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This led me to my next topic. Wah pedals are enjoying a new resurgence, so I decided to write an article on them. I wrote a somewhat comprehensive article on Wahs for Vintage Guitar Magazine several years ago, and with Alan Greenwoods kind permission, we are reprinting that article here. This saved me reinventing the wheel. The idea for this article came about when I purchased a box of effects pedals from the owner of a music store which closed in the late seventies.
Most were new old stock Electro-Harmonix with a few other brands mixed in. I spent several hours deciding which I found useful and thought others might profit from the information. This is a totally subjective evaluation, and I’m sure my opinions wouldn’t be of value to a metal player or others of that ilk. I have searched diligently through the years for the Duane Allman, Dickey Betts type guitar sound.
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The circuit was then hooked up to a volume pedal for control. Unfortunately, Warwick was late to patent the Cry Baby and soon clones sprung up from companies like Fender and Gretsch. By the end of the 60s, the wah pedal was a signature sound used by guitarists worldwide. It means that today there are hundreds of wah options out there.
Thankfully, with a little bit of information, we can see that there are only a few types of wah available, despite the diverse brands marketed. I suggest that you play around with them before buying, but here is some info to get you started. The Vox V Wah and Crybaby Classic are two inductor based wahs, but when you play them off-the-shelf, you will notice a tone variance. While the Vox wahs tend to feel smoother and cleaner, the Cry Baby models offer some boost to the volume and feel sharper.
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Wah-Wah Pedals An Evaluation of Effects and Pedals By Eric Kraft The idea for this article came about when I purchased a box of effects pedals from the owner of a music store which had closed in the late seventies. Most were new old stock Electro-Harmonix with a few other brands mixed in. I spent several hours deciding which I found useful and thought others might profit from the information.
I have searched diligently through the years for the Duane Allman, Dickey Betts type guitar sound. After playing through at least 50 different amps the last two years I arrived at the ever popular Fender Bassman. This amp is a dual rectifier amp and sounds delicious at all volumes with all types of guitars. I go into detail here as this amp was my tone base for all testing.
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Tweet on Twitter The idea for this article came about when I purchased a box of effects pedals from the owner of a music store which had closed in the late seventies. Most were new old stock Electro-Harmonix with a few other brands mixed in. I spent several hours deciding which I found useful and thought others might profit from the information. I have searched diligently through the years for the Duane Allman, Dickey Betts type guitar sound.
After playing through at least 50 different amps the last two years I arrived at the ever popular Fender Bassman. This amp is a dual rectifier amp and sounds delicious at all volumes with all types of guitars. I go into detail here as this amp was my tone base for all testing. Those of us working in smaller venues, clubs etc. Achieving a singing sustain and fat tone in a small rehearsal space or a club is a different animal entirely. My amp only puts out 40 watts or less and is sufficient for most playing situations.
Since writing the above preamble several months ago some things have changed.
Jimmy Page faithfully used one of these wah pedals, so I thought it might be worth a little further investigation to see what was special about it. The circuit is virtually the classic wah circuit, but the mH inductor has been replaced with a nominal mH inductor and the 33K resistor in parallel with the inductor is absent. This 33K resistor can be found on some examples, though. Most people that have actually played one say that it doesn’t sound that good on its own – more like a treble sweep – but it can nail the Jimmy Page tone when pushing a fuzz box.
I used tropical fish caps in it and some BC transistors with an Hfe of around , which makes it consistent with the 2N s found in the original. I placed the circuit in a cheap wah shell made by “Stageworks” and finished up the wiring.
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Plunkett at Warwick Electronics Inc. This pedal is the original prototype made from a transistorized MRB mid-range boost potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not new. Country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late s recordings of “Hot Toddy” and “Slinkey”. Jazz guitarist Peter Van Wood had a modified Hammond organ expression pedal; he recorded in a version of George Gershwin ‘s ” Summertime ” with a “crying” tone, and other recordings including humorous “novelty” effects.
The creation of the modern wah pedal was an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in While creating the Vox Amplifonic Orchestra, the Thomas Organ Company decided to create an American-made equivalent of the British Vox amplifier but with transistorized solid state circuits, rather than vacuum tubes , which would be less expensive to manufacture. Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ an electric solid state transistorized organ to duplicate the Jennings 3-position circuit.
After adjusting and testing the amplifier with an electronic oscillator and oscilloscope , Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher , noticed the sound effect caused by the circuit. Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier.
Therefore, all other previous effects circuits and devices, prior to , that share similarities with the wah-wah pedal are not actually affecting the signal in the same manner and cannot be considered early versions of the wah-wah pedal. However, custom experiments from time to time made sounds that approached the formal product, including Chet Atkins’ recording of “Boo Boo Stick Beat”. The first pedal ever created was by Warwick Electronics Inc. The creation of the wah-wah pedal was actually an accident which stemmed from the re-design of the Vox Super Beatle guitar amplifier in
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