query: who was the first guitarist to use a wah wah pedal

pos: Wah-wah pedal 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. After the installation, Page began playing

pos: Wah-wah pedal his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc./Thomas Organ Company, to listen to the effect. 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. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the electric guitar as suggested by Casher. After a remark by Casher to

pos: Wah-wah pedal Banaron regarding the Harmon mute style of trumpet playing in the famous recording of "Sugar Blues" from the 1930s, Banaron decided to market the wah-wah pedal using Clyde McCoy's name for endorsement. After the invention of the wah pedal, the prototype was modified by Casher and Plunkett to better accommodate the harmonic qualities of the electric guitar. However, since Vox had no intention of marketing the wah pedal for electric guitar players, the prototype wah-wah pedal was given to Del Casher for performances at Vox press conferences and film scores for Universal Pictures. The un-modified version of the Vox wah

pos: Fuzz-wah Dick Denney in hopes that the guitar would be able to imitate certain aspects of the human voice. Later on in the 1960s, guitarist Del Casher was introduced to the sound the knob could create and thought to make it into a pedal. This made it easier to use and manipulate while in the act of playing guitars, since it no longer required a hand to be used. Fuzz-wah pedals normally come with at least two nobs, enabling the player to select either effect independently or together. When both are in use at once, the fuzz effect is always before

pos: Del Casher Del Casher Del Casher (born Delton Kacher, 1938, Hammond, Indiana) is an American guitarist and inventor. He invented Wah-wah pedal, the Ecco-Fonic, and the Fender Electronic Echo Chamber. He was the first to introduce the Roland Guitar Synthesizer for the Roland Corporation. Casher is an alumnus of the University of Pittsburgh where he majored in communications. After college, he moved to Hollywood and was invited to perform as the guitar and banjo soloist on the Lawrence Welk TV show. At that time, he also toured with "The Three Suns", RCA recording artists who were well known for their hit song

pos: Wah-wah pedal with stacked Marshall Amplifiers (in both static and modulated mode) for lead and rhythm guitar applications unheard of before then. According to Del Casher, Hendrix learned about the pedal from Frank Zappa, another well-known early user. Milestones of this signature guitar and amplifier combination include songs such as "Voodoo Child (Slight Return)" as well as the "Star Spangled Banner" which was played by Hendrix at Woodstock in 1969. Mick Ronson used a Cry Baby for the same purpose while recording "The Rise and Fall of Ziggy Stardust and the Spiders from Mars". Another famous style of wah-wah playing is utilizing

neg: Wah-wah pedal to rocking the pedal up and down to crest a spectral glide, another function of the pedal is to use it in a fixed position. A guitarist using the wah in this way selects a position on the wah pedal and leaves the pedal there. Depending on the position of the pedal, this will boost or cut a specific frequency. This can be used for emphasizing the "sweet spot" in the tonal spectrum of a particular instrument. One electric guitar player to use the pedal in this way was Jimi Hendrix, who revolutionized its application by combining a Fender Stratocaster

neg: Wah-wah pedal This was later simulated with electronic circuitry for the electric guitar when the wah-wah pedal was invented. It is controlled by movement of the player's foot on a rocking pedal connected to a potentiometer. Wah-wah effects are used when a guitarist is soloing, or creating a "wacka-wacka" funk-styled rhythm for rhythm guitar playing. An envelope filter or envelope follower is often referred to as an auto-wah. The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc./Thomas Organ Company in November 1966. This pedal is the original prototype made from a transistorized MRB (mid-range boost) potentiometer bread-boarded

neg: Fuzz-wah Fuzz-wah A fuzz-wah pedal is a stomp box containing both a fuzzbox and a wah-wah pedal in series allowing the user to distort "wah" and the "fuzz" sounds as an aesthetic affect on an electric guitar or bass. They were developed in order to combine the iconic sounds of the more psychedelic bands of the late 1960s and 1970s. The "fuzz" concept was accidentally created in Nashville in 1961 by a malfunction in bassist Grady Martin's amplifier during a solo on a track. The Wah-wah pedal started out as a knob that was created by a British engineer and guitarist

neg: Wah-wah pedal and Chick Corea) play electric pianos with a wah-wah pedal. Napoleon Murphy Brock played a saxophone amplified through a wah-wah pedal in the Frank Zappa movie "The Dub Room Special", as well as on some of Zappa's albums. David Sanborn can be heard playing an alto saxophone modified by a wah-wah pedal on the David Bowie album "Young Americans". Noted saxophonist King Curtis was also known to use a wah-wah pedal. Dick Sims, the keyboard player with Eric Clapton in the late 1970s, used a Hammond organ in conjunction with a wah-wah pedal, placed on top of the organ and

neg: Wah-wah pedal operated by his palm. The effect is also extensively used with the electric violin. Notable examples are Jerry Goodman with the Mahavishnu Orchestra, and Jean-Luc Ponty, Don "Sugarcane" Harris and Shankar with Frank Zappa, all usually engaged in long wah-wah violin/guitar duels. Boyd Tinsley of the Dave Matthews Band is known to use a wah-wah pedal live. Wah-wah pedal A wah-wah pedal (or simply wah pedal) is a type of electric guitar effects pedal that alters the tone and frequencies of the guitar signal to create a distinctive sound, mimicking the human voice saying the onomatopoeic name "wah-wah". The pedal

