A switcher pedal (also called an "A/B" pedal) enables players to run two effects or two effects chains in parallel, or switch between two effects with a single press of the pedal.
Some switcher pedals also incorporate a simple mixer, which allows mixing the dry guitar signal to be mixed with an effected signal. This is useful to make overly processed effects more mild and natural sounding. Examples of the use of the mixer function include:
* A wah can be mixed with dry guitar to make it more mild and full-bandwidth, with less volume swing.
* A compressor can be mixed with dry guitar to preserve the natural attack of the dry signal as well as the sustain of the compressor.
* Two overdrive pedals can be blended together.
* A strong phaser effect can be mixed with dry guitar to make it more subtle and musical.
Some examples of switcher pedals include:
* Dunlop A/B pedal
Some examples of Switcher/mixer pedals include:
* Boss LS-2
Showing posts with label Guitar effect. Show all posts
Showing posts with label Guitar effect. Show all posts
Switcher/Mixer (or "A/B" pedal)
A switcher pedal (also called an "A/B" pedal) enables players to run two effects or two effects chains in parallel, or switch between two effects with a single press of the pedal.
Some switcher pedals also incorporate a simple mixer, which allows mixing the dry guitar signal to be mixed with an effected signal. This is useful to make overly processed effects more mild and natural sounding. Examples of the use of the mixer function include:
* A wah can be mixed with dry guitar to make it more mild and full-bandwidth, with less volume swing.
* A compressor can be mixed with dry guitar to preserve the natural attack of the dry signal as well as the sustain of the compressor.
* Two overdrive pedals can be blended together.
* A strong phaser effect can be mixed with dry guitar to make it more subtle and musical.
Some examples of switcher pedals include:
* Dunlop A/B pedal
Some examples of Switcher/mixer pedals include:
* Boss LS-2
Some switcher pedals also incorporate a simple mixer, which allows mixing the dry guitar signal to be mixed with an effected signal. This is useful to make overly processed effects more mild and natural sounding. Examples of the use of the mixer function include:
* A wah can be mixed with dry guitar to make it more mild and full-bandwidth, with less volume swing.
* A compressor can be mixed with dry guitar to preserve the natural attack of the dry signal as well as the sustain of the compressor.
* Two overdrive pedals can be blended together.
* A strong phaser effect can be mixed with dry guitar to make it more subtle and musical.
Some examples of switcher pedals include:
* Dunlop A/B pedal
Some examples of Switcher/mixer pedals include:
* Boss LS-2
Multi-Effects Pedals
A multi-FX pedal is a single effects device that contains a number of different effects in it. Some multi-FX pedals contain modeled versions of classic effects pedals or amplifiers. Some examples include:
* Line 6 POD XT Live
* Behringer V-Amp Pro
* DigiTech RP series
* Boss ME-50, GT-6, GT-8
* Zoom G2 series
* Vox Tonelab series
* Roland VG series
* Line 6 POD XT Live
* Behringer V-Amp Pro
* DigiTech RP series
* Boss ME-50, GT-6, GT-8
* Zoom G2 series
* Vox Tonelab series
* Roland VG series
Multi-Effects Pedals
A multi-FX pedal is a single effects device that contains a number of different effects in it. Some multi-FX pedals contain modeled versions of classic effects pedals or amplifiers. Some examples include:
* Line 6 POD XT Live
* Behringer V-Amp Pro
* DigiTech RP series
* Boss ME-50, GT-6, GT-8
* Zoom G2 series
* Vox Tonelab series
* Roland VG series
* Line 6 POD XT Live
* Behringer V-Amp Pro
* DigiTech RP series
* Boss ME-50, GT-6, GT-8
* Zoom G2 series
* Vox Tonelab series
* Roland VG series
Talk box
The effect can be used to shape the frequency content of the sound and to apply speech sounds (such as singing) onto a musical instrument, typically a guitar (its non-guitar use is often confused with the vocoder) and keyboards.
A talk box is an effects pedal that sits on the floor and contains a speaker attached with an air tight connection to a plastic tube. The speaker is generally in the form of a horn driver, the sound generating part of a horn speaker with the horn replaced by the tube connection.
