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The MXR Custom Shop is all about sonic discovery. In their effort to explore the furthest reaches of tone, the Custom Shop team invites accomplished independent pedal designers from around the world to contribute their unique perspectives and design styles to the cause. The first such collaboration is the Il Torino Overdrive, a highly tweakable overdrive pedal designed with Carlo Sorasio, Italy’s top tone maestro. He works with Italy’s top musical acts, designing amps and pedals to suit their needs on the road and in the studio.


He sat down to talk with us about his entry into the world of pedal designing and the creation of the Il Torino Overdrive, a highly tweakable OD that’s perfect for guitar players who like to fine-tune each part of their signal chain.


When did you first start designing pedals?

Carlo: While attending Polytechnic University of Turin, I studied electronics on my own, particularly analog electronics, using old books I found in the school library. I started out just building pedals for myself as a guitar player. The first was a Dallas Rangemaster clone in 2004, and I modded many other pedals, including ones from MXR and Dunlop.


I started my business in 2007 after completing my mechanical engineering degree. In 2008, I released my first amp commercially and continued to perfect the design until 2010 when I deepened my understanding of PCB and transformer design.


Which artists have you worked with?

Carlo: I have worked with some of the finest Italian guitar players. Some of the most important are Mario Schilirò (guitars for Zucchero Fornaciari), Giacomo Castellano (Thomas Lang, Nannini, Elisa, solo), Massimo Varini (Boccelli, Pausini, Ramazzotti), and Water Donatiello (Gerry Mulligan, Stevie Lacy, Bruno Chevillon).


Internationally, I have had the pleasure of work with Stef Burns and Stevie Salas.


Stevie and Stef, when and how did you meet Carlo?

Stevie: I met Carlo when I was playing a concert a few years back in Turin. When I arrived for sound check, he was there working with the opening act. He showed me some pedals as well as some custom amplifiers.


I get approached a lot by gear designers, and usually they don’t impress me, so I wasn’t that excited. But he was a nice guy, so I decided to plug into the amp he had onstage. As soon as I plugged into it, I knew right away that this was something VERY special. After that, he showed me some of his custom pedals, and needless to say, his overdrive blew my mind. I ended up both the amp and the overdrive for my concert that night and for the rest of the tour! In fact, I have used them on every European tour since.


Stef: I also met Carlo at a Turin gig. He had an amp that he built for me to try, and it rocked!


Carlo, what would you say is your specialty as a pedal designer?

Carlo: So far, overdrive and boost pedals. But I am expanding my range of expertise and am currently working on phaser, flanger and delay effects.


I think that, especially for a self-taught guy like me, it’s normal to start with the overdrive and boost. Simple projects that help to learn the basics. Modulation and delay, however, are more complex, and it takes more skill to avoid simply copying other designs. And these skills can only be obtained through experience and mistakes—lots of mistakes!


Stef: He obviously has knowledge and a talent for building amps and pedals but he also has an ear for tone so he can do it right.


Stevie: I meet many guys around the world who do what he does and the difference between good and great can be measured by a micrometer. Carlo has a way of making amps and effects that sound vintage/modern capturing the best of the old with a little something new in there. He has also found a way to use modern techniques to achieve this making the pedals and amps affordable without losing quality.


Which of his products do you own?

Stef: I have the Blues Devil and it works great for adding a singing tone to clean and extra gain to lead.


Stevie: I have his Il Torino Overdrive in a prototype form and some of his prototype amp heads. Over the years, I have had him do some mods to the pedal.


Have you worked with Carlo to develop any custom gear?

Stevie: We have worked closely on his overdrive, and we are messing with old Jet Phase type effects.


Carlo, which circuit designs have inspired you the most?

Carlo: Well, as I said the Dallas Rangemaster Treble Booster was the first pedal I ever made. It’s a very simple circuit—just 7 components and one transistor—but it’s a pain to make t play well. When you get it, though, it’s amazing. That circuit taught me the importance of each component and how it contributes to the final result.




Tell us about the MXR Il Torino Overdrive. What sound and functionality were you shooting for?

Carlo: The Il Torino Overdrive is an overdrive pedal for fine-tuners. It’s very versatile and very organic sounding at any of its settings. At first, I was searching for a Zeppelin sounding overdrive with a great touch response and a rough tone. These characteristics are still present in the final product, but we ended up with a broader, more versatile spectrum of overdrive with very nice, natural compression.