neg: Wah-wah pedal a wah-wah pedal in their song "Money" to give the impression of many consecutive chords being played. Jordan Rudess of Dream Theater made an extensive use of the wah-wah pedal on Dream Theater's album "Train of Thought". John Medeski of Medeski, Martin, and Wood uses a wah pedal with his clavinet. Many jazz fusion records feature wind and brass instruments with the effect - Miles Davis's trumpet being a well-known example. Davis first used this technique in 1970 (at concerts documented on "Live-Evil" and "The Cellar Door Sessions") at a time when he also made his keyboard players (Keith Jarrett

neg: Fuzz-wah the wah, allowing the wah-wah to process the richer harmonic content of the distorted sound and produce a vivid effect. The Fuzz-wah was meant to combine the two unique sounds of "fuzz" and "Wah" distortion, and make them both accessible while a guitarist was playing. King Crimson bassist John Wetton used a fuzz-wah for his distinctive distortion sound. Jerry Garcia, guitarist of the Grateful Dead, used a Morley Fuzz Wah during that band's 1973-74 tours. Metallica's Cliff Burton used a chrome Tel-Ray Morley Power Wah Fuzz pedal for his solo sound in early days of Metallica (later switched over to

neg: Clyde McCoy introduction of the Vox Clyde McCoy Wah-Wah Pedal (Clyde's name was only used for promotion and Clyde had nothing to do with the use or development of the pedal), the most significant guitar effect of its time. The Wah-wah pedal was invented by a young engineer named Brad Plunkett, who worked for the Thomas Organ Company, Vox/JMI's U.S. counterpart. The wah circuit basically sprang from the 3-position midrange voicing function used on the Vox Super Beatle amplifier. Vox cleverly packaged the circuit into an enclosure with a rocker pedal attached to the pot (which controlled the frequency of the resonant

neg: Wah-wah pedal reaching number one in early 1969. Terry Kath, lead guitarist for the band Chicago, used it on many of their early recordings as well. Martin Barre, lead guitarist for the fledgling Jethro Tull, also employed it to great effect on their second album "Stand Up", particularly on "We Used to Know" and "Look into the Sun". Jimmy Page, featured the wah-wah pedal on several songs from the final Yardbirds album "Little Games", as well as the solo on the Led Zeppelin song "Custard Pie", and throughout "Trampled Under Foot", both from "Physical Graffiti". Tony Iommi used it on the songs

neg: Wah-wah pedal Gladys Knight & The Pips, and The Supremes, Undisputed Truth "Smilin' Faces" . He played on numerous sessions in the 1970s and 1980s for many top soul, funk and disco acts, including Herbie Hancock. Funk band Kool and the Gang, B.T.Express, and Jimmy Castor Bunch used Wah-wah pedal also. Keyboardists have also made use of the wah-wah effect both in the studio and during live performances. Garth Hudson famously used a wah-wah pedal on a clavinet in The Band's song "Up on Cripple Creek" to emulate a jaw harp. Rick Wright of Pink Floyd played a Wurlitzer electric piano through

neg: Brian Robertson (guitarist) can also be seen playing a white Fender Stratocaster with black pick-guard and a black Gibson SG in mimed footage with Lizzy. Although associated with Marshall amplifiers (100 watt non-Master Volume Superlead heads and 25 W Celestion Greenback speakers), Robertson has been known to use Mesa Boogie (100 W Dual Rectifier head) and Soundman amplifiers. The "Jailbreak" album was recorded using a Carlsbro combo. Robertson's original wah-pedal is a UK made Colorsound although he sometimes used a Cry Baby wah wah in the 1990s and a borrowed Vox Wah in the "Still in Love with Blues" video (which he cut

neg: Wah Wah Watson Wah Wah Watson Melvin Ragin (December 8, 1950 – October 24, 2018), better known by the nickname "Wah Wah Watson", was an American guitarist and session musician famed for his skills with a wah-wah pedal. A native of Richmond, Virginia, Melvin Ragin moved to Detroit and became a member of the Motown Records studio band, The Funk Brothers, where he recorded with artists like The Temptations (his guitar work on "Papa Was a Rollin' Stone" is particularly notable), The Jackson 5, the Four Tops, Gladys Knight & the Pips, and The Supremes. He played on numerous sessions in the 1970s

neg: Wah Wah Watson (2000) by Angie Stone, the soundtrack to the film "Shaft" (2000), "Damita Jo" (2004) by Janet Jackson, Alicia Keys' "Unplugged" (2005), and "The Element of Freedom" (2009). Watson died on October 24, 2018 at St. John’s Hospital in Santa Monica. Wah Wah Watson Melvin Ragin (December 8, 1950 – October 24, 2018), better known by the nickname "Wah Wah Watson", was an American guitarist and session musician famed for his skills with a wah-wah pedal. A native of Richmond, Virginia, Melvin Ragin moved to Detroit and became a member of the Motown Records studio band, The Funk Brothers, where he

