Hans just keep on doing what he is doing according to his own preferences. Let's not confuse the issue. He's offering enough options already.

Feadoggie

Don't think I said he should change anything or offer more options-sounds as if he's on the right track from the comments made already-but no doubt his whistles will evolve just like any maker's have before him in time. Sorry for the confusion that I brought about for you with my treatise. It's the way my mind works-I need a long runway, because I fly by the seat of my pants.

And that's how I make music too-good or bad, that's just me.

[Feadoggie]

Sorry for the confusion that I brought about for you with my treatise.

Barry, I was not directing any of what I posted at you. In fact it was not directed at anybody actually. I enjoyed your post. You just got me thinking. Sorry for the confusion I caused. I need a long runway too - and good traffic control.

I try very hard not to compare tour whistles directly to any other whistles when I write about them. I know it is a natural tendency to want to do comparisons. However I feel that tour whistles should be judged for what they are without coloring things by bringing any other instruments into the thinking.

I think a lot of makers have a good handle on what they are doing. Hans has a good handle on what he's doing. I sometimes think fewer players have as good a handle on what they want, need and how to go about making it so

I'll shut up now.

Feadoggie

[hans]

Thanks Barry, I agree with your reflections. I don't think you brought any confusion, on the contrary!

I try very hard not to compare tour whistles directly to any other whistles when I write about them. I know it is a natural tendency to want to do comparisons. However I feel that tour whistles should be judged for what they are without coloring things by bringing any other instruments into the thinking.

Feadoggie, I appreciate very much all your whistle reviews, and it is great you are reviewing each whistle on its own merits. I like this approach, as it attempts to be more objective. It is probably also more difficult to describe a whistle on its own, finding the right language to describe its characteristics (not just the physical design aspects).

But most players, when getting a new whistle into their hands, would instantly make comparisons to other whistles they are used to. I don't feel any review which draws comparisons about specific characteristics would be any less useful. It puts a new whistle into the context of what many people may know. On this board again and again players ask for comparisons, as this is the only way they think they can form an idea about a whistle they have not played, by finding references to whistles they tried.

I imagine you agree that there are lots of difficulties with such an approach, as it is so subjective, and the discussions arising out of comparisons show just that. But, for instance, I think Cayden did a fine review in this thread, comparing my tour low D with his MK low D, and my tour high D with his Sindt high D. It is a different approach, but not less valuable IMHO.

I enjoy this tour, watching from my side of the ocean, and will continue to enjoy making these little wonders called whistles and finding out about the subtleties of tone, expressiveness and playability of them. Thank you for participating on this journey!

[ytliek]

Feadoggie, I appreciate very much all your whistle reviews, and it is great you are reviewing each whistle on its own merits. I like this approach, as it attempts to be more objective. It is probably also more difficult to describe a whistle on its own, finding the right language to describe its characteristics (not just the physical design aspects).

That's kind of what I meant by trusting the whistlemaker to create a basic whistle design that is suitable for the general population. A whistlemaker's best attempt. I understand the specific modifications more experienced players may request for their individual play/style. So be it.

Someday I'll want a both-end octave finely tuned, quick response, no-drip, bubble-blowing, fog-laying loud whistle with surround sound projection and 360 degree image capture/projection built in. Did I mention shape-shifting, two-place-at-once capabilities?

I enjoy all the review comments, and hans, I'm ordering when the whistle tour ends... however your current high D whistle design consists just because I like your avatar... don't change it until after my order gets placed.

[caroldelorenzo]

I've got the whistles! I am relatively new to this forum and not a poster, but I am a whistler. So here is my introduction: I started playing whistles about thirty years ago when I thought I was leaving the world of saxophone study and practice behind. I learned about a dozen tunes and sight-read the rest. At the time it was all about utter lack of seriousness. I loved that I could just throw a whistle into my backpack, play in the rain, rip through tunes with friends and pretty much never practice or concern myself with embouchure. About twenty years ago a new friend said he was starting a band and did I want to be in it? That was such a novel idea to me (nobody had ever ask me to start a band with them before!) that I simply said yes. The idea was to showcase his original mixed genre singer/songwriter material and throw some tunes into the mix. Before long I was back to playing saxophone with a new love for the soprano. Along the way I came across Susato whistles. I was relieved to find a whistle with good, solid intonation that held up on stage in our eclectic mix that variously included, among other instruments, bari sax, accordian, drum kit, fiddle, flute and guitar. Playing for contradances was a natural progression for us. And that was that until about two years ago when a friend gave me a Burke session d brass whistle. Something about that whistle made me want to try harder, to really learn Irish traditional music, to get off the page, learn tunes by ear and start sounding more "irish-y". I also suddenly needed more Burke whistles. And I then learned about all the OTHER whistles out there. And now my story matches up with the rest of your stories. I am truly thrilled that there is such a thing as a whistle tour, and I hope to get on many of them. I plan to have a fun week exploring the sound of Bracker whistles, and I will report back at the end of the week.

Carol

[ytliek]

Welcome to the whistle forum and looking forward to your comments about the Bracker whistles.

