
By consolidating four top-quality analog effects in a single unit, the Cancer Wah the Fuzz? from Celestial Effects is at once simple, flexible, and extremely powerful, and it delivers an impressive combination of functional and far-out sounds.
I was watching Pink Floyd’s 1972 Live at Pompeii recently, and David Gilmour—long known for his skill with effects—was using a Fuzz Face, a Vox wah, a DeArmond volume pedal, and a Binson Echorec. That’s it. And he was just slaying it.
It got me wondering: At what point did guitarists decide we needed one box for a little edge, another for crunch rhythm, one more for leads, a silicon fuzz for when things get wild, and a germanium fuzz for those old-school tones? Given how obsessed we now are about having a pedal for everything, how did our rock-god forefathers get along with so little?
Celestial Effects’ latest pedal, the Cancer Wah the Fuzz?, may not solve pedalboard sprawl or make players any less interested in possessing every effect on Earth. But by consolidating four top-quality analog effects in a single unit, it’s at once simple, flexible, and extremely powerful, and it delivers an impressive combination of functional and far-out sounds.
Inspired Consolidation
Fundamentally, the Wah the Fuzz? combines
tube overdrive, muscle fuzz, octave fuzz, and
fixed wah in a way that provides a nice combination
of familiarity and esoteric tone options.
The layout is smart and functional—considering there are essentially six effect modes activated by dedicated footswitches and two toggle switches—and things don’t feel at all cluttered, even though the housing is relatively compact. By removing the bottom panel, which is held in place by six flathead screws, you access four additional trim pots for the fixed wah (gain, mids, input impedance, and width-of-sweep or Q control) and the 12AX7 tube that drives the OD.
Thoughtfully, the LEDs are four different colors, which makes it easy to see which effect is on. It’s pretty hard to mistake the overdrive from the paint-peeling sounds of the octave fuzz at full throttle, but in a challenging live-monitoring situation, telling the two fuzzes apart could be a problem, so I really appreciate features like this.
The WTF? is a good-looking box, too. The knobs alternate between white and red, from section to section, the enclosure is bombproof, and the paint and art don’t seem prone to scratches or nicks.
Many Legs of the Crab
The first effect in Wah the Fuzz?’s signal
path is the fixed wah. I’m surprised by
how few fixed-wah effects there are on the
market today, because it’s such a cool effect.
You know the sound—it’s one made popular
by famous players like Mick Ronson and
Michael Schenker, as well as lesser-known
greats like Kurt Heasley of the indie band
Lilys (one of my all-time favorite guitarists).
Sure, anyone with a wah can sweep the filter until they find the sweet spot and leave it there, but that can be precarious to say the least. And wouldn’t it be nice to have a set-and-forget version of the effect that takes you straight to “Queen Bitch” by simply stomping on a switch?
This is the pedal’s secret weapon. Combined with the other distortions, the fixed wah can either mildly accentuate the mids or impart a more extreme sonic stamp. My favorite use was kicking it in right when my guitar was about to feed back, which made it sing instead. (And boy, did it sing!) Being able to adjust the Q control on the fly might be nice—and something like a MXR-style rubber knob that you can nudge with your foot would be a smart addition.
Just downstream from the wah fuzz resides the octave fuzz. Foxx, Roger Mayer, and MXR have all made legendary variations of this effect—and all are notoriously finicky. Octave fuzzes tend to hate low notes, they don’t always work well with bridge pickups, and they glitch and gate out. In short, they can be a handful.
The Celestial tends to sound richer and more focused, however. The basic sound here is in the Octavia camp, but the addition of a mini toggle allows you to switch the octave on or off, essentially making it two different specialty fuzzes. Horn-like effects are possible, as are ring modulator tones, and it’s impressive how subtly these effects can be employed simply by varying the intensity.