neg: Wah-wah pedal a wah-wah pedal on his solo piece "The Fish" on the album "Fragile". While wah pedals are less popular as a bass effect, various companies now offer pedals designed specifically for bass guitars. Many steel guitar players use a wah-wah, such as Robert Randolph from the Robert Randolph and the Family Band. Melvin Ragin, better known by the nickname Wah Wah Watson, was a member of the Motown Records studio band, The Funk Brothers, where he recorded with artists such as The Temptations "Papa was a Rolling Stone", Marvin Gaye "Let's Get It On", The Jackson 5, The Four Tops,

neg: Wah-wah pedal Wah-wah pedal A wah-wah pedal (or simply wah pedal) is a type of electric guitar effects pedal that alters the tone and frequencies of the guitar signal to create a distinctive sound, mimicking the human voice saying the onomatopoeic name "wah-wah". The pedal sweeps the peak response of a frequency filter up and down in frequency to create the sound, a spectral glide, also known as "the wah effect". The wah-wah effect originated in the 1920s, with trumpet or trombone players finding they could produce an expressive crying tone by moving a mute in and out of the instrument's bell.

neg: Wah-wah (music) means of a mute, particularly with the harmon (also called a "wa-wa" mute) or plunger mute. Woodwind instruments may use "false fingerings" to produce the effect. Any electrified instrument may use an auxiliary signal-processing device, or pedal. Often it is controlled by movement of the player's foot on a rocking pedal connected to a potentiometer. An alternative to players directly controlling the amount of effect is an 'auto-wah'. These devices, usually make harder hit notes more trembly with a more prominent wah wah effect . Wah-wah effects are often used for soloing or for creating a "wacka-wacka" funk rhythm on

neg: Morley Pedals new models to this day. Many modern artists endorse and use their pedals. Artists known to use them include Steve Vai, who has three signature models: the Bad Horsie and Bad Horsie 2, and the Little Alligator volume pedal. Adam Darski (Nergal) from Behemoth and Mark Tremonti are also notable Morley artists; the latter has a signature wah-wah pedal. In addition, Metallica's early bass player, Cliff Burton, used an original Tel-Rey 'chrome' Morley Wah Boost along with an Ibanez Tube Screamer overdrive unit. It was similar to the company's current Morley Power Wah model. See Morley Pedals official site for

neg: Grunge pedal played a key role in Cobain's switching from quiet to loud and back to quiet approach to songwriting. The use of small pedals by grunge guitarists helped to start off the revival of interest in boutique, hand-soldered, 1970s-style analog pedals. The other effect that grunge guitarists used was one of the most low-tech effects devices, the wah-wah pedal. Both "[Kim] Thayil and Alice in Chains' Jerry Cantrell ... were great advocates of the wah wah pedal." Wah was also used by the Screaming Trees, Pearl Jam, Soundgarden, Mudhoney and Dinosaur Jr. Grunge guitarists played loud, with Kurt Cobain's early

neg: The Howlin' Wolf Album Phil Upchurch. Cosey, Upchurch and Jennings joked about calling the group "The Electric Niggers". Marshall Chess liked the suggestion, but Leonard Chess refused to allow the name. The album incorporates use of wah-wah pedal and fuzzbox. Marshall Chess augmented the rhythm of Howlin Wolf's live band with the use of electronic organ and saxophone. Blues purists criticized the album's psychedelic sound. Howlin' Wolf disliked the sound, which he did not consider to be blues. According to guitarist Pete Cosey, during the recording sessions, Howlin' Wolf "looked at me and he said 'Why don't you take them wah-wahs and all that

neg: Wah-wah pedal Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, Illinois these Italian models continued to be made and are among the more collectible wah pedals today. Some of the most famous electric guitarists of the day were keen to adopt the wah-wah pedal soon after its release. Among the first recordings featuring wah-wah pedal were "Tales of Brave Ulysses" by Cream with Eric Clapton on guitar and "Burning of the Midnight Lamp" by the Jimi Hendrix Experience, both

neg: Fuzz-wah Power Wah Boost in order to overdrive front end of the Mesa tube amps better for more or less identical effect). Jimi Hendrix is one of the most prevalent musicians of this period who incorporated the Fuzz and Wah wah pedal's into his sound. Fuzz-wah A fuzz-wah pedal is a stomp box containing both a fuzzbox and a wah-wah pedal in series allowing the user to distort "wah" and the "fuzz" sounds as an aesthetic affect on an electric guitar or bass. They were developed in order to combine the iconic sounds of the more psychedelic bands of the late

neg: Del Casher guitar, believing it would be better for the electric trumpet. In 1967, after some negotiating, Vox agreed to have Del compose and release a record using the new Wah-wah pedal. Universal Pictures hired Casher to be the featured artist on three movies using his prototype Wah-wah pedal: "The Ghost and Mr. Chicken", "The Shakiest Gun in the West", and "The Traveling Saleslady". MGM hired him for the Tony Curtis film "Don't Make Waves". In the meantime, Vox was unsuccessful in its efforts to promote the pedal for use on the electric trumpet. His playing also appears on the theme for

neg: Band of Gypsys of his first album), a Fuzz Face distortion box, and a wah-wah pedal. One mixture of them produces a "whistling, shimmering, ring-modulated tone so rich with upper harmonics" in the higher range, while in the lower range "it almost sounds like 'Froggy Went a-Courtin'' ... all these [lower] oct[ave]-intervals give it such a dramatic effect". His use of the wah-wah employs "rapid foot movement and wide sweeps [which] tend to make the melody fade in and out". Also, by using a triplet rhythm with the pedal, a polyrhythm with the prevailing 4/4 beat is created. The lyrics, some which borrow

