Dunlop Cry Baby Junior Review

It’s built to better fit pedalboards—but three switchable voices make it more versatile, too.


Wide range of wah voices. Smooth sweep. Torque-adjustable treadle stays parked when you want it to. Top-mounted jacks. Bypass LED.

Voice switch could be bigger and easier to see.


Dunlop Cry Baby Junior


Ease of Use:



Wah pedals lagged so far behind in the scramble to become “pedalboard friendly" that I came to relish the stubborn resistance to shrinkage. Dunlop went a long way to undoing big-wah design entrenchment with their Mini Wah. But they've really refined the wah's relationship to the pedalboard with the Cry Baby Junior.

The 8"-long Junior shares a few features with the Mini—most notably the 3-position voice switch. But where the Mini's switch was stashed inside the enclosure, Junior's is on the enclosure's right side. The easier access is welcome because switching between the three distinct voices—the high-focused GCB95, the midrange-y vintage setting, and the low-frequency voice—opens up many tone options. The low-frequency and vintage voices, in particular, reveal many cool parked-wah tones through the pedal's sweep, especially in the toe-down position. And speaking of sweep, Junior's is as conducive to slow, controlled filter sweeps as quick-flickin'quack-funk moves.

While clearly more compact than a full-sized wah, its footprint—which was developed with help from Pedaltrain—isn't the only board-optimizing feature. Top-mounted jacks, a flat, rubber bottom panel, and a bright bypass LED on the heel of the enclosure also help make the Junior a wah that space-conscious players can love.

Test Gear: Fender Telecaster, Fender Vibro Champ

Watch our First Look demo of the Dunlop Cry Baby Junior

Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.


Dunlop JCT95 Justin Chancellor Cry Baby Wah


Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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