The Eclipse from Suhr Custom is a dual-channel overdrive that flat-out screams. Each side has independent gain and level controls with a three-band passive EQ and a global voicing control. Street is $250.
Over four decades, the Grammy-winning English bassist has held down the bottom for Roxy Music, Bryan Ferry, Pink Floyd, and David Gilmour. He’s recorded with everyone from Pete Townshend to Madonna and Michael Jackson, and he’s also a popular podcaster and stand-up comic. Whatever’s next, he’s ready.
If Guy Pratt’s name doesn’t resonate with you, his bass playing certainly has. He’s held the low end down for Pink Floyd and David Gilmour since 1987’s Momentary Lapse of Reason tour, and elsewhere in the Floydian universe he’s a member of Nick Mason’s Saucerful of Secrets, which specializes in the legendary band’s early music.
But wait, as the old huckster’s line goes, there’s more. Lots more. He’s also a longtime member of Roxy Music and Bryan Ferry’s band, and has toured with the Smiths. As part of the new wave band Icehouse in the early ’80s, he scored on the European and Australian charts and opened for David Bowie, and then springboarded into a series of higher profile gigs. In the studio, those have included sessions for recordings by Gary Moore, Michael Jackson (“Earth Song”), Tears for Fears, Echo & the Bunnymen, Iggy Pop, Tom Jones, Whitesnake, the Orb, Debbie Harry, Robbie Robertson, Madonna (“Like a Prayer”), and, in 2022, Pete Townshend. He also shared a Grammy for his playing on “Marooned” from Pink Floyd’s The Division Bell.
And yes, there’s still more. In addition to Pratt’s many TV, film, and theater scores, the amiable London native embarked on a sideline of stand-up comedy beginning in 2005, when he took his one-man-plus-bass show to the Edinburgh Festival Fringe. That show, My Bass and Other Animals, spawned his book, and he’s toured two more original comedy productions since. In his sparetime, he started a podcast, Rockontours, with Spandau Ballet’s Gary Kemp, a co-conspirator in the Saucerfull of Secrets band. Their famous guests, spinning tales of the musical life, have included Nick Mason, Bob Geldorf, Phil Manzanera, Trevor Horn, Chris Difford, and Adam Duritz over 213 episodes.
Last year, fortunate concertgoers got a chance to hear Pratt on Gilmour’s 21-concert, four-city tour behind Luck and Strange, an album where Pratt’s playing is woven into the deep currents that support the gorgeous tide of music created by the guitar giant and his hand-picked ensemble in the studio.
There’s an old saying among musicians that if you always want a gig, play bass or drums. Just before his teens, Pratt settled for bass. “I wanted an electric guitar,” he recalls. “I fell in love with electric guitar. Simple as that. I begged my parents, and of course mum said, ‘Oh darling, why don’t you get a nice Spanish guitar?’ ‘Spanish?! I’ll do that at school.’ Rock ’n’ roll was outside the school gates back then; it wasn't where we are now. And it had to be electric. The joke I would say is that actually a toaster would have been closer to what I was after than a Spanish guitar. So I asked for a bass. My mum and dad clubbed together and got me—because my birthday’s near Christmas—a bass guitar for Christmas and birthday. It was really weird … huge and kind of confusing, and I didn’t have an amp. But when I went back to school two weeks later, there were three kids who had got electric guitars for Christmas. Of course, if they wanted to be a band, they needed me, so I had my pick.” And so Pratt’s career began.
Pratt with his favorite bass, “Betsy,” a 1960 Fender Jazz model, in his home studio.
Dunlop Tortex Triangle .88 mm (for older Pink Floyd songs)
I’ve been listening to your playing since the ’80s, when you started working with Bryan Ferry and with David Gilmour and Pink Floyd. Your tone has evolved over the decades, from what I would describe as a pointier sound.
Yeah, it was all front end. I was playing a Steinberger and it was bridge pickup. There was a lot of slapping. In the ’80s, bass was almost doing a different job because with a lot stuff I did there was a keyboard bass as well. Like when I used to work with [producer, drummer, and an original member of Duran Duran and the Lilac Time] Stephen Duffy, often I would go into the studio and I went on after the vocal. And my job was to kind of put stuff in the gaps, more like a horn part than bass.