neg: Kirk Hammett in India and Asia, and was recently sent a second prototype. To avoid problems with pedals being damaged during live performances, Hammett keeps his effect pedals in a rack along with his amplifiers and his guitar technician controls them through a pedalboard sidestage. The pedal controller allows him to change between different effect pedals and amplifiers. In 2008, Jim Dunlop started working in partnership with Hammett to create a signature Wah-wah pedal, the KH95. It is now available to buy in stores. Kirk Hammett Kirk Lee Hammett (born November 18, 1962) is an American musician who has been lead guitarist

neg: Michael Williams (guitarist) Michael Williams (guitarist) Michael Williams is an American guitarist. Mainly a Texas blues-style player, he has opened for Eric Clapton, Robert Cray, Buddy Guy, George Thorogood, Jonny Lang, and others. His 2013 album "Fire Red" was produced by Eddie Kramer. Williams learned to love the blues from his father, who played with an Austin-based band called The Cobras, and was influenced early on by Stevie Ray Vaughan and (after he moved to Seattle) Jimi Hendrix. He uses Divided by 13 amplifiers, and his wah-slide tone on one of "Fire Red"s songs was made using two Tube Screamers, a wah pedal,

neg: Dunlop Cry Baby Dunlop Cry Baby The Dunlop Cry Baby is a popular wah-wah pedal, manufactured by Dunlop Manufacturing, Inc. The name Cry Baby was from the original pedal from which it was copied, the Thomas Organ/Vox Cry Baby wah-wah, first manufactured in 1966. Thomas Organ/Vox failed to register the name as a trademark, leaving it open for Dunlop. More recently, Dunlop manufactured the Vox pedals under licence, although this is no longer the case. The said wah-wah effect was originally intended to imitate the supposed crying tone that a muted trumpet produced, but became an expressive tool in its own way. It

neg: Wah-wah pedal 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 1950s recordings of "Hot Toddy" and "Slinkey". Jazz guitarist Peter Van Wood had a modified Hammond organ expression pedal; he recorded in 1955 a version of George Gershwin's "Summertime" with a "crying" tone, and other recordings including humorous "novelty" effects. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, and in Dave Berry's song "The

neg: Auto-wah built for musical instruments was the Mu-Tron III, invented by Mike Beigel. Other examples include the MXR Envelope Filter and the Boss AW-2 Auto Wah (LFO controlled). Auto-wah Auto-wah (also known as a "Q-wah", "T-wah", "envelope following filter", "envelope follower" or "envelope filter") is a type of wah-wah effects pedal typically used with electric guitar, bass guitar, clavinet, and electric piano etc. The distinctive choppy rhythm guitar sound on many funk and disco recordings from the 1970s popularized the effect. Instead of the effect being controlled by a pedal, as on a standard wah-wah, the effect alters in response to

neg: Jimi Hendrix simulate the modulation effects of a rotating Leslie speaker by providing a rich phasing sound that could be manipulated with a speed control pedal. He can be heard using the effect during his performance at Woodstock and on the Band of Gypsys track "Machine Gun", which prominently features the Uni-vibe along with an Octavia and a Fuzz Face. His signal flow for live performance involved first plugging his guitar into a wah-wah pedal, then connecting the wah-wah pedal to a Fuzz Face, which was then linked to a Uni-Vibe, before connecting to a Marshall amplifier. As an adolescent during the

neg: Auto-wah Auto-wah Auto-wah (also known as a "Q-wah", "T-wah", "envelope following filter", "envelope follower" or "envelope filter") is a type of wah-wah effects pedal typically used with electric guitar, bass guitar, clavinet, and electric piano etc. The distinctive choppy rhythm guitar sound on many funk and disco recordings from the 1970s popularized the effect. Instead of the effect being controlled by a pedal, as on a standard wah-wah, the effect alters in response to the volume of the input signal. Like a wah, it works by adjusting a peaking filter, which amplifies a specific frequency and cuts off other selected frequencies.

neg: Wah-wah pedal pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal. Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, and Brad Plunkett to write and submit the documentation for the wah-wah pedal patent. The patent application was submitted on February 24, 1967, which included technical diagrams of the pedal being connected to a four-stringed "guitar" (as noted from the "Description of the Preferred Embodiment"). Warwick Electronics Inc. was granted ("foot-controlled continuously variable preference circuit for musical instruments") on September 22, 1970. Early versions of

neg: Wah-wah pedal it for a percussive "wacka-wacka" effect during rhythm guitar parts. This is done by muting strings, holding down a chord and moving the pedal at the same time. This was first heard on the song "Little Miss Lover" (1967) by the Jimi Hendrix Experience. One of the most famous uses of this effect is heard on Isaac Hayes's "Theme from Shaft" (1971), Charles Pitts playing the guitar. Michael Schenker also utilized the pedal in his work. The "wah-wah" and "wacka-wacka" effects are often associated with the bands on 1970s TV variety shows, like those of Sonny and Cher, Flip Wilson,