How did you achieve that goal?

Carlo: I used MOSFET circuitry to recreate the structure of classic tube preamps and LED diodes for their warm, open sound, and I used both local and global feedback to enhance touch response and introduce a bit of asymmetrical saturation. Rolling back the volume on your guitar will clean up the sound without reducing the overall output too much.


You can I was very careful to choose the right components for this pedal, particularly the LED diodes, which are very critical to the tone of the Il Torino.


I made the pedal much more versatile by adding a simple but powerful three-band EQ section. Each of the knobs is highly responsive across their range, so players will be able to fine-tune their overdrive sound to their liking. The last feature I added was the dual mode OD/BOOST switch, which allows players to toggle between the more aggressive overdrive sound and a cleaner sound that has just the right amount of compression and a lot of sustain.


One of this pedal’s main features is that it has a special type of buffered bypass switching rather than true bypass. The type of buffered bypass in the Il Torino uses a Class A Low Impedance Output Driver to maintain natural tonal warmth when using long signal chains. You can’t prevent that kind of signal loss with true bypass.


What type of player will be most interested in this pedal?

Carlo: Players of any style, from blues to hard rock and even fusion, will find this pedal very useful for both their overdrive and boost needs. Especially those who like the sound of handmade boutique amps and like to customize their tone.


What’s the best way to use this pedal? Any particular guitar (humbucker vs. single-coil) and amp combination?

Carlo: The Il Torino is best used with an amp that is just breaking up. It is a subtle overdrive that doesn’t distort basic sound of your guitar, so you’ll still be able to recognize your own tone. As far as specific amps, the Plexy, JCM800, and Blackface-based circuits are the best for this pedal rather than hi-gain amps. I prefer humbucker pickups for the OD mode. It sounds great with single coils, too, but players may want to roll off the treble to balance out the tone.




The Il Torino Overdrive, as with all MXR Custom Shop pedals, is available now from an exclusive network of Custom Shop Dealers. See our MXR Custom Shop page for a list of dealers near you. Want to see it in action? Check this out:




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Category: MXR



So you’ve managed to yank the Velcro off the bottom of your pedal, but it left behind a gunky residue. Fear not—it’s fairly easy to remove. We’ll show you.


Today, our guinea pig is an MXR Custom Shop Phase 99 with little splotches of mild gunkiness in all four corners of the bottom plate.





First step: get yourself a bottle of Goo Gone. You can find this stuff at most hardware stores, and even some grocery stores carry it.





Once you have a bottle, dab some Goo Gone onto a cloth. Pressing firmly, rub the Goo Gone moistened cloth on the pedal’s gunk. It won’t be long before the surface is clean—repeat as necessary until it is gone.




And there you have it. Gunk-free Phase 99. Make sure to wipe the surface clean with soap and water afterward, and make sure to follow all of Goo Gone’s safety precautions.




Dunlop Strings are carefully crafted at our own built-from-the-ground-up factory in Benicia, California. They break in fast and tune up quickly, and they hold their “sweet spot” for a long time. Just put on a fresh set, tune up, and play. With innovative wrapping techniques and custom core-to-wrap ratios, we’re moving guitar strings forward and empowering you, the player.



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Category: MXR, Tech Tips, Tip of the Week


So you’ve spent some time with a standard GCB95 Cry Baby Wah, getting a feel for how its sweep works and how to season up your licks with it. You’re ready to step up your wah game, to branch out and explore different tonal possibilities. Can’t figure out where to begin your search? Worry not! We put this cheat sheet together to help you choose your next Cry Baby Wah.


This guide is broken down by musical genre/style. It’s meant to be a general overview and a starting point—your personal tastes and playing style will—and should always be—the deciding factor. Take a look.


Classic Rock

Cry Baby Classic Wah: This wah—equipped with the same Fasel inductor used in the original Italian-made Cry Baby pedals—has a sweet midrange voice that is perfect for old school rock. A classic pedal for classic sounds!


Vintage Hard Rock

Jimi Hendrix Signature Wah: Overall voicing is dark, meaty, and focused. Perfect for gnarly distorted leads.

Joe Bonamassa Signature Cry Baby Wah: This one has a bit of growl to the tone, which works well driven through a moderate gain tube amp.


Modern Hard Rock

Jerry Cantrell Signature Cry Baby Wah: Very expressive and very throaty. A knob on the side allows you to lower the frequency of the toe-down position, which allows for a lot of tone/response versatility.

