That's a great review with helpful comparisons. The Milligan Dymondwood (or McManus or Killarney for their particular tones) sounds like top choice for performance or recording, but to my ears I'd probably prefer to spend practice time and create music using the more subdued Milligan Delrin with the Standard head for practicing and creating music. And I like practicing outside, so Delrin being weather-proof, helps.
I was looking at the Milligan website after I posted this, and I can see that his "quiet" head doesn't look like mine. Both the Delrin heads look like the standard head, with the softer one having a taller windway (which is why it takes so much air). Again these are older models, but I agree with you that the Delrin is my favorite. I sent the video to Gene to see if he could give me more insight, but I haven't heard from him yet.
How do you feel about the Killarney's bell note? I play the Killarney D, C, Bb. The C and Bb have excellent bell notes, but the D seems slightly weak, perhaps a compromise with its easy and beautiful high notes.
It doesn't strike me as being weak, unless you're comparing it to the McManus or some of the wider bore whistles out there. "Weak" is a relative term, so I'd need a common reference point. I don't have the C or Bb Killarneys, unfortunately. I'm pretty sure the bell note on the Killarney D is stronger than the same note on a Sweetone.
I bought a Milligan whistle a couple of years ago, sounded great and was nice and laud but after playing it for just 2 hours it split all the way up the middle😥 I think its because it got shipped to me in Ireland and I probably didn't give it enough time to climatise, I glued it and clamped it and worked fine after that
@@gragall78 Horror stories like that are why I avoid wooden whistles and flutes. I have a gorgeous Lehart blackwood flute, and I'm just waiting for the day it decides to crack. As far as I'm concerned, whatever might be gained in tonal quality from the wood is negated by the constant background fear of sudden instrument death. I feel that Delrin, Carbon Fiber, or Ebonite make highly suitable alternatives.
@@NathanielDowell there lovely flute's, I have a George Ward flute made in 1845 which has one related crack but play's very well I also have another flute with no name but love it more both are fully keyed which looks the part even though I only ever use 3 keys very rarely😂 I've ordered a clover whistle so I'm waiting patiently for that now😌
Note: These are older Milligan whistles, so how much they resemble his current work, I can't say, precisely.
1:01 - Killarney
1:17 - Milligan Dymondwood (standard head)
2:16 - Susato
4:02 - Milligan Delrin (Soft head)
6:06 - Milligan Delrin (Standard head)
8:31 - McManus Ebonite
I like Susato most. Nice video.
That's a great review with helpful comparisons. The Milligan Dymondwood (or McManus or Killarney for their particular tones) sounds like top choice for performance or recording, but to my ears I'd probably prefer to spend practice time and create music using the more subdued Milligan Delrin with the Standard head for practicing and creating music. And I like practicing outside, so Delrin being weather-proof, helps.
I was looking at the Milligan website after I posted this, and I can see that his "quiet" head doesn't look like mine. Both the Delrin heads look like the standard head, with the softer one having a taller windway (which is why it takes so much air). Again these are older models, but I agree with you that the Delrin is my favorite. I sent the video to Gene to see if he could give me more insight, but I haven't heard from him yet.
How do you feel about the Killarney's bell note? I play the Killarney D, C, Bb. The C and Bb have excellent bell notes, but the D seems slightly weak, perhaps a compromise with its easy and beautiful high notes.
It doesn't strike me as being weak, unless you're comparing it to the McManus or some of the wider bore whistles out there. "Weak" is a relative term, so I'd need a common reference point. I don't have the C or Bb Killarneys, unfortunately. I'm pretty sure the bell note on the Killarney D is stronger than the same note on a Sweetone.
@@NathanielDowell Thanks, for lack of a better term, I think it may sound a little nasal compared to a wider bore.
@@tylerdelgregg9398 I like the McManus because it feels a lot like the Killarney, but the wide bore makes it fuller and more open.
@@NathanielDowell Yes, and I also noticed the fuller and more open nature of the Shearwaters that you reviewed.
I bought a Milligan whistle a couple of years ago, sounded great and was nice and laud but after playing it for just 2 hours it split all the way up the middle😥 I think its because it got shipped to me in Ireland and I probably didn't give it enough time to climatise, I glued it and clamped it and worked fine after that
Wow, that's no fun. Was it a Dymondwood model, or a natural wood?
@@NathanielDowell African blackwood
@@gragall78 Horror stories like that are why I avoid wooden whistles and flutes. I have a gorgeous Lehart blackwood flute, and I'm just waiting for the day it decides to crack. As far as I'm concerned, whatever might be gained in tonal quality from the wood is negated by the constant background fear of sudden instrument death. I feel that Delrin, Carbon Fiber, or Ebonite make highly suitable alternatives.
@@NathanielDowell there lovely flute's, I have a George Ward flute made in 1845 which has one related crack but play's very well I also have another flute with no name but love it more both are fully keyed which looks the part even though I only ever use 3 keys very rarely😂 I've ordered a clover whistle so I'm waiting patiently for that now😌
I hope you contacted Gene. That is definitely something he’d want to know about and also correct the situation for you. He stands by his work.
You play 'the Kesh' darn well.
Thanks!