neg: Tales of Brave Ulysses Tales of Brave Ulysses "Tales of Brave Ulysses" is a song recorded in 1967 by British group Cream. In the UK and US, it was released as the B-side to the "Strange Brew" single in June 1967. In November, the song was included on Cream's second album, "Disraeli Gears". The song features one of the earliest uses of a wah-wah pedal, which guitarist Eric Clapton plays throughout the song. The song was the first collaboration between guitarist Eric Clapton and artist Martin Sharp. Clapton composed the music, inspired by the Lovin' Spoonful's 1966 hit "Summer in the City". "I just

neg: Testify (Rage Against the Machine song) for Tom Morello's unorthodox use of his guitar to create unusual sounds, as well as his use of drop D (D-A-D-G) tuning. Morello plays the sweeping sound in the song's intro and verse using a mixture of effects and techniques. First, he sets a DigiTech Whammy pedal to harmonize a minor 7th above the note being played, and the delay pedal is set to a short, slap-back setting that almost sounds like reverb. Morello creates the sound by simply picking the open low D string and using his wah-wah pedal to slowly shift back & forth between the bass and

neg: Cordell Crockett Cordell Crockett Cordell Miller Crockett (born January 21, 1965) is an American rock bass guitarist who played for the band Ugly Kid Joe from 1991 to their first breakup in 1997, and again since their reunion in 2010. He also played bass on some of the songs on Atomship's "The Crash of '47". Crockett uses a wide range of different bass techniques including slapping, popping, finger picking and plectrums. He also uses a bass guitar wah-wah pedal quite frequently, particularly in the Ugly Kid Joe songs "Same Side", "Sandwich" and "Funky Fresh Country Club". His main influence is Black Sabbath

neg: Cordell Crockett bassist Geezer Butler. Ugly Kid Joe has covered many of their songs, including "Sweet Leaf" and "N.I.B." Other influences include Steve Harris. Cordell Crockett Cordell Miller Crockett (born January 21, 1965) is an American rock bass guitarist who played for the band Ugly Kid Joe from 1991 to their first breakup in 1997, and again since their reunion in 2010. He also played bass on some of the songs on Atomship's "The Crash of '47". Crockett uses a wide range of different bass techniques including slapping, popping, finger picking and plectrums. He also uses a bass guitar wah-wah pedal quite

neg: DigiTech Whammy The XP-100 Whammy/Wah was more complex, incorporating both whammy and wah-wah possibilities. It is controlled by a rocker, and a button which selects the 29 different presets; ""Volume"" effect, five ""Wah-Wah"" effects, six ""Auto Wah"" effects, eight ""Whammy"" effects, and nine ""Harmony"" effects. The Bass Whammy is a Whammy pedal built for bass guitar. Originally released alongside the Whammy II, it was built in the same chassis but in a deep blue color. It also featured a different set of shift and harmony options, more appropriate for use with a bass instrument. Since the original Bass Whammy has been discontinued,

neg: Doo Doo Doo Doo Doo (Heartbreaker) to its funk influence and prominent clavinet part (played by Billy Preston). "Doo Doo Doo Doo Doo (Heartbreaker)" was first recorded in November and December 1972 before being re-recorded early the following summer. Jim Horn arranged the song's horns and played sax together with Bobby Keys, and Chuck Findley played trumpet. Mick Taylor played the lead guitar part (which features use of a wah-wah pedal, and a Leslie speaker), Richards played guitar and bass; Preston plays clavinet (also using a wah-wah), and RMI Electra Piano. Released as the second single from "Goats Head Soup" in the US only (after the

neg: Lowdown (Chicago song) album. Lowdown (Chicago song) "Lowdown" is a song written by Peter Cetera and Danny Seraphine for the rock band Chicago and recorded for their third album "Chicago III" (1971). It was the second single released from this album, and peaked at on the U.S. "Billboard" Hot 100. Cetera provided lead vocals while guitarist Terry Kath used a fuzzbox and wah-wah pedal for his guitar solo and Robert Lamm made prominent use of the Hammond organ. This was Cetera's second song-writing effort for the group, after "Where Do We Go From Here" on "Chicago II". According to group biographer, William James

neg: Lowdown (Chicago song) Lowdown (Chicago song) "Lowdown" is a song written by Peter Cetera and Danny Seraphine for the rock band Chicago and recorded for their third album "Chicago III" (1971). It was the second single released from this album, and peaked at on the U.S. "Billboard" Hot 100. Cetera provided lead vocals while guitarist Terry Kath used a fuzzbox and wah-wah pedal for his guitar solo and Robert Lamm made prominent use of the Hammond organ. This was Cetera's second song-writing effort for the group, after "Where Do We Go From Here" on "Chicago II". According to group biographer, William James Ruhlmann,

neg: Promenade (Street Sweeper Social Club song) his teeth in live performances. The song is played in standard E-A-D-G-B-e and by alternating between the verse and the chorus. The chorus itself is played in octaves on the guitar, whereas the verse is described as "an evil disco square-dance rap". The first solo in the song, which is described as "some blues style riffing on the E pentatonic scale" by guitarist Tom Morello in the instructional video as to how to play the 'Guitar Fury remix' of "Promenade", from ultimate-guitar.tv, and is played with a Dunlop Cry Baby Wah-Wah pedal and an Equalizer pedal that is set flat