The box has connectors for the connection to the speaker output of an amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talkbox speaker or to the normal speaker. The switch is usually a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth.
When activated, the sound from the amplifier is reproduced by the speaker in the talkbox and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone. The shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking.
The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talkbox speaker. The performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, and when it enters a microphone, an instrument/voice hybrid is heard.
The sound can be that of any musical instrument, but the effect is mostly commonly associated with the guitar. The rich harmonics of an electric guitar are shaped by the mouth producing a sound very similar to voice, effectively allowing the guitar to appear to "speak".
Read more
Talk box
The effect can be used to shape the frequency content of the sound and to apply speech sounds (such as singing) onto a musical instrument, typically a guitar (its non-guitar use is often confused with the vocoder) and keyboards.
A talk box is an effects pedal that sits on the floor and contains a speaker attached with an air tight connection to a plastic tube. The speaker is generally in the form of a horn driver, the sound generating part of a horn speaker with the horn replaced by the tube connection.
The box has connectors for the connection to the speaker output of an amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talkbox speaker or to the normal speaker. The switch is usually a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth.
When activated, the sound from the amplifier is reproduced by the speaker in the talkbox and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone. The shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking.
The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talkbox speaker. The performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, and when it enters a microphone, an instrument/voice hybrid is heard.
The sound can be that of any musical instrument, but the effect is mostly commonly associated with the guitar. The rich harmonics of an electric guitar are shaped by the mouth producing a sound very similar to voice, effectively allowing the guitar to appear to "speak".
Read more
Stomp box
A stomp box is a small wooden box placed under the foot, and stamped on rhythmically to create a thunking percussive sound. usually a microphone is placed inside to amplify the sound. The sound of the box is similar to a bass drum, and is used for practicality. Stompboxes can be home made or be bought commercially.
Stomp box
A stomp box is a small wooden box placed under the foot, and stamped on rhythmically to create a thunking percussive sound. usually a microphone is placed inside to amplify the sound. The sound of the box is similar to a bass drum, and is used for practicality. Stompboxes can be home made or be bought commercially.
Wah-wah pedal
An effect that gives the instrument an almost vocal effect, familiar as the wah-wah pedal. Examples include: "White Room" by Cream, used by Eric Clapton. Also popular in funk and psychedelic rock, i.e. Jimi Hendrix and Pink Floyd.
A Wah-wah pedal is a foot-operated pedal, technically a kind of band-pass filter, which allows only a small portion of the incoming signal's frequencies to pass. Rocking the pedal back and forth alternately allows lower and higher frequencies to pass through, the effect being similar to a person saying "wah". The wah-wah pedal, used with guitar, is most associated with 1960s psychedelic rock and 1970s funk. During this period wah-wah pedals often incorporated a fuzzbox to process the sound before the wah-wah circuit, the combination producing a dramatic effect known as fuzz-wah.
Some wah-wah pedals include:
* Dunlop Cry Baby (repeatedly stated as being used by the late Jimi Hendrix, which is not entirely true. Jimi used VOX and Cry Baby wah-wah pedals but mostly used a VOX V848 Clyde McCoy Wah Wah which can be heard on Voodoo Child(Slight Return))
* VOX V847 Wah Wah
Auto-Wah / Envelope Filter
An Auto-Wah is a Wah-wah pedal without a rocker pedal, controlled instead by the dynamic envelope of the signal. An auto-wah, also called more technically an envelope filter, uses the level of the guitar signal to control the wah filter position, so that as a note is played, it automatically starts with the sound of a wah-wah pedal pulled back, and then quickly changes to the sound of a wah-wah pedal pushed forward, or the reverse movement depending on the settings. Controls include wah-wah pedal direction and input level sensitivity. This is an EQ-related effect and can be placed before preamp distortion or before power-tube distortion with natural sounding results. Auto-Wah pedals include:
* Electro-Harmonix Q-Tron
* MXR Auto Q
Wah-wah pedal
An effect that gives the instrument an almost vocal effect, familiar as the wah-wah pedal. Examples include: "White Room" by Cream, used by Eric Clapton. Also popular in funk and psychedelic rock, i.e. Jimi Hendrix and Pink Floyd.
