Thankfully, the COM-80 didn't exhibit any sort of pitch "warble," which is a common problem with tuners of the clip-on variety. If the pitch fell flat or rose sharp, the screen quickly changed its color from green (in tune) to orange. The accuracy of the COM-80 against the PolyTune was quite impressive when I corrected the purposefully-out-of-whack tuning of the Telecaster, with a bright and easy to read display to boot. It also has an adjustable pitch mode that gave me the option of moving the range between 410 Hz and 450 Hz. The device came equipped with calibrated chromatic tuning modes for guitar, bass, violin, and ukulele. The clip leading up to its large, Tamagotchi-style LCD screen had a strong and tight bond against both headstocks, aided by the clip's silica gel padding. Structurally, the COM-80 was a solid little tuner. Calibrated tuning modes for guitar, bass, ukulele, and violin, plus a chromatic tuning mode.However, the accuracy was much improved with the Martin, with only slight shaking on the low E string. Placing the tuner on the meatier middle part of the headstock helped stabilize the readings a bit, but not completely. Starting out of tune, I was easily able to pull the notes into an accurate tuning, but it was more difficult to get a perfectly precise read, each string readout wavered between in tune, slightly sharp, and slightly flat. This allowed me to place the tuner pretty much anywhere I wanted and still be able to read the screen.Ĭompared to the PolyTune, the tuning accuracy with the Pitchclip on the Tele was decent. Though the display only tilts up or down, Korg built in the fantastic feature of reversing the display meter on the LED by holding the power button for more than one second. My first impression was that the Pitchclip's clip felt loose in my fingers, but I was pleasantly surprised when I clipped it to the Tele's headstock and gave the neck a good shake-the Pitchclip didn't budge. There are no extra bells and whistles programmed into the Pitchclip, only a single chromatic tuning mode that covers the tuning ranges for guitar and bass. It's one of the smallest tuners of the bunch, with a vivid LED display that pops up at a maximum angle of 120 degrees from its clip. The Pitchclip is a distant cousin of the company's extremely popular Pitchblack pedal tuner. Their highly accurate rackmount tuners and compact tuners are popular among seasoned pros and everyday musicians alike-in fact, many players' first tuners bore Korg name on their plastic housings. Reversible display readout, easy to read.Single chromatic tuning mode for guitar and bass.You want more? There’s also an MXR Carbon Copy Analog Delay and a Keeley Rotten Apple op-amp fuzz pedal. Rex House Mate Tube Reverb pedal, which she keeps on a hall setting, situated next to her Peterson StroboStomp HD. Since the Orange 30 is a ’verb-less head, Wicklund uses a T. There’s also an MXR Micro Flanger and an Electro-Harmonix POG, which lend a very cool high overtone to bends. She matches it with the Blues Driver for singing, biting solos. Rockett Archer-one of the hardest working Klon clones in show business. Wicklund is especially fond of deploying the BD-2 with some atmospheric help from her Dunlop EP103 Echoplex Delay on her song “Ghost.” Next, a J. But this one has a Robert Keeley mod that adds to and opens up the low end, and keeps mids and highs better defined. Next up is a classic-a Boss BD-2 Blues Driver. That stays in overdrive mode for about 75 percent of her set, which she says gives her sound its grizzly-bear lows. Once the signal gets past her MXR Talk Box and Dunlop JC95 Jerry Cantrell Signature Cry Baby, it hits the channel switch for her Orange head. Wicklund’s pedalboard is stacked for knuckle-bruising. Thirteen years later, she’s still loyal to the brand, so that’s a good place for our Rundown to start. Wicklund’s alchemical adventure began when she was 9 and her father gifted her an Anderson model. And speaking of chemistry, there’s an almost mystical conversation about tuning in 432 Hz in the Rundown that you won't want to miss. She’s also been at work on a sequel to her 2018 album, Hannah Wicklund & the Steppin’ Stones, which she says is a coming-of-age story that will accent both her songwriting and her feminine side, although still showcase her 6-string chemistry. and Canadian tour dates scheduled through early September, this was a rare stop in the South Carolina native’s adopted home town. Luckily, it was just the rude tone of her Tom Anderson Guitarworks Drop Top Classic model pumping through the sneer of her Orange head and cab, so … no carnage, but some echoes of classic Peter Green.Īlthough Wicklund-who was the subject of a PG profile in 2018-has U.S. We thought a grizzly bear had entered Nashville’s 3rd & Lindsley when Hannah Wicklund fired up her rig at soundcheck on March 20, when she headlined the club with her band the Steppin' Stones.
0 Comments
Leave a Reply. |