535Q Cry Baby Multi-Wah: This is the Swiss Army Knife of wahs. Adjustable Q, selectable heel/toe voicing, output boost—the 535Q is perfect for players who like to tweak and tailor their sound from rig to rig and song to song.


Blues and Blues Rock

Buddy Guy Signature Cry Baby Wah: Smooth, warm, and voiced like a bell.

Clyde McCoy by Cry Baby Wah: This our tribute to the very first wah pedal—super throaty and super expressive thanks to its Halo inductor. Sounds just as great with vintage hard rock as it is with blues and blues rock.



Dimebag Signature Cry Baby Wah: This is actually our most versatile wah pedal—6-position heel/toe voicing selector, adjustable Q, boost level trim, toe down voicing trim, stereo outs. You can sculpt your tone into downright nastiness when using hi gain amps.

Zakk Wylde Signature Cry Baby Wah: Voiced around the lower mids to better complement a downtuned set up, and it pairs well with high gain rig.


Wild Cards

MC404 CAE Wah: This wah is great if you want to go back and forth betweeen vintage and modern sounds, which is ideal for those of you who play in cover bands. It has two different Fasel inductors and a great built-in boost.

105Q Cry Baby Bass Wah: This one has the deepest and broadest range. It doesn’t use an inductor like most wahs. Instead, it’s voiced more like a classic envelope filter, which can get very heavy!


Which Cry Baby Wah do you use? Are you planning on changing it up? Let us know in the comments section below!



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Category: Cry Baby

Dunlop Strings are carefully crafted at our own built-from-the-ground-up factory in Benicia, California. They break in fast and tune up quickly, and they hold their “sweet spot” for a long time. Just put on a fresh set, tune up, and play. With innovative wrapping techniques and custom core-to-wrap ratios, we’re moving guitar strings forward and empowering you, the player.


But don’t just take our word for it. Check out what some of our top artists have to say about Dunlop Strings…





Slipknot’s Jim Root plays Dunlop Nickel Wound Strings
“Dunlop Strings are completely versatile, brilliant and clear, chunky and searing. They endure night after night of endless touring, making them perfect for me.”




Korn’s Munky plays Heavy Core Strings
“Whether my inspiration calls for a magnitude of force and aggression or a small spooky sound, these 7-string sets are flawless.”





Trivium’s Matt Heafy plays Dunlop Nickel Wound Strings
“Whether 50 or 50,000 people; 35 degrees fahrenheit of 120 degrees fahrenheit; bedroom or arena—the strings you pick are an integral piece of your voice and your musical arsenal. Choose something that can be pushed beyond the limit. Dunlop Strings.”




Trivium’s Corey Beaulieu plays Dunlop Nickel Wound Strings
“Strings hold up strong and give me the performance and durability that is needed to make my guitar rock hard every night!”




Andy James plays Dunlop Nickel Wound Strings & Heavy Core Strings
“I’ve used Dunlop 10-46 standard strings and heavy cores for a good while now, and Dunlop have the best feel I’ve ever used in a set of strings. I’m not going anywhere else.”





Eric Gales plays Dunlop Nickel Wound Strings

“I love these strings. They last long, and they withstand all of my bending techniques.”



To learn more about Dunlop Strings and Dunlop Strings Artists, check out the Dunlop Strings Official playlist on our YouTube Channel, or click play below, sit back and let the knowledge flow…





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Category: Dunlop Strings

No guitar player was more instrumental to the popularity of the MXR brand than Eddie Van Halen. Beginning with the groundbreaking “Eruption,” Eddie has continued to use MXR pedals such as the Phase 90, the Flanger, and others to create his iconic sound. The year 2014 marks MXR’s 40th anniversary, and Eddie was gracious enough to sit down with Guitar World and talk about the importance of those MXR pedals to his music. Read the interview in its entirety below.



Guitar World, November 2014 | Eddie Van Halen & MXR



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Category: Artist News, MXR






Your first instrument mod should be installing a set of Straplok® Strap Retainers. Guitars and basses ain’t cheap, so protect your artistic investment—don’t rely on stock strap buttons to keep your instrument from falling straight onto the floor. Many a player has left the stage with their head hung low and a busted instrument in their hands because their strap just wasn’t secure enough.