A Wah-wah pedal is a foot-operated pedal, technically a kind of band-pass filter, which allows only a small portion of the incoming signal's frequencies to pass. Rocking the pedal back and forth alternately allows lower and higher frequencies to pass through, the effect being similar to a person saying "wah". The wah-wah pedal, used with guitar, is most associated with 1960s psychedelic rock and 1970s funk. During this period wah-wah pedals often incorporated a fuzzbox to process the sound before the wah-wah circuit, the combination producing a dramatic effect known as fuzz-wah.
Some wah-wah pedals include:
* Dunlop Cry Baby (repeatedly stated as being used by the late Jimi Hendrix, which is not entirely true. Jimi used VOX and Cry Baby wah-wah pedals but mostly used a VOX V848 Clyde McCoy Wah Wah which can be heard on Voodoo Child(Slight Return))
* VOX V847 Wah Wah
Auto-Wah / Envelope Filter
An Auto-Wah is a Wah-wah pedal without a rocker pedal, controlled instead by the dynamic envelope of the signal. An auto-wah, also called more technically an envelope filter, uses the level of the guitar signal to control the wah filter position, so that as a note is played, it automatically starts with the sound of a wah-wah pedal pulled back, and then quickly changes to the sound of a wah-wah pedal pushed forward, or the reverse movement depending on the settings. Controls include wah-wah pedal direction and input level sensitivity. This is an EQ-related effect and can be placed before preamp distortion or before power-tube distortion with natural sounding results. Auto-Wah pedals include:
* Electro-Harmonix Q-Tron
* MXR Auto Q
Equalizer
Adjusts the frequency response in a number of different bands of EQ. Variants include the parametric EQ (such as the Boss PQ-4) which instead of flatly boosting and cutting frequencies, curves the frequency response to include changes in adjacent frequencies. As well the paragraphic EQ, which combines the visual interface of the graphic EQ with the flexibility of the parametric EQ, giving each band its own adjustable Q.
Equalizer
Adjusts the frequency response in a number of different bands of EQ. Variants include the parametric EQ (such as the Boss PQ-4) which instead of flatly boosting and cutting frequencies, curves the frequency response to include changes in adjacent frequencies. As well the paragraphic EQ, which combines the visual interface of the graphic EQ with the flexibility of the parametric EQ, giving each band its own adjustable Q.
Fuzz
A fuzzbox (or fuzz box) is a type of stomp box comprising an amplifier and a clipping circuit, which generates a deliberately distorted version of the input signal. As opposed to other distortion guitar effects pedals, a fuzzbox boosts and clips the signal sufficiently to turn a standard sine wave input into what is effectively a square wave output. This gives a much more distorted and synthetic sound than a standard distortion or overdrive. Fuzzboxes were the first distortion devices not based on vacuum tubes. It should be noted that the term "fuzz box" is often used generically to refer to any effect pedal that produces a distorted sound.
The generated signal is rich in extra harmonics of the input signal, particularly odd harmonics, and will also produce cross-modulation between any non-harmonic components of the input signal, leading to dissonance. For this reason, power chords are often used when using fuzzboxes to reduce dissonance.
Early fuzzboxes used germanium transistors. By the end of the 1960s, these were replaced by silicon transistors. Silicon transistors are desirable for a number of reasons. They are generally less affected by changes in temperature and offer more reliable performance than germanium ones. Warm conditions (such as the heat generated by stage lights or sunlight in outdoor performances) can adversely affect the tone of germanium fuzzes. Also, fuzz boxes that employ germanium transistors do not work well when placed after another effect pedal that uses "buffered bypass." This is because the buffer on effect pedals converts the guitar's signal from high to low impedance (to retain high frequencies and signal strength). Low impedance signals that pass through germanium-equipped fuzzes tend to suffer from a pronounced drop in volume and bass response. Today, some fuzzbox builders offer pedals with germanium transistors again, as they are typically associated with "classic" fuzz tones of the 1960s. Additionally, some units employ both silicon and germanium transistors.