It was the first drum-machine generation, and suddenly LinnDrums were everywhere. The bass wasn’t necessarily doing the job it had to do. You weren’t in the room with the drummer laying the thing down. With the birth of hip-hop and the new romantics and then bands like Simple Minds, everyone was coming from a quite funky perspective. There was a lot of stuff happening with technology and the bass responded really well to technology, with the Steinberger and various effects and amps. It felt like guitar was really taking a back seat at that time, too.
I mean, I was an asshole. Twenty-one-year-olds are assholes, aren’t they? So I guess the way I would look at it is I’m now a bass player. And maybe I needed the 40 years to become one. [laughs]
At what point do you feel like you made that transition?
I think it started on the ’94 Floyd tour. That’s when I suddenly started thinking, “Wait a minute, what are you doing here? You should be playing a Precision with a pick.” And then I kept at it. By 2006, the [David Gilmour] On an Island tour … I would say since then I’ve been a grown-up, if you will.
“There’s no need for a sixteenth note on the bass anywhere in this music, ever.”
You’ve mentioned retooling your gear specifically to address that sort of deeper, more grown-up tone. And you’ve spoken about a particular instrument that you created—part Jazz Bass and part Hofner.
Bill Nash, who’s a friend and who makes the most beautiful guitars and basses, gave me a Telecaster bass. And it had one of those open [uncovered] pickups on it, but it also had a Jazz pickup. It’s got my Luck and Strangesticker on it, because it’s my Luck and Strange bass, and a stack knob. And the thing was, I was trying to think where to use it. On “The Piper’s Call,” David got ahold of the violin bass and noodled around, and it’s gorgeous stuff. I played a big, rounded Fender part that David told me to. Of course, when it came to rehearsing for the live shows, David said, “Well, obviously you’re doing both parts.” And I thought, “How the hell am I doing that?” Because there’s the Fender part and this nice little “do-do-do” going on top. I tried playing it with a violin bass. That just didn't work. It’s too small, just too insubstantial for me to hold. And it didn’t work on the Fender. So then I thought, “What would David do?” Because he’s really good at coming up with A-team-type solutions for things, like re-tuning his lap steel so he’s got a major and a minor chord. I was trying to think of a version of that, and I said, “Ah-ha! What if I take this Nash bass, and on the top strings, the D and the G, put on flatwounds, and then get a bit of foam and stick it under just the top two strings.”
What I always find interesting when rehearsing with David is what he remembers from bass parts. “You need to play that”—that sort of thing. A lot of the music is so slow and so big and there’s so much space in it. Very often it’s actually the length of the notes rather than how many notes you’re playing that matters more. With David, and this is something I get with the wisdom of years, every note does count. It’s quite funny when I think back to what I used to play in jams with him, like when we did a week of the Division Bell rehearsals. I was still stuck in that thing of playing sixteenth-note parts. It’s just like, “Why?” There’s no need for a sixteenth note on the bass anywhere in this music, ever.
Pratt, at left, alongside Gilmour (center) and drummer Adam Betts play Pink Floyd’s classic “Time” at Madison Square Garden on November 4, 2024.
Photo by Emma Wannie/MSGE
Your career started, essentially, playing in new wave bands and on sessions, including Madonna’s “Like a Prayer.” But now you’re best known for your work with Pink Floyd, Bryan Ferry and Roxy Music, David Gilmour … more atmospheric music. What was that transition like for you?
There’s a quote: “As you live your life, it seems this absolutely chaotic, random set of events. And then when you get towards the end and you look back, it’s like the most beautifully plotted novel.” When I was playing with Icehouse, [frontman] Iva Davies wore his influences on his sleeve: Simple Minds, Bowie, Ferry, which was great stuff. I loved it. So I became versed in that style of playing. When we were making the second album, we got Rhett Davis, who was Roxy Music’s producer, for one of two reasons. Iva sang so much like Bryan Ferry that it was like, “If he’s gonna do Bryan, let’s do this properly.” Or Davis’ gonna go, “Come off it! Be yourself.” Anyway, it was fantastic working with him and we really got on. So it came to pass that I auditioned for Bryan and I got the gig. Even though I’d already worked with Robert Palmer, who was a huge, huge hero, this was different. Working for Bryan was crossing the Rubicon—as big as Bowie, an absolute icon in my head. So anything after that, Pink Floyd, nothing was gonna get bigger anymore. It was like, “This is Bryan fucking Ferry, you know?” Bryan is still my longest working relationship. I’ve been working with Bryan for 40 years.
“Something that I really noticed on the tour is it feels like David now owns his past. He’s not owned by it.”
