Seydel Session Steel Wilde tuning harmonica

Will Wilde Rock Harmonica Tuning

SEYDEL Endorser Will Wilde is the inventor of this Special Tuning which is very well suited for "tougher" musical styles like Hardrock or Blues-Rock. Read here how this tuning was invented and why Will uses it regularely since a few years in his shows:

"I designed the Wilde tuning specifically for playing hard rock and blues-rock on the harmonica. As much as I love the standard Richter tuning, I have always found it frustrating when it comes to playing “rock guitar” style licks, particularly in the upper octave.  The Wilde tuning addresses all of the problems I had with Richter, whilst still retaining the bluesy feel of classic second position harmonica that we all know and love.  

Whereas Richter tuning was primarily designed for playing major chords and the major scale in first position, Wilde tuning is specifically designed for playing second position minor pentatonic and blues scale licks, throughout all three octaves.  

I have always preferred the sound of draw notes and draw bends to blow notes and blow bends, as you can get more expression and a better tone & vibrato from them.  So, on the Wilde tuning ALL of the draw notes bend (from holes one to ten) and your root note lands on a draw in all three octaves.

I think that the Wilde tuning is the configuration that every aspiring rock harp player has been waiting for."

The SESSION STEEL is the upgrade to our successful SESSION model is presented with a bold new look and superior technical reliability, excellent playability and a fantastic sound.

Details about Wilde Rock special tuning: Holes one to five are exactly the same as standard tuning.   Holes six, seven and eight are the same as holes two, three and four (just an octave higher).   Hole nine is the same as hole two (two octaves higher) and the reeds in hole ten have been switched around (so that the ten blow bend is now a draw bend).  This makes fast minor pentatonic/blues scale runs much easier and means you no longer need to overblow/overdraw to get the flat third and flat five in the upper octave as they are now available as simple draw bends.

• ergonomic coverplates made of stainless steel, completely rounded at the mouthpiece
• ABS comb with recessed German Silver reedplates
• rivets and screws made of stainless steel
• lips and beard-friendly design
• minimal air consumption achieved by fine-cut reedplates, optimized flatness and extremely
• small tolerances between reed and reedplate
• stainless steel reeds provide the best clear and full sound and response of the 1847 models
• an up to 5 times longer playing life compared to models with brass reeds
• with convenient genuine leather pouch