And it’s an easy mod to do—just follow the instructions that come with each set. If you don’t feel confident installing Straplok Strap Retainers yourself, take your instrument to your local guitar tech. If you are interested in doing it yourself, on the other hand, check out our step-by-step pictorial.


Dunlop Strings are carefully crafted at our own built-from-the-ground-up factory in Benicia, California. They break in fast and tune up quickly, and they hold their “sweet spot” for a long time. Just put on a fresh set, tune up, and play. With innovative wrapping techniques and custom core-to-wrap ratios, we’re moving guitar strings forward and empowering you, the player.



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Category: Dunlop Strings, Tech Tips, Tip of the Week







The most common string types available to acoustic guitar players are Phosphor Bronze and 80/20 Bronze. What’s the difference, and which should YOU play?






First, let’s look at the basic differences. Phosphor Bronze strings use a wrap wire that is composed of roughly 92% copper and 8% tin with a small amount of phosphorus. The wrap used for 80/20 Bronze strings, on the other hand, is composed of 80% copper and 20% zinc.


So what do these differences mean to you as a player? Phosphor Bronze strings tend to be warmer, rounder, and more full-bodied, while 80/20 Bronze strings have an overall brighter, more bell-like tone.


Which type fits your playing style? Let us know in the comment section below.


Dunlop Strings are carefully crafted at our own built-from-the-ground- up factory in Benicia, California. They break in fast and tune up quickly, and they hold their “sweet spot” for a long time. Just put on a fresh set, tune up, and play. With innovative wrapping techniques and custom core-to-wrap ratios, we’re moving guitar strings forward and empowering you, the player.



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Category: Dunlop Strings, Tip of the Week





Firehouse Music: SF01 Slash Octave Fuzz & SC95 Slash Cry Baby Classic

Chicago Music Exchange: SF01 Slash Octave Fuzz

Hugo Helmer Music: SF01 Slash Octave Fuzz & SC95 Slash Cry Baby Classic


In 2012, Slash teamed up with Miles Kennedy and the Conspirators to record Apocalyptic Love, delivering the stripped down, straight up hard rock that the Man in the Top Hat does best. Critics and music fans alike dug the album, and it debuted at #4 on the Billboard Top 100 with two of its tracks becoming #1 rock radio hits. Two years later, the gang is at it again with World on Fire. It drops today—you can get it from all major retailers, digital and physical.


To celebrate, we’re re-releasing the much-demanded SF01 MXR Slash Octave Fuzz and the SC95 Slash Cry Baby Classic Wah. These pedals were first released on a limited basis back in 2012 in conjunction with Slash’s Apocalyptic Love record, but players all over the world have been clamoring for more ever since. So we decided to give you another shot at these great pedals, and what better occasion?


Check out our interview with Slash, below, about the development of each pedal, updated with some words about the new record, World on Fire. After that, we’ve got some sweet vids for you to watch.


What did you want with the Slash Octave Fuzz?

There are some octave fuzz tones on records that I love, but the pedals that created them are very unpredictable. They’re hard to use live and even hard to control in the studio. So I talked to the guys at Dunlop and I told them that there should be a pedal that can just nail those sounds reliably. That’s where the Slash Octave Fuzz comes in. I worked with them and we made a fuzz that’s controllable, with a low octave that didn’t warble too much—that took a bit of work—plus a vintage high octave fuzz and the ability to mix the two.


Do you play differently when you step on the Slash Octave Fuzz?

I’m using it right now in rehearsals for the upcoming tour. The big thing for me is this feeling of confidence—knowing that the tone you’re going for, you can rely on it. You can get into the zone that you need to and play what you want to play. If you have something that doesn’t work properly and reliably, it really interferes with and distracts from what you’re doing. When I step on this pedal and it works so well, it allows me to really play my ass off.


Will you choose different registers to play your lines when you’re using the Octave Fuzz?

No. We designed and voiced this pedal to work over the entire range of the guitar, so I feel like I have the freedom to go anywhere on the fretboard.


Talk about the Slash Cry Baby Classic. What do you look for in a wah pedal in terms of sweep, tone, treble response, and output?

I don’t know if I can verbally describe it, but I need the highs, when the pedal is wide open, to be bright but not out of the stratosphere. I need the sweep to be smooth. I need a nice smooth arc, from the midrangey sound on the bottom—which can’t be too bassy or overly throaty—to the highs, which need to be sweet. I need to be able to hear the note all along the way. The note can’t get lost in the lows and it can’t get lost in the highs. That gives me a fully pronounced wah tone but not that processed sounding wah, which is hard to describe, but you know it when you hear it.