Focusing on David, who you’ve been working with for 38 years, did that relationship start after he played on Bryan Ferry’s Boys and Girls sessions?
The first thing was, I was playing for Dream Academy and David had produced them. He needed a support band for this one show in Birmingham. It’s quite funny because Nick Laird-Clowes, the main guy from Dream Academy, is this fantastic, enthusiastic character. And he said, “David’s heard your playing. He thinks you’re amazing. He can’t wait to meet you”—which of course was just bollocks. So we get up there in Birmingham. I’m terrified. And he said, “David’s just dying to meet you.” And I went in and just stood in his dressing room and it was awful. We both stood there with nothing to say until one of us had to walk away. David, being the ranking officer, got to be the one who walked away. And that was the end of it. But I got to spend a bit of time with him with Bryan, which sort of loosened things up a bit. And I started just seeing him out and about. I think I was just getting invited to better parties. [laughs]
So, I went on holiday to Thailand and I came back and there’s all these messages from David. The first one saying hi, he was doing an Amnesty International concert, the Secret Policeman’s Ball, and he wanted me to play with him and Kate Bush. And there’s another message and another message. “Hi Guy, just wondered, it’s next week you know.” And then, of course, he had to get someone else. I’m like, “My god, that was my one shot.”
A while later, David, Rick [Floyd keyboardist Richard Wright], and Nick were saying they were doing a new Pink Floyd album, and I didn’t think any more about it until I got a phone call from L.A., and it’s David going, “Hi. We’re putting Pink Floyd back together.” He said, the tour was gonna be a year, and would I be interested and available? So I went, “Yes!” And he said, “Oh, not working much, then?” And that started our relationship of him ribbing me and me constantly falling for it. That’s been the hallmark of our relationship for the last 38 years.
David’s latest solo album, Luck and Strange, seems perhaps more organic than most of the Pink Floyd albums he’s helmed and his earlier solo work. After all these years working with him, you’re in a good position to comment on that. Is there something different that you find within it?
I know what you mean. There’s definitely been something different about this album, about the way it’s been received, about the tour. It was hugely successful in a way that some people’s solo records could only dream of. On An Island is where it started. There are quite a few people now who will point to the song “On An Island”’s solo as on a par with “Comfortably Numb.” But there’s something about this one, a sound. And a lot of that’s to do with Charlie Andrew and Matt Glasbey's engineering. It feels of a piece. And something that I really noticed on the tour is it feels like David now owns his past. He’s not owned by it. And for me, if you look at the set list, well over half is songs I played on. It’s always been quite piecemeal with David’s other records. I’ve gone in for a couple of days here and there, but David’s played quite a lot of bass himself. He’s brilliant.
With David, there is always this thing where suddenly he’s puttering about, then puttering about a bit more, and then suddenly “bam,” we’re in gear—there’s an album. We did a whole week in British Grove Studios with Steve Gadd, which was amazing. His playing wounds you, gets you in the chest. It’s so light and so potent. It’s just gorgeous. Why I think he was such a great call is that, in all my years with all those elite drummers, Steve is the closest to Nick.
Pratt and Gilmour share a smile during the Luck and Strange tour rehearsals.
Photo by Paul McManus
I think Nick is a vastly underappreciated drummer. I love his playing. It’s so conversational.
That’s a great way of putting it. Yes, he absolutely was underappreciated, in the same way, if you remember years ago, that David was actually a somewhat underrated guitarist. And you know, I’ve noticed that with all the top drummers I talk to now, everyone’s like, “Nick Mason, man!” It seems like he can take his playing anywhere he wants to and feel utterly relaxed at the same time. And what’s been amazing with the Saucers, because we’re doing all that early stuff, is it’s so crazy, manic. I get worried for him, you know. “Should someone have a heart monitor on him or something?” But that stuff doesn’t seem to bother him at all. It’s fantastic.
I need to ask, what was it like playing onstage in Pompeii? A beautiful setting; what an extraordinary experience.
At the risk of sounding unbearably smug. I’m one of the small group of people that played Pompeii twice. With David, we were on a stage at the end of the amphitheater. It was so small, we just had the screen, there was no sides, there was no roof; it was mad. There was only 1,800 people, so it was like a club gig. It was fantastic. And with the Saucers, we played at the Teatro, which is the theater, which is really small but lovely, in a different part of the complex, but it’s still Pompeii. But we did it in the middle of an absolutely horrendous heatwave. So it was nearly 40 degrees [104 Fahrenheit] and we couldn’t sound check. The poor crew were wilting and we basically just had to sit on the bus and then went in through the audience, did the show, and left. Whereas with David, we had Mary Beard, the great historian with us. We were there for four days.
