This signature Cry Baby Fuzz Wah is designed to complement and accentuate Akira Takasaki's style and features a switchable fuzz circuit for aggressive grit.
Japanese rock legend Akira Takasaki is famous for his fast, intricate riffs and melodic compositions—most notably heard in the heavy metal band Loudness. With a custom low-frequency sweep and a switchable fuzz circuit, this pedal puts the perfect blend of high-gain saturation and sweeping expression right at your feet. Auto-return switching allows you to step into the effect just as long as you need to make your passage pop, and LED indicators indicate whether the fuzz or wah effects are active.
"The best ROCK wah pedal for live performances,” Akira says. “From the moment you step on the pedal, this badass effect simultaneously roars out fuzz along with the traditional Cry Baby Wah sound!”
Akira Takasaki Cry Baby Fuzz Wah highlights:
- The perfect blend of high-gain saturation and sweeping expression
- Low-frequency sweep for a full, warm tone
- Switchable fuzz circuit for aggressive grit
- Auto-return switching for conveniently engagement/disengagement
- LEDs indicate fuzz and wah status
Dunlop Akira Takasaki Signature Cry Baby Fuzz Wah Pedal
For more information, please visit jimdunlop.com.
Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years he’s written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently he’s worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body that’s mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If there’s one guitar Moak would grab in a fire, it’s the Jaguar he’s had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moak’s 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words “cheat” and “liar,” telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moak’s heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moak’s extensive selection of cabs—all of which are miked and ready to roll.
Vintage Voices
Moak’s amps skew British, but ’60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnet’s Herzog tube-driven overdrive, can work as an overdrive or an amp head, but it’s probably most famous for Randy Bachman’s fuzzy-as-heck “American Woman” tone.
Stomp Staff
While the Eventide H90 that helps anchor Moak’s pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp ‘N’ Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