neg: Wah-wah pedal "Black Sabbath", "The Wizard" and Geezer Butler (Bass) "N.I.B." from their self-titled debut album, "Electric Funeral" from "Paranoid" and "Supernaut" from their fourth album. He also employed it on later recordings, such as "Shock Wave" on "Never Say Die!" (1978), "Lady Evil" from the first Ronnie James Dio-era album "Heaven and Hell" (1980), and "Turn Up the Night" on the subsequent "Mob Rules" (1981). Kirk Hammett of Metallica is also known for using the wah effect in his playing. The wah wah pedal was revived in the British music industry in the late-1980s by John Squire of The Stone Roses

neg: Wah-wah (music) to have originated in the 1920s, with brass instrument players finding they could produce an expressive crying tone by moving a mute, or plunger, in and out of the instrument's bell . In 1921, trumpet player Johnny Dunn's use of this style inspired Tricky Sam Nanton to use the mute with the trombone . By the early 1960s, the sound of the acoustic technique had been emulated with electronic circuitry (; ). For electric guitar the wah-wah pedal was invented. The method of production varies from one type of instrument to another. On brass instruments, it is usually created by

neg: Source Audio at Thomas H. Lee Partners, joined shortly thereafter. Source Audio's initial innovation was the Hot Hand Motion Controlled Wah Filter. The Hot Hand Motion Controller Ring converts hand movement into a digital signal using an accelerometer, a technology pioneered by Analog Devices. The ring combined with the Motion Controlled Wah Filter pedal produces effects similar to the Dunlop Cry Baby Wah, a pedal made famous by players like Jimmy Page and Jimi Hendrix. The unit offers 11 different wah filters, including classic wah, low pass, band pass, multi peak—and volume swell, which produce a wide range of wah effects. SA

neg: Hot Stuff (The Rolling Stones song) Hot Stuff (The Rolling Stones song) "Hot Stuff" is a song by English rock and roll band The Rolling Stones off their 1976 album "Black and Blue". "Hot Stuff", written by Mick Jagger and Keith Richards, was recorded in March, October and December 1975 during the "Black and Blue" sessions, and is heavily influenced by the disco/funk sounds of the day, with Charlie Watts laying down a heavy drum pattern accompanied by Ollie E. Brown on percussion, Bill Wyman adding a funky bassline, and extensive use of the Wah-wah pedal by guest guitarist Harvey Mandel, formerly of Canned Heat. Mandel

neg: The Yardbirds with Page as sole lead guitarist and headed back to the UK for more shows scheduled by Napier-Bell. Beck continued as a solo artist. Page subsequently introduced playing the instrument with a cello bow (suggested to him by violinist David McCallum, Sr.) and the combination of a wah-wah pedal in addition to a distortion fuzzbox. Other innovations included the use of a taped noise loop in live settings (on the psychedelic dirge "Glimpses") and open-tuned guitar to enhance the sitar-like sounds the Yardbirds were known for. Meanwhile, the act's commercial fortunes were declining. "Happenings Ten Years Time Ago" had only

neg: Surfing with the Alien (instrumental) he went to record. He plugged a wah-wah pedal and a Tubedriver into his 100-watt Marshall and he decided to use an Eventide 949s. Then they recorded the song and the solo in about half hour. But the Eventide broke down and they couldn't recreate the original effect. They decided to leave the original version and make another one. Surfing with the Alien (instrumental) "Surfing with the Alien" is the title track from "Surfing with the Alien", the second studio album by guitarist Joe Satriani, released in 1987 through Relativity Records. The song refers to the comic book character, Silver

neg: Ismo Alanko Säätiö bassist Jussi Kinnunen and drummer Marko Timonen. In addition to singing, Alanko played guitar, piano and cello on the album. Pohjonen's avant garde accordion sound had a prominent role in early Säätiö's albums and live performances. Pohjonen would often climb on top of amplifiers or jump around the stage with his instrument. He has been called "the Hendrix of the accordion" by Finnish musical press due to his stage presence and use of electronic effects such as the wah-wah pedal. Alanko has called Pohjonen the band's "solo guitarist". In autumn 1998 Säätiö went on a concert tour around Finland, playing

neg: Dunlop Cry Baby is used when a guitarist is soloing, or to create a "wacka-wacka" funk styled rhythm. The original pedals were popularized by guitarists such as Jimi Hendrix, Eric Clapton, and David Gilmour, though many artists have developed signature sounds with them since. With the exception of the GCB95F and most of the artist signature models, many of the newer Cry Baby models use a single-pole switch instead of true-bypass; using single-pole switching instead of true-bypass adds significant impedance, which can affect the tone. Dunlop Cry Baby The Dunlop Cry Baby is a popular wah-wah pedal, manufactured by Dunlop Manufacturing, Inc. The

neg: Up on Cripple Creek Band's 1974 tour with Bob Dylan, as well as on the 2001 expanded edition of "Rock of Ages", originally released in 1972. "Up on Cripple Creek" is notable as it is one of the first instances of a Hohner clavinet being played with a wah-wah pedal. The riff can be heard after each chorus of the song. The clavinet, especially in tandem with a wah-wah pedal, was a sound that became famous in the early to mid-1970s, especially in funk music. The Band performed the song on the Ed Sullivan Show in November 1969. Drawing upon the Band's musical roots—the