“At the risk of sounding unbearably smug, I’m one of the small group of people that have played Pompeii twice.”
You’ve done extensive film and television work. How did you get into that?
I love working on film. I used to work with Michael Kamen a lot. I love working to picture. I also love that it is a great way of writing music and not having to finish it. Usually, you come up with a great piece of music and, okay, well now I need a verse, now I need a bridge. Whereas with a film score, it’s like this character needs something. That’s it. Then you move on. TV music is like the demo version of film music. No one expects a real orchestra, so you’re kind of going, if this was a film, the music would be doing this. Of course, now everyone’s got massive screens and 5.1, so the stakes are higher.
That came about through me hanging about at the Groucho Club, which is this big media arts club in London, and just telling people I wanted to do film music. The first thing I did was a documentary … on the Roswell autopsy. That was completely fake, but it was perfect. This was was mid-’90s, so it was the whole electronica and ambient house, chill, Orb scene. So perfect for that sort of film. But then I got this fantastic gig, which I’m still really proud of, which is this TV series, Spaced, with the director Edgar Wright, with Simon Pegg and Nick Frost starring in it. Edgar, if you know from his films, is such a film nerd, so literally everything is a reference. It was brilliant. I had to do Kubrick. There’s a bit of what looks like a zombie movie, so I had to kind of write a John Carpenter score.
To recreate the sounds from the Gilmour, Floyd, Roxy, and Ferry catalog, Pratt employs this extensive pedalboard.
You’re also a podcaster, and your Rockonteurs, with Gary Kemp, is very entertaining, with its “behind the music” approach
The podcast came about literally from the first Saucer Full of Secrets tour. We had this tour bus and this is long enough ago that the bus actually had a DVD player. And I brought a box set of The Old Grey Whistle Test, which is the legendary 1970s English music TV show. We used to watch it on the bus, and it was just brilliant. Everyone had an opinion about every act that was on, or a story. Of course, half the time Nick knew them and he’d have some great stories and we’d be talking about it, and someone said, “Man, we should do a podcast.”
We didn’t know it was gonna fly at all. We had this address book, we just asked a few mates to come and do it. And it just became a thing, you know, and it’s really nice because no matter how well I know the artists, we always get something I’ve never heard. We had a couple of scoops. My favorite got on the front page of TheTimesand The Guardian, when Whispering Bob Harris, who used to present The Old Grey Whistle Test, told us that Nixon asked Elvis to spy on John Lennon.
“All musicians have really funny stories because it’s a kind of preposterous life we lead.”
You also do a one man bass-and-jokes comedy shows?
All musicians have really funny stories because it’s a kind of preposterous life we lead. So I started telling them, with my bass in hand, and it did really well. So then I had to write a book [My Bass and Other Animals]. I went around the world with it, been to Australia four times.
It’s something I really like, because I knew I was never going to do a solo musical thing. I really love the job of the bass. I mean, I’m very happy being the center of attention at a table or whatever. But in a musical set, I really love that thing of playing the instrument that just makes everyone else work. But there’s a syndrome I call “sideman bitterness” that I’ve seen happen a lot. When people start getting to their 50s or whatever, it’s like, “Where’s my shit?” And so I thought, “Well, I need to do something on my own to avoid that.”
Another thing is that when you get up on stage with Bryan Ferry and play “Love Is the Drug,” you’ve got a pretty good idea of how it’s going to go. With David Gilmour, when you play “Wish You Were Here,” you’ve got a pretty good idea of it. What I love with stand-up is that I get up there and people don’t really know what I’m gonna do. They don’t really know what they’ve come to see. I’m not entirely sure about it. It’s completely fresh, in the moment. And I think that’s something that might have made me a better bass player, in a way. Because now I’ve had it all on my shoulders, so it’s really nice to go back and just be the guy playing bass.
YouTube It
David Gilmour is Guy Pratt and Gary Kemp’s guest on this episode of the Rockonteurs podcast.
The doomgaze titans from Texas hit the road this year to celebrate more than two decades together, and they brought some of their favorite noisemakers for the occasion.