How is this wah different from your last signature model and why the changes?

My first signature wah was very much a professional recording and live wah. You had to spend some time with it and know what you were doing to really control the distortion and use it. This one is much more straightforward.


World on Fire is your second album with Myles Kennedy and the Conspirators, and you’ve spent some serious time on the road and in the studio since Apocalyptic Love was released in 2012. How has that affected the music you guys have created this time around?

I just think that its been a really natural evolution for the song writing team that is Myles Kennedy and myself and the band in general. We’ve definitely grown leaps and bounds from our first record, which I thought was pretty good, and I’m just very pleased and satisfied with where it’s gone and where it’s going.


How did you incorporate the Slash Octave Fuzz and the Slash Cry Baby Classic Wah into your sound with this album? Which songs best demonstrate your use of these two pedals?

There’s a song called “Shadow Life” that definitely utilizes the octave fuzz pedal. You can hear it in the main riff of the song, especially toward the end where it’s up louder in the mix. It’s got a really great unique character, and I love it for that.


The wah wah I used a little more sparingly on this album, but where I did use it, it really shines. I got different textures in the “Safari Inn” solo  just by stepping on it for a minute, playing a couple licks and then stepping off. Then, in another place, I would step back on it again just to added some different tonal qualities. The SC95′s voice really shines during the solo on “Iris of the Storm”—it’s the great wah pedal moment of the album.


Get the MXR Slash Octave Fuzz and the Slash Cry Baby Classic Wah, in stores now! To whet your appetite, we have a couple videos for you to look at. The first is a Dunlop TV episode where Slash talks about these pedals among other cool tidbits, and below that is our MXR white room demo with the Slash Octave Fuzz. Dig it!






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Category: Artist News, Cry Baby, MXR




More and more guitar players are using active pickups these days, and some of the world’s top guitar players—including Zakk Wylde and James Hetfield—have been using them for some time. What’s the big deal? What’s the difference between active and passive guitar pickups?


For this Dunlop Strings Tip of the Week, we’re going to give you a brief run down. None of this is hard and fast—pickup makers in recent years have been designing both passive and active pickups that attempt to have the best of both worlds—but hopefully this will set you in the right direction.



Active pickups tend to have a much higher output than most passive pickups, which is attractive to some players who want to use the extra gain to push their amps that much harder. Higher output also leads to higher headroom and greater clarity—handy if you often throw down flurries of notes.


Dynamics vs. Balance

Passive pickups are responsive to the intensity and technique of your attack. In other words, your sound will reflect whether you play lightly or intensely. With active pickups, the overall sound is much more even. Whether you play lightly or intensely, and no matter where you fret, the tonal character of each note will, more or less, be the same. This has to do with the fact that…



Active pickups compress way more than passive pickups, which, in addition to balancing out overall playing response, also controls unwanted noise and feedback. The tradeoff, according to some guitar players, is the more organic sound and dynamic range of passive pickups.


But really, it all comes down to what sound and playing experience you’re looking for. Neither pickup style is better than the other—they’re tools, and it’s up to you to pick the right tool for the job. Zakk Wylde’s shredding and pinch harmonic wizardry benefit greatly from the clarity and boost provided by his active pickups, but that setup doesn’t fit in with Joe Bonamassa’s smoother blues-rooted sound.


Bottom line? Experiment. Changing out your pickups is a great way to change up the sound of your instrument. EMG is probably the most prominent company as far as active guitar pickups goes, while Seymour Duncan is probably the most prominent passive pickup company. Both companies make both types of pickups, though, so check out all their options. DiMarzio is another great pickup company, and there are a ton of great boutique companies out there, such as our friends at Arcane Inc and Nordstrand Pickups in that category.


Dunlop Strings are carefully crafted at our own built-from-the-ground-up factory in Benicia, California. They break in fast and tune up quickly, and they hold their “sweet spot” for a long time. Just put on a fresh set, tune up, and play. With innovative wrapping techniques and custom core-to-wrap ratios, we’re moving guitar strings forward and empowering you, the player.