The fuzzbox is associated with rock music, particularly artists such as Jimi Hendrix, Mudhoney, the Smashing Pumpkins and George Harrison. Famous examples of fuzzboxes include the Maestro Fuzz-Tone, the highly-sought Mosrite FuzzRITE, the infamous Fuzz Face (originally made by the Arbiter Group) used by Jimi Hendrix, the Big Muff Pi (made by Electro-Harmonix) and the Vox Tone Bender. Given the raunchy, unsettling sound of the fuzzbox and its similarity to the aggressive sound of a motorcycle engine, it has also became strongly associated with a genre of psychedelic, antiestablishment biker rock popularized by Davie Allan and the Arrows.
An infamous fuzz box used by Colin Greenwood of Radiohead, the Shin-ei Companion FY-2, has been compared to the sound of a chainsaw. Colin Greenwood also uses the well-known Lovetone Big Cheese.
The Ventures had the first chart single to utilize the fuzzbox on guitar, "2000 Pound Bee" (December 29, 1962); this track utilized the Mosrite FuzzRITE.
Fuzzboxes gained wider popularity after a distorted sound was popularised by Dave Davies of British Invasion band The Kinks. He played through a small 8 or 10 watt amp whose speaker cone he had slashed with a razor blade, distorting the signal. In 1964 he plugged the doctored amp into a Vox AC30 to record You Really Got Me, the band's first No. 1 single and the first popular rock 'n' roll song using a distorted power chord riff. Fuzzboxes became popular as a much easier way to create a distorted sound.
Fuzz
A fuzzbox (or fuzz box) is a type of stomp box comprising an amplifier and a clipping circuit, which generates a deliberately distorted version of the input signal. As opposed to other distortion guitar effects pedals, a fuzzbox boosts and clips the signal sufficiently to turn a standard sine wave input into what is effectively a square wave output. This gives a much more distorted and synthetic sound than a standard distortion or overdrive. Fuzzboxes were the first distortion devices not based on vacuum tubes. It should be noted that the term "fuzz box" is often used generically to refer to any effect pedal that produces a distorted sound.
The generated signal is rich in extra harmonics of the input signal, particularly odd harmonics, and will also produce cross-modulation between any non-harmonic components of the input signal, leading to dissonance. For this reason, power chords are often used when using fuzzboxes to reduce dissonance.
Early fuzzboxes used germanium transistors. By the end of the 1960s, these were replaced by silicon transistors. Silicon transistors are desirable for a number of reasons. They are generally less affected by changes in temperature and offer more reliable performance than germanium ones. Warm conditions (such as the heat generated by stage lights or sunlight in outdoor performances) can adversely affect the tone of germanium fuzzes. Also, fuzz boxes that employ germanium transistors do not work well when placed after another effect pedal that uses "buffered bypass." This is because the buffer on effect pedals converts the guitar's signal from high to low impedance (to retain high frequencies and signal strength). Low impedance signals that pass through germanium-equipped fuzzes tend to suffer from a pronounced drop in volume and bass response. Today, some fuzzbox builders offer pedals with germanium transistors again, as they are typically associated with "classic" fuzz tones of the 1960s. Additionally, some units employ both silicon and germanium transistors.
The fuzzbox is associated with rock music, particularly artists such as Jimi Hendrix, Mudhoney, the Smashing Pumpkins and George Harrison. Famous examples of fuzzboxes include the Maestro Fuzz-Tone, the highly-sought Mosrite FuzzRITE, the infamous Fuzz Face (originally made by the Arbiter Group) used by Jimi Hendrix, the Big Muff Pi (made by Electro-Harmonix) and the Vox Tone Bender. Given the raunchy, unsettling sound of the fuzzbox and its similarity to the aggressive sound of a motorcycle engine, it has also became strongly associated with a genre of psychedelic, antiestablishment biker rock popularized by Davie Allan and the Arrows.
An infamous fuzz box used by Colin Greenwood of Radiohead, the Shin-ei Companion FY-2, has been compared to the sound of a chainsaw. Colin Greenwood also uses the well-known Lovetone Big Cheese.