Post-rock/doomgaze outfit This Will Destroy You, formed in San Marcos, Texas, in 2004, are marking 21 years together, and 20 years of their self-recorded debut Young Mountain, with an anniversary tour. In late June, the band played Nashville’s Basement East, where guitarists Jeremy Galindo and Nicholas Huft and bassist Ethan Billips met up with PG’s Chris Kies to share what gear they packed for the roadtrip.
Galindo started off playing electric on his brother’s FenderTelecaster, and he’s never looked back. He’s played various models over the years, but got this Fender American Performer Telecaster two years ago. He strings it with .011–.052 strings for slightly more body and fullness, and tunes it to E-flat standard. Galindo mostly plays with his fingers, but when he picks he uses some of the thinnest picks he can find.
No Tubes? No Problems
A Music Man HD-130 is Galindo’s always-and-forever, but on the road, he likes this Roland Jazz Chorus 120 for its tubeless reliability and easy clean sounds.
Jeremy Galindo’s Pedalboard
The Boss DD-20 Giga Delay and Tech 21 Boost R.V.B. have been with Galindo since the early days, and he considers the Tech 21 to be the most essential tool of his kit. Aside from those, there’s a Walrus Canvas Tuner, Ernie Ball VP JR, Friday Club Fury 6-Six, Walrus Jupiter, Walrus Fundamental Ambient, Boss RE-20, and Mr. Black Deluxe Plus. A Walrus Aetos powers the party.
Smooth as Sandpaper
This Fender Jazzmaster, Huft’s first, was bought from Full of Hell guitarist Spencer Hazard, who equipped it with its “awful sandpaper texture” finish. Huft doesn’t use the rhythm circuit, so he’s taped it off. He plays with both pickups engaged at all times, including the humbucker rail pickup in the bridge.
United Solid-States
Huft has a soft spot for 1970s solid-state amplification, which makes this Peavey Standard Mark III series a perfect match for TWDY: It’s cheap, and it’s loud.
Nicholas Huft’s Pedalboard
Along with an ABY switcher, Huft runs a Boss TU-3, Ernie Ball VP JR, Gremlin Machine Shop Worshiper, Dead Air Portrayal of Guilt/Matt King Dual Drive, Boss DD-200, Boss RC-500, Red Panda Context, Boss DD-3T, Beautiful Noise Exploder, and Walrus Slo.
Cheap and Cheerful
Billips explains that he and his bandmates grew up on cheap instruments, and they still feel like home, so that’s why he rocks with this Marcus Miller Sire bass.
Community Cranker
Billips and his bandmates split on this Darkglass Electronics Microtubes 500 v2 head, which they share collectively.
Ethan Billips’ Pedalboard
Billips runs an Ernie Ball VP JR Tuner, a prototype bass overdrive from Mr. Black, a Death by Audio Bass War, Walrus Badwater, Danelectro Talk Back, Catalinbread Topanga, and a Radial BigShot ABY.
Frank Bello, best known as the bassist of New York’s legendary thrash metal pioneers Anthrax, has joined forces with Spector Bass to develop an all-new instrument. Dubbed the NC-4 Frank Bello, this bass is inspired by both Spector’s rich history and iconic American bolt-on bass design.
From its refined body contours and radiused top to the uniquely contoured neck heel, the NC-4 is built for speed, comfort, and stage-ready performance. Finished in a head-turning metallic purple affectionately named Tina Rose after Bello’s mother and grandmother and features a matching headstock, purple acrylic block inlays, and Bello’s signature EMG P/J pickup set.
Furthermore, the NC-4 features a solid Alder body, a 1-piece Maple neck, and a Maple fingerboard – a tonewood trio that delivers the perfect blend of warmth, brightness, and clarity. The neck profile, modeled after Bello’s favorite vintage instruments, offers a slim, broken-in feel that’s instantly familiar.
Finished with vintage-style chrome tuners, a modern adjustable bridge, and a brass nut for enhanced sustain, the NC-4 Frank Bello is ready to take on the world’s biggest stages – just like its namesake.
“Spector is known for quality. My signature bass is built for players and offers incredible tone, comfort, and affordability. From the neck profile to the woods, signature EMG pickups, and brass nut, this is my ultimate go-to for any gig, Anthrax or other.” – Frank Bello
The NC-4 Frank Bello is more than a signature model – it’s a statement. Available now at authorized Spector dealers worldwide.