neg: Brian Robertson (guitarist) a substantial share of songwriting for the band, sometimes collaborating with Lynott and the band. "Nightlife" and "Bad Reputation" were the only records that did not feature his songwriting and he performed only on selected tracks from the latter album. In Thin Lizzy, the unique twin harmony lead guitar sound instigated by Robertson and Gorham, contributed much to the distinctive sound of the band and influenced subsequent bands such as, Iron Maiden, Metallica, The Darkness and Velvet Revolver. Robertson's pioneering, unconventional use of the wah-wah pedal as an extension of the instrument during soloing rather than as a purely rhythmic

neg: Wah-wah pedal released in 1967. Hendrix also used wah wah on his famous song Voodoo Chile, in intro and in soloing. Clapton, in particular, used the device on many of the Cream songs included on their second and third albums, "Disraeli Gears" (1967) and "Wheels of Fire" (1968) respectively. Clapton would subsequently employ it again on "Wah-Wah", from his good friend George Harrison's solo album "All Things Must Pass", upon the dissolution of The Beatles in 1970. Another prominent use occurred in the recording of "Crimson and Clover" by Tommy James and the Shondells in late 1968, with the single version eventually

neg: Slide guitar a blues player, Hooker explored using a wah-wah pedal in the 1960s to further emulate the human voice. Possibly the most influential electric blues slide guitarist of his era was Elmore James, who gained prominence with his 1951 song "Dust My Broom", a remake of Robert Johnson's 1936 song, "I Believe I'll Dust My Broom". It features James' playing a series of triplets throughout the song which "Rolling Stone" magazine called "one immortal lick" and is heard in many blues songs to this day. Although Johnson had used the figure on several songs, James' overdriven electric sound made it "more

neg: Jimi Hendrix pedal, which he first heard used with an electric guitar in Cream's "Tales of Brave Ulysses", released in May 1967. In July of that year, while playing gigs at the Scene club in New York City, Hendrix met Frank Zappa, whose band, the Mothers of Invention were performing at the adjacent Garrick Theater. Hendrix was fascinated by Zappa's application of the pedal, and he experimented with one later that evening. He used a wah pedal during the opening to "Voodoo Child (Slight Return)", creating one of the best-known wah-wah riffs of the classic rock era. He can also be heard

neg: Quinn Sullivan Quinn plays Fender guitars and amps including Fender Stratocasters, Bassmans and Twin Reverbs live, but in the studio uses all different varieties of guitars, pedals and amps. Quinn also plays out of a Buddy Guy signature Chicago Blues Box Amp. Quinn's effects include an Ibanez Tube Screamer, a Buddy Guy signature Dunlop Wah Wah Pedal, and a Boss Tuner Pedal. Quinn also has a Gibson ES-335 that he received as a gift on "The Ellen DeGeneres Show" in 2006. Quinn Sullivan Quinn Sullivan (born March 26, 1999) is an American singer and guitarist from New Bedford, Massachusetts, United States. Sullivan

neg: Carlos Santana helps create the smooth, singing, glass-like tone for which he is known. Santana Signature Models: Santana also uses a classical guitar, he used the Alvarez Yairi CY127CE with Alvarez tension nylon strings, in the last years from 2009 he uses custom made, semi-hollow Toru Nittono's "Model-T" Jazz Electric Nylon. Santana does not use many effects pedals. His PRS guitar is connected to a Mu-Tron wah wah pedal (or, more recently, a Dunlop 535Q wah and a T-Rex Replica delay pedal, then through a customized Jim Dunlop amp switcher which in turn is connected to the different amps or cabinets. Previous

neg: Source Audio followed the Motion Controlled Wah Filter with the Motion Controlled Phaser/Flanger pedal. Like the Wah, the Phaser/Flanger is compatible with the Hot Hand Wireless Adapter and offers multiple tone options. The Source Audio Phaser/Flanger offers both LFO and Envelope Follower filters. In 2008 Source Audio released the Soundblox Series, four Hot Hand compatible pedals. The Sounblox Tri-Mod Wah, Phaser, and Flanger offer effects similar to the original pedals, but package them in a smaller, easier to use format. The Soundblox Series also includes the Soundblox Multiwave Distortion, a pedal that incorporates both multi band and single band processing and produces

neg: Keith Gemmell returning to the UK he joined Hackney band, The Lloyd Alexander Blues Band, who later metamorphosed into Audience. Formed in 1969, Audience had an unusual line up of tenor sax doubling clarinet and flute, electric acoustic guitar, drums and bass. They had no lead guitarist as such and with the aid of echo loops and wah-wah pedal Gemmell's reeds replaced this traditional rock band role. After Audience, in 1972, Gemmell joined forces with Mick Underwood, Geoff Sharkey, Paul Simmons and Mick Hodgkinson to form Sammy. Their one and only album was produced by Ian Gillan (Deep Purple). Upon the breakup