The Ventures had the first chart single to utilize the fuzzbox on guitar, "2000 Pound Bee" (December 29, 1962); this track utilized the Mosrite FuzzRITE.
Fuzzboxes gained wider popularity after a distorted sound was popularised by Dave Davies of British Invasion band The Kinks. He played through a small 8 or 10 watt amp whose speaker cone he had slashed with a razor blade, distorting the signal. In 1964 he plugged the doctored amp into a Vox AC30 to record You Really Got Me, the band's first No. 1 single and the first popular rock 'n' roll song using a distorted power chord riff. Fuzzboxes became popular as a much easier way to create a distorted sound.
Distortion
In the world of electric guitar music and guitar amplification, distortion is actively sought, evaluated, and appreciatively discussed in its endless flavors. In many types of music, distortion is applied to guitar and other instruments, particularly within rock music. Guitar distortion can provide a sustaining tone for playing solos or leads, or a rough, crunchy tone suitable for rhythm guitar.
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.
Distortion
In the world of electric guitar music and guitar amplification, distortion is actively sought, evaluated, and appreciatively discussed in its endless flavors. In many types of music, distortion is applied to guitar and other instruments, particularly within rock music. Guitar distortion can provide a sustaining tone for playing solos or leads, or a rough, crunchy tone suitable for rhythm guitar.
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.
Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and distorts the signal's waveform by "clipping" the signal. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube-style distortion), overdrive/crunch, fuzz, and hi-gain.
Delay
First used by Les Paul, e.g. I'm Forever Blowing Bubbles. (Modern digital delay units, the first of which was the Eventide Harmonizer, involve sound waves being converted from analog to digital signals, and clocked through large banks of RAM memory. Paul achieved time delay by stretching audiotape between two reel-to-reel tape decks spaced several feet apart.) The Edge of U2 is a notable user of this effect in his music. An obvious example of this is Where the Streets Have No Name
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. Some common Delay pedals are:
* Boss DD-6
* Line 6 DL-4 Delay Modeler
* Line 6 Echo Park
* T-Rex Engineering's Replica
* Boss DD-20 Giga-Delay
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. Some common Delay pedals are:
* Boss DD-6
* Line 6 DL-4 Delay Modeler
* Line 6 Echo Park
* T-Rex Engineering's Replica
* Boss DD-20 Giga-Delay
Delay
First used by Les Paul, e.g. I'm Forever Blowing Bubbles. (Modern digital delay units, the first of which was the Eventide Harmonizer, involve sound waves being converted from analog to digital signals, and clocked through large banks of RAM memory. Paul achieved time delay by stretching audiotape between two reel-to-reel tape decks spaced several feet apart.) The Edge of U2 is a notable user of this effect in his music. An obvious example of this is Where the Streets Have No Name
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. Some common Delay pedals are:
* Boss DD-6
* Line 6 DL-4 Delay Modeler
* Line 6 Echo Park
* T-Rex Engineering's Replica
* Boss DD-20 Giga-Delay
A Delay or Echo pedal creates a copy of an incoming sound and slightly time-delays it, creating either a "slap" (single repetition) or an echo (multiple repetitions) effect. Delay pedals may use either analog or digital technology. Analog delays often are less flexible and not as "perfect" sounding as digital delays, but some guitarists argue that analog effects produce "warmer" tones. Early delay devices actually used magnetic tape to produce the time delay effect. Some common Delay pedals are:
* Boss DD-6
* Line 6 DL-4 Delay Modeler
* Line 6 Echo Park
* T-Rex Engineering's Replica
* Boss DD-20 Giga-Delay
Baby cry
The Jim Dunlop Cry Baby (also known as the Crybaby) is a highly popular wah-wah pedal, manufactured by Dunlop Manufacturing, Inc.. It is the best selling guitar pedal of all time, as is extensively shown on the packaging the pedals come in.
Models
There are many different models of the Cry Baby manufactured by Dunlop Manufacturing, Inc, most are listed below:
* GCB-95 - Also known as the "Cry Baby Original", it is based on the original Crybabies. Typically the lowest priced model, uses a 'generic' inductor instead of the Fasel.