Today, Ernie Ball Music Man is proud to announce the release of the Pino Palladino StingRay Bass Collection, a tribute to the unmistakable tone and legacy of one of the most revered bassists in modern music. The collection includes two Pino Palladino Artist Series StingRay Basses—available in fretted and fretless models—as well as the highly exclusive Pino Palladino Icon Series StingRay Bass, a meticulous recreation of his original 1979 fretless StingRay. Only 15 Icon Series instruments will be made available worldwide.
The Artist Series: Signature Feel, Legendary Tone
Inspired by Pino’s original fretless StingRay, the Artist Series models deliver the essence of his tone, feel, and style in both fretted and fretless options. Featuring a poplar body finished in ’79
Burst, a dark-tinted hard rock maple neck with rosewood fingerboard, and a custom asymmetrical neck carve, these basses offer a player-focused blend of comfort and authenticity.
A vintage-style Alnico pickup and hand-wired 2-band preamp (voiced with a 500k treble pot like Pino’s original) capture the warmth and detail that defined Pino’s sound on countless records. Additional features include:
Brass saddles with a string-through-body bridge and adjustable mute pads
Bullet truss rod and 3-bolt neck plate with micro-tilt adjustment
GraphTech NuBone hand-shaped nut
Fretted model strung with Pino Signature Flatwound Strings
Fretless model strung with custom Slinky Nickel Wound Strings .036, .055, .065, .090
Each bass ships in a MONO case with an Artist Series neck plate
The Icon Series: A Museum-Grade Replica of Pino’s Original
Limited to just 15 pieces worldwide, the Pino Palladino Icon Series StingRay Bass is an exacting recreation of Pino’s beloved 1979 fretless model. Every detail has been scrutinized and faithfully reproduced—from the nitrocellulose lacquer finish and genuine late-‘70s bridge plates (with era-correct serial numbers) to the placement of the headstock decal and string tree.
Highlights include:
Hand-selected poplar bodies and slab rosewood fretless fingerboards
NOS bridge plates with brass saddles and spring mutes
Custom-wound pickup with 5/8” Alnico V magnets and 42 gauge wire
Period-correct active preamp with CTS pots and aged voicing
Vintage waterslide decal, Wales Rugby sticker replica, and headstock hand-signed by Pino
Ships in a G&G black/gold-lined case with a certificate of authenticity and vintage-inspired case candy
This is more than a signature instrument—it’s a faithful time capsule of an artist-defining tool that helped shape the course of modern bass playing.
Behind the Build: The Music Man Legacy
From wood selection and relic distressing to preamp circuitry and final assembly, every step of the Icon Series build process reflects the same craftsmanship and attention to detail that defines Music Man’s legacy. Original tooling, hand-applied nitro lacquer, media tumbling, oxidation, and extensive handwork bring each bass to life—down to the last paint chip and softened edge.
Availability
The Pino Palladino Artist Series StingRay Basses are available now through authorized Ernie Ball Music Man dealers. The Icon Series is strictly limited to 15 pieces worldwide and will be available through select dealers as well as the Ernie Ball Music Man Vault.
Hot news from Snark! Taking the company’s ultra-popular product line to a whole new level, Snark has introduced a trio of high-precision clip-on tuners: the Snark ST-1X HPT, ST-2 HPT and ST-8 HPT. These models feature all-new software with ultra-tight “in tune” windows for pinpoint accuracy with a broad range of instruments.
Adding to the best-in-class performance: a patented anechoic sound shield on the back of each tuner helps block room noise. This unique shielding allows each of the new high-precision Snarks to deliver faster and more precise tuning in any environment. The Snark ST-1X HPT, ST-2 HPT and ST-8 HPT all feature super bright LCD screens for easy viewing in the brightest sunlight or on low light stages.
All three models are rechargeable (no batteries needed!) and come with a USB cable/adapter for quick, easy charging. Each tuner’s screen includes a prominent battery gauge, so you can feel confident that your tuner has plenty of battery power available. No matter what you play – stringed instruments such as guitar, bass, and ukulele, or brass and woodwind instruments – you’ll find one of the new Snarks that’s perfect for you. All three tuners offer adjustable pitch calibration. Also, the ST-2 HTP provides a switchable option for selecting Mic mode or Vibration mode. Choose Vibration mode for regular clip-on use; switch to Mic mode and clip the ST-2 HTP to your music stand. Snark’s new high-precision ST-1X HPT, ST-2 HPT and ST-8 HPT rechargeable tuners have MRSPs of $24.99, $26.99 and $26.99 respectively.