neg: Wah-wah pedal whose squelching licks graced most of the Roses songs from 1988 to 1990, particularly "Elephant Stone", "Waterfall" and in particular "Fools Gold". By the late 80s Squire had tired of the overly angular guitar riffs which dominated British music and had bought a wah wah pedal to soften the Roses sound. The wah would also be used by the Roses contemporaries such as the Happy Mondays and The Charlatans [UK], and became one of the defining sounds of British guitar music in the late 80s/early 90s, only for Grunge from Seattle and later Britpop to diminish its status. In addition

neg: Black Gives Way to Blue (song) Black Gives Way to Blue (song) "Black Gives Way to Blue" is a song by American rock band Alice in Chains, and the last track on their 2009 studio album of the same name. Written and sung by guitarist/vocalist Jerry Cantrell, it features Elton John on piano. The song is a tribute to the band's late lead singer, Layne Staley, who died in 2002. A piano mix of the song is a bonus track on iTunes. The lyrics to "Black Gives Way to Blue" are printed on the base plate of Jerry Cantrell's signature Cry Baby Wah-Wah pedal. "Black Gives

neg: Just You 'n' Me Just You 'n' Me "Just You 'n' Me" is a song written by James Pankow for the group Chicago and recorded for their fifth studio album "Chicago VI" (1973). The lead vocals are sung by bassist Peter Cetera. The second single released from that album, it was more successful than the first single, "Feelin' Stronger Every Day", reaching #4 on the U.S. "Billboard" Hot 100 and #1 on the "Cash Box" Top 100. Walter Parazaider plays a soprano saxophone solo during the instrumental section while guitarist Terry Kath uses a wah-wah pedal and phase shifter on his guitar. "Just You

neg: Wah-wah pedal on 31 October 1971. Many bassists have also used the wah-wah effect, for example Michael Henderson on Miles Davis's album "On the Corner" (1972). Bassist Cliff Burton of Metallica used a Morley Wah pedal (along with a Big Muff Distortion) extensively, including on "(Anesthesia) Pulling Teeth", which is primarily a bass solo recorded for "Kill 'Em All" (1983), and "The Call of Ktulu" and "For Whom the Bell Tolls", both recorded for "Ride the Lightning". Geezer Butler, bassist of Black Sabbath, used it when playing his solo "Bassically", along with the bass line in "N.I.B.". Chris Squire of Yes used

neg: Enter Sandman the main riff; an E minor chord on a guitar using the wah-wah pedal is then introduced, followed by heavy use of tom-tom drums. Distorted guitars then build up to the main riff, which starts 56 seconds into the song and utilizes variations of the E/B tritone. P. J. Howorth, in "The Wah Wah Book", characterized the main riff as "sinister". The song then follows a common structure, playing two iterations of a verse, a pre-chorus, and a chorus. On the chorus and pre-chorus, the song modulates one whole tone, up to F, and after the second chorus, Hammett plays

neg: Man-Child horns and Hancock himself on synthesizer and Fender Rhodes piano on top of the repeated riffs. This album features the addition of electric guitar to his new sound, which he started only five years prior to this album with "Fat Albert Rotunda". The guitarists featured on this album were Melvin "Wah-Wah Watson" Ragin, DeWayne "Blackbyrd" McKnight and David T. Walker. Their extensive use of wah-wah pedal and accenting chords on the up-beat rather than the down-beat is what helps to give the album a distinct and funkier rhythm that is broken up by brief periods of stop-time where only the

neg: The Randy Rhoads Years that Randy Rhoads achieved in Ozzy Osbourne's band. According to DuBrow, Rhoads was never happy with his guitar tone while in Quiet Riot, but very satisfied with his tone while with Osbourne as he could afford better equipment by then. The song "Trouble" was sped up as DuBrow felt the original was too slow. DuBrow also added wah-wah to one guitar solo, playing the pedal himself through the original guitar tracks. Again, Rhoads could not afford a wah-wah pedal at the time of recording, but wished he had played the solo with one. "Afterglow (Of Your Love)" from "Quiet Riot

neg: Promenade (Street Sweeper Social Club song) across for boost, in that so that the volume could go to 11. The song is ended with the famous "grand and wild eye" guitar solo, where he incorporates the use of his Digitech Whammy WH-1, and again, with his Dunlop Cry Baby Wah-Wah pedal, a Delay pedal, and the Equalizer pedal. Promenade (Street Sweeper Social Club song) "Promenade" is the second single by rap rock supergroup Street Sweeper Social Club from their debut self-titled album. The version that was released as a single differs from that on the album, the original version on the album is 2:31 in length

neg: The Wah Wah Collective who previously worked with Sanctuary Music Management. The sister arm of the Wah Wah Collective were a Latin /acoustic based group called Gafanhoto Lingo an additional project created by The Wah Wah Collective founding members. Gafanhoto Lingo were accompanied by songwriter/ guitarist Mathieu Karsenti. The Wah Wah Collective were warmly received by the UK underground urban media in the mid 2000s. Wah Wah releases were often reviewed by genre leading UK publications. "Pete Mclntyre, IDJ Magazine – R&B Soul Tunes Review, March 2004" " 'London's Wah Wah Collective under the guidance of veteran producer Georgeyo hit playdirt with this superb

neg: Wah-wah (music) guitar . Although these electronic means are most often on electric guitar, they are also often used on electric piano . The wah-wah effect