* GCB-95F Classic - A Cry Baby with a Fasel (classic Italian-made) inductor and a Hot Potz 100KOhm potentiometer.
* 95Q - A Cry Baby with a Q control (which varies the intensity of the wah effect), and a volume boost.
* 535Q - Features tone shifting abilities using the Q control, six different wah ranges, a volume boost and can also be used as sustain pedal.
* JH-1 Jimi Hendrix Signature - The Jimi Hendrix Signature Cry Baby is an original 60's design with modified circuitry to lower the pedal's frequency range.
* JH-1FW Jimi Hendrix Fuzz Wah - A combination of the Jimi Hendrix Signature Wah Wah and the Jimi Hendrix Fuzz. It can be used as a Wah Pedal, a Fuzz Pedal, or both at the same time.
* DB-01 Dimebag Signature - Dimebag Darrell's Signature Cry Baby. Based on the 535Q as he used one prior.
* EW-95V Mister Crybaby Super Volume - A Cry Baby that doubles as a wah pedal and a volume boosting pedal. It can provide a volume boost of up to 16 decibels
* ZW-45 Zakk Wylde Signature - Zakk Wylde's Signature Cry Baby.
* 105Q Bass - A Cry Baby for bass guitars that only affects the mids and high frequencies, and features Q and Volume controls.
* Slash Signature - Slash's Signature Cry Baby with an added heavy distortion booster.
The newer crybaby models are known to have a single pole switch instead of true bypass; using single pole switching instead of true bypass can cause a slight suck of the tone. This is due to the fact the pedal has no hard wired way to bypass the signal without loading it electrically, Thus when the pedal is switched 'out' it is still altering the guitars tone slightly. The GCB-95, 95Q and EW-95V have single pole switches and are all well known to suck the guitar's tone somewhat when bypassed.
Models
There are many different models of the Cry Baby manufactured by Dunlop Manufacturing, Inc, most are listed below:
* GCB-95 - Also known as the "Cry Baby Original", it is based on the original Crybabies. Typically the lowest priced model, uses a 'generic' inductor instead of the Fasel.
* GCB-95F Classic - A Cry Baby with a Fasel (classic Italian-made) inductor and a Hot Potz 100KOhm potentiometer.
* 95Q - A Cry Baby with a Q control (which varies the intensity of the wah effect), and a volume boost.
* 535Q - Features tone shifting abilities using the Q control, six different wah ranges, a volume boost and can also be used as sustain pedal.
* JH-1 Jimi Hendrix Signature - The Jimi Hendrix Signature Cry Baby is an original 60's design with modified circuitry to lower the pedal's frequency range.
* JH-1FW Jimi Hendrix Fuzz Wah - A combination of the Jimi Hendrix Signature Wah Wah and the Jimi Hendrix Fuzz. It can be used as a Wah Pedal, a Fuzz Pedal, or both at the same time.
* DB-01 Dimebag Signature - Dimebag Darrell's Signature Cry Baby. Based on the 535Q as he used one prior.
* EW-95V Mister Crybaby Super Volume - A Cry Baby that doubles as a wah pedal and a volume boosting pedal. It can provide a volume boost of up to 16 decibels
* ZW-45 Zakk Wylde Signature - Zakk Wylde's Signature Cry Baby.
* 105Q Bass - A Cry Baby for bass guitars that only affects the mids and high frequencies, and features Q and Volume controls.
* Slash Signature - Slash's Signature Cry Baby with an added heavy distortion booster.
The newer crybaby models are known to have a single pole switch instead of true bypass; using single pole switching instead of true bypass can cause a slight suck of the tone. This is due to the fact the pedal has no hard wired way to bypass the signal without loading it electrically, Thus when the pedal is switched 'out' it is still altering the guitars tone slightly. The GCB-95, 95Q and EW-95V have single pole switches and are all well known to suck the guitar's tone somewhat when bypassed.
Baby cry
The Jim Dunlop Cry Baby (also known as the Crybaby) is a highly popular wah-wah pedal, manufactured by Dunlop Manufacturing, Inc.. It is the best selling guitar pedal of all time, as is extensively shown on the packaging the pedals come in.