The muscle fuzz is next in line. This is my favorite fuzz sound in the unit, by far. A normal/thick toggle lets you choose between two styles of fuzz (A and B). The first is a more classic sound in the vein of a Big Muff, the other is heavier, doomier, and in step with more modern sounds. It’s a versatile fuzz, and it’s pretty easy to go from fizzy to buzz saw to sludgy with a quick twist of the tone knob and flick of the normal/thick switch. And it’s fantastic when combined with the fixed wah. Quite honestly, it’s one of the best fuzzes I’ve ever heard.
Ratings
Pros:
Covers a lot of distortion needs with some bonuses.
The fixed wah genuinely opens up new possibilities. Lots of
sonic choice, yet not overwhelming.
Cons:
Costs as much as four individual stomps, so no bulkbuy
value. Octave fuzz not quite as strong as regular fuzz.
Tones:
Ease of Use:
Build:
Value:
Street:
$469
Celestial Effects
celestialeffects.com
The tube OD, the last in the chain, uses an actual JJ Tesla 12AX7. I’m always a little skeptical of tube overdrives housed in a pedal like this, and it’s reasonable to wonder if a 9V wall wart delivers enough power to properly drive the tube. And if you’re looking for true amp-style overdrive, the tube in the WTF? won’t really get you all the way there. That said, it sounds great. The gain and volume controls are pretty self-explanatory, but there is a third knob for edge. When dimed, this adds a very nice sizzle. Turning the edge counter-clockwise gets you a softer, somewhat squishy sound and response. The only notable omission is a tone control, which is puzzling, given that there’s enough room on the front panel for one.
To mimic a shared backline situation, I used the overdrive with three different amps and, of course, got three very different results. Typically, an overdrive pedal should function as a leveler for guitarists who don’t have the luxury of using their own amp, and a tone control is a big part of that. I did love the way it sounded in front of an AC30, though, and it paired nicely with my old 12-watt Fender Musicmaster Bass amp. There’s lots of extra volume available, too, so it makes a nice and very functional boost.
The Verdict
I know as much about Zodiac signs such as
Cancer as I do about Zoroastrianism, which
is to say nothing, but I do know quality
when I see it. This is a major consideration
when you’re getting ready to drop big bucks
on a stompbox, and the five-year warranty
suggests Celestial is confident in their work.
With the Cancer Wah the Fuzz?, Celestial is likely dealing with a fairly narrow market, since it’s targeted at the player who’s willing to spend significant cash to simplify their pedal rig while committing to an octave fuzz and fixed wah—specialty effects for most. On the other hand, it will be a bonanza for open-minded players looking to explore new tonal places and sonic spaces by combining fuzz and overdrive. The selection of effects makes great sense, and it would make one hell of a secret weapon in the studio.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIR™, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex
Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BluePG contributor Tom Butwin dives into five clever, gig-ready tuner options—some you’ve seen, and at least one you haven’t. From strobe accuracy to metronome mashups and strap-mounted stealth, these tools might just make tuning fun again.
Korg Pitchstrap Guitar and Bass Strap Tuner - Black
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Peterson StroboStomp Mini Pedal Tuner
The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format.
Peterson StroboClip HDC High-definition Rechargeable Clip-on Strobe Tuner
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Cherub Pix Tune (WST-915Li)
The latest Cherub Pix Tune (WST-915Li) offers 16 vibrant display modes, allowing users to customize their tuning experience to match their own styles. There are 5 meter styles, 3 animal cartoon styles, 2 sports styles, and 6 user customizable styles. You can conveniently upload your boot-up animation and tuning display pictures through the accompanying APPs. With its engaging visuals, tuning has never been this enjoyable!
Taylor Beacon Digital Clip-on Tuner - Black
The Taylor Beacon combines a tuner, metronome, timer, and flashlight in one compact device, offering five tuning modes, 12 time signatures, and up to 100 minutes of practice timer.
The Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, we’re talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ’84 to their shared guitar journey and how they both thought about gear. And in case you’ve heard otherwise, Kurt was never a Melvins roadie!
Osborne’s latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborne’s life. We dig into that and how it all relates and much more.