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.
MMR November by MMR
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.
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Every musician knows that late ’50s Sunburst Les Paul Standards are hard enough to come by as it is. Obtaining a pristine and exemplary ’59 ‘Burst and modifying it for heightened performance and vastly expanded tonal options? Produced in strictly limited numbers, with two levels of aging, this guitar captures the look, feel, sound, and versatility of one of the greatest artist-owned Les Pauls of all time.
The Les Paul that has come to be known as “Number Two” was purchased by Page in after trying for some time to acquire an exceptional second Les Paul. This was several years after having acquired his other legendary Les Paul—”Number One”, a ’59 ‘Burst with shaved-down neck profile and no serial number—from Joe Walsh. Jimmy did have some modifications done to the neck shape so that it would more nearly match the feel of his “Number One.
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.
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. John Glennon, an assistant junior electronics engineer with the Thomas Organ Company, was summoned to bring a volume control pedal which was used in the Vox Continental Organ so that the transistorized MRB potentiometer bread-boarded circuit could be installed in the pedal’s housing.
At this point the first electric guitar was plugged into the prototype wah pedal by guitarist Del Casher who suggested to Joe Banaron that this was a guitar effects pedal rather than a wind instrument effects pedal.
The VOX Showroom
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.
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Access to the upper frets is great — no problem playing pentatonics at the 17th, with a full-tone bend at the 22nd providing the double octave. Double-cut solidbody electric BODY: Stephen McSwain actively invites player input; see website for images and ideas World Guitars www. Jeff Beck and Van Morrison join forces for a double bill together, and Bad Company will be supported by Richie Sambora for another show during the weekend.
The VHW is a perfect combination of VOX’s world-famous technology, with classical yet modern specifications, surpassing any previous Wah Wah pedal in history by delivering the purest sound. Terminals Input (x1) Output (x1).
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