Models
There are many different models of the Cry Baby manufactured by Dunlop Manufacturing, Inc, most are listed below:
* GCB-95 - Also known as the "Cry Baby Original", it is based on the original Crybabies. Typically the lowest priced model, uses a 'generic' inductor instead of the Fasel.
* GCB-95F Classic - A Cry Baby with a Fasel (classic Italian-made) inductor and a Hot Potz 100KOhm potentiometer.
* 95Q - A Cry Baby with a Q control (which varies the intensity of the wah effect), and a volume boost.
* 535Q - Features tone shifting abilities using the Q control, six different wah ranges, a volume boost and can also be used as sustain pedal.
* JH-1 Jimi Hendrix Signature - The Jimi Hendrix Signature Cry Baby is an original 60's design with modified circuitry to lower the pedal's frequency range.
* JH-1FW Jimi Hendrix Fuzz Wah - A combination of the Jimi Hendrix Signature Wah Wah and the Jimi Hendrix Fuzz. It can be used as a Wah Pedal, a Fuzz Pedal, or both at the same time.
* DB-01 Dimebag Signature - Dimebag Darrell's Signature Cry Baby. Based on the 535Q as he used one prior.
* EW-95V Mister Crybaby Super Volume - A Cry Baby that doubles as a wah pedal and a volume boosting pedal. It can provide a volume boost of up to 16 decibels
* ZW-45 Zakk Wylde Signature - Zakk Wylde's Signature Cry Baby.
* 105Q Bass - A Cry Baby for bass guitars that only affects the mids and high frequencies, and features Q and Volume controls.
* Slash Signature - Slash's Signature Cry Baby with an added heavy distortion booster.
The newer crybaby models are known to have a single pole switch instead of true bypass; using single pole switching instead of true bypass can cause a slight suck of the tone. This is due to the fact the pedal has no hard wired way to bypass the signal without loading it electrically, Thus when the pedal is switched 'out' it is still altering the guitars tone slightly. The GCB-95, 95Q and EW-95V have single pole switches and are all well known to suck the guitar's tone somewhat when bypassed.
Models
There are many different models of the Cry Baby manufactured by Dunlop Manufacturing, Inc, most are listed below:
* GCB-95 - Also known as the "Cry Baby Original", it is based on the original Crybabies. Typically the lowest priced model, uses a 'generic' inductor instead of the Fasel.
* GCB-95F Classic - A Cry Baby with a Fasel (classic Italian-made) inductor and a Hot Potz 100KOhm potentiometer.
* 95Q - A Cry Baby with a Q control (which varies the intensity of the wah effect), and a volume boost.
* 535Q - Features tone shifting abilities using the Q control, six different wah ranges, a volume boost and can also be used as sustain pedal.
* JH-1 Jimi Hendrix Signature - The Jimi Hendrix Signature Cry Baby is an original 60's design with modified circuitry to lower the pedal's frequency range.
* JH-1FW Jimi Hendrix Fuzz Wah - A combination of the Jimi Hendrix Signature Wah Wah and the Jimi Hendrix Fuzz. It can be used as a Wah Pedal, a Fuzz Pedal, or both at the same time.
* DB-01 Dimebag Signature - Dimebag Darrell's Signature Cry Baby. Based on the 535Q as he used one prior.
* EW-95V Mister Crybaby Super Volume - A Cry Baby that doubles as a wah pedal and a volume boosting pedal. It can provide a volume boost of up to 16 decibels
* ZW-45 Zakk Wylde Signature - Zakk Wylde's Signature Cry Baby.
* 105Q Bass - A Cry Baby for bass guitars that only affects the mids and high frequencies, and features Q and Volume controls.
* Slash Signature - Slash's Signature Cry Baby with an added heavy distortion booster.
The newer crybaby models are known to have a single pole switch instead of true bypass; using single pole switching instead of true bypass can cause a slight suck of the tone. This is due to the fact the pedal has no hard wired way to bypass the signal without loading it electrically, Thus when the pedal is switched 'out' it is still altering the guitars tone slightly. The GCB-95, 95Q and EW-95V have single pole switches and are all well known to suck the guitar's tone somewhat when bypassed.
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