[Cayden]

I've got the whistles! I am relatively new to this forum and not a poster, but I am a whistler. So here is my introduction: I started playing whistles about thirty years ago when I thought I was leaving the world of saxophone study and practice behind. I learned about a dozen tunes and sight-read the rest. At the time it was all about utter lack of seriousness. I loved that I could just throw a whistle into my backpack, play in the rain, rip through tunes with friends and pretty much never practice or concern myself with embouchure. About twenty years ago a new friend said he was starting a band and did I want to be in it? That was such a novel idea to me (nobody had ever ask me to start a band with them before!) that I simply said yes. The idea was to showcase his original mixed genre singer/songwriter material and throw some tunes into the mix. Before long I was back to playing saxophone with a new love for the soprano. Along the way I came across Susato whistles. I was relieved to find a whistle with good, solid intonation that held up on stage in our eclectic mix that variously included, among other instruments, bari sax, accordian, drum kit, fiddle, flute and guitar. Playing for contradances was a natural progression for us. And that was that until about two years ago when a friend gave me a
Burke session d brass whistle. Something about that whistle made me want to try harder, to really learn Irish traditional music, to get off the page, learn tunes by ear and start sounding more "irish-y". I also suddenly needed more Burke whistles. And I then learned about all the OTHER whistles out there. And now my story matches up with the rest of your stories. I am truly thrilled that there is such a thing as a whistle tour, and I hope to get on many of them. I plan to have a fun week exploring the sound of Bracker whistles, and I will report back at the end of the week.

Carol

Carol,
Nice to see you posting up here and bringing your experience to the forum. Enjoy the Bracker whistles and I am anxious to read your impressions.

Cheers,
Cayden

[greenspiderweb]

The new look is definitely an improvement! Looks much more fancy!

Does this change apply to all whistles with the wall around the window, or only the low D?

Also, is there any possibility of offering whistles in brass in the future? I'm sure I am not the only person who loves the look of brass!

Thanks! I may well use it on all the whistles which have the extra wall height at the window. I always take some artistic liberty with the outer curves of the whistle heads, so there may be variations.

I am not planning to make brass whistles though. I much prefer working with aluminium. It is easier to cut and shape, does not tarnish or smell, and is a lot lighter to hold. I agree about the look of brass though: a nicely polished brass whistle has some resemblance to gold. An aluminium whistle can resemble silver to some degree. And then there is natural wood. I'd love to learn making wooden whistles at some point. But first I would need to move and get a much larger workshop and a big enough lathe for drilling bores.

As I said before, I do like the new window wall on your Low D, it's very eye-pleasing, though there is something attractive about your old design too-which to me says "classic", and your new one says "noveau". I think the classic design has a very nice retro look, going back to the Copeland era of low whistles. Even your beak shape reflects this, and it is a comfortable shape and pleasing design, judging by the Copelands I've had and played. Anyway, maybe it would be nice to have a choice, for us old guys stuck in the past?! Just a thought.

Oh, and brass-yes! Not for the look only, but for the sound! No denying there's a different tonal effect for my ears, from brass and aluminum, and I doubt brass is all that hard to work with either, especially if you're just talking about working on the tubes. Yeah, it can smell a bit, if left to oxidize, but there are solutions to keep that at bay.

Anyway, just wanted to add that to the mix. Sounds like you've got some very nice whistles, as is-but if you get bored, or want to experiment a bit-never hurts to keep an open mind.

[caroldelorenzo]

I have had a good week playing these whistles. On Sunday I was able to bring them to our local session, excited to play them in a group and to get the opinion of one of my session mates who plays whistle and flute. At first he shrugged at them commenting on all the “no name” whistles out there—he plays his Olwell, Goldie and Sindt and that's all! I started playing the Low D, and after a couple tunes a man came over and asked, “Is that a Bracker you're playing?” My friend had to take another look at the whistles after that!

There is much to like about the Bracker Low D:

--Great tone! It is fairly strong and not too breathy. I kept feeling like I preferred the sound with the inline tube, that it sounded a bit bigger or more full. I also thought maybe I was imagining this difference so I put the question to those in the house at the time: my 14 year old son and his friend. My son had no opinion, but his friend, when asked if he noticed any differences between the two said, “I may be imagining things, but that one [the inline] sounds a little louder.” Certainly if there is a difference it is subtle and may not have anything to do with inline vs. offset. Played in session, I was pleased to notice that there is enough of an edge to the tone that I could hear myself, even against the powerful Olwell to my left.

--I was happy with the action and intonation. I played a lot of fast reels on both bodies. I expected to prefer the offset body since right now I mostly play on a Walt Sweet Onyx with offset holes. However, I found both tubes comfortable and easy to play up tempo. The thumb hole was easy to cover. I didn't have to think about it at all, and it offers a very clear C natural, a 'C' on which to linger. I appreciate having alternate fingering available, as sometimes the finger patterns are quicker via the thumb instead of cross fingering. I am actually considering thumbholes for all my whistles. Intonation across both registers felt stable. I could push the tone nicely for expressiveness with no unexpected breaks.

--For me the breath requirement was good. In general I find the Bracker Low D to be highly accessible. I compared playing it against my friend's medium blower Goldie and a Burke Viper, neither with which I am very familiar. Although I can hear the compelling potential of these other two whistles, the Bracker was simply straight out of the box easier. As a doubler, I value this immediate playability because I find myself switching between instruments frequently with no adjustment or warm-up time.

--This is a whistle I will consider buying once I shed a few extras from my kit.

And what about that High D?

This whistle is light, quick, in tune, and stable across the range. I would describe the tone as bright and focused (but not exactly pure). Feadoggie aptly described it as chirpy. By the end of the week I had discovered the breath control needed to bring out its delicate and pianissimo possibilities. This whistle can cut through and deliver enough force for a large session yet, as I gradually found, can be played soft and sweet as well.

Thank you, Hans, for giving some of us on this side of the pond the opportunity to try your whistles,

Carol DeLorenzo