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Category: Tip of the Week



Invented by Brad Plunkett at the Thomas Organ Company in 1966, the wah wah guitar effect was named after the similar sounding muting technique perfected by jazz trumpeter Clyde McCoy. Thus, the very first wah wah pedal available to the playing public was named the Clyde McCoy Wah. That pedal’s throaty sound and highly expressive sweep is legendary, and the pedal itself has become a rare and expensive collector’s piece that many players are unwilling to play much less take out on the road. So what do you do if you want the legendary Clyde McCoy wah tone both in the studio AND on the road?


Look no further than the CM95 Clyde McCoy® Wah by Cry Baby®. We used all of our experience and resources to pay a proper and authentic tribute to the original Clyde McCoy Wahs. In 1982, the wah wah torch was passed to Dunlop. We inherited all the original tooling and machinery used by the Thomas Organ Company and Jen Electronica to manufacture the very first Clyde McCoy pedals. We’ve spent the past 30+ years—longer than any other company—designing and manufacturing wah wah pedals. This inheritance and hard work empowered us to faithfully represent the tone and spirit of the very first wah in a way that no other company can. And we did it in a form that provides gigging players the modern consistency and convenience they need on the road, from true bypass switching and AC power to high quality components and a specially designed Halo Inductor.


The CM95 is a tribute to the first production wah wah ever made. This modernized classic captures the throaty voice and expressive sweep of the original while offering gigging players the consistency and convenience they need on the road. How did we do it? Let’s hear from Dunlop engineers Sam McRae and Jeorge Tripps below.


When was the decision made to produce a Clyde McCoy Wah?


Jeorge: The idea to recreate the Clyde McCoy wah has been around for several years. The original pedals are highly sought after, and they’re expensive and difficult to find. We wanted to make that great sound available to all players, not just the collectors.


Does the CM95 use a Halo inductor? Does it sound and behave like the originals?


Jeorge: The CM95 does use a Halo inductor—that’s the key to its tonal character and its very expressive sweep. But the originals had this habit of creating unwanted microphonic noise, so we designed our own.


Sam: We created the HI01 Halo inductor after carefully analyzing vintage Halo inductors and using those as our blueprint. From there, we stabilized the cup core, minimizing the microphonic noise you often get with vintage Clyde McCoy Wahs.


Jeorge: It sounds as close to the originals as you can get, only more controlled and more musical.


What can you tell us about the CM95′s housing?


Jeorge: The housing used for the CM95 is based on the original JEN-manufactured design. The only difference is that we chose to have a black top instead of a chrome top to keep the look of a Cry Baby wah wah…much like the original Cry Baby version of the Clyde McCoy. It also has a steel bottom plate like the originals.


How is the Clyde McCoy Wah different from other Cry Baby pedals?


Sam: The CM95 makes use of the halo inductor with a slightly lower “Q” with a larger band pass characteristic than the other wahs for a more musical flavor and balanced smooth response like its vintage brethren. It also has the identical input and output impedance characteristic as the original Clyde McCoy but with the advantage of true bypass switching.


How does the CM95′s sweep range compare with the original Clyde McCoy Wah?


Sam: The originals usually, if not always, had to have the felt removed, the switch lowered, and the rotation of the pot adjusted to get a wider sweep range. The CM95 has this taken care of right out of the box.


Which amp and pedals are best matched with the CM95?


Jeorge: This is a classic pedal, so I would recommend classic amps and classic pedals such as a Marshall Super Lead, a Fender Deluxe Reverb, a Fuzz Face® Distortion, a Uni-Vibe® Chorus Vibrato, a Phase 90, and so on.


Is this a reissue or something new?


Jeorge: Our goal was to preserve the sound of the original and offer it to players in a package that’s more convenient for their modern needs. In that sense, it’s not a straight reissue. Nobody wants to take their original Clyde McCoy out on the stage—it’s too valuable and too fragile. With the CM95, you will get authentic Clyde McCoy sounds because of the Halo inductor and two-transistor circuit, and you will get basically the same look with its aluminum JEN-style housing. But you will also get true bypass switching and a power supply jack—perfect for today’s players to use both in the studio and on the stage. This is the definitive recreation of the Clyde McCoy circuit and sound, and now it’s available to all players to suit their modern needs.


Before you go, check out the gracious video review of the Clyde McCoy Wah from Guitar World‘s Paul Riario, below.



Visit these online dealers to get the Dunlop Clyde McCoy Wah by Cry Baby…


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Sam Ash


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Category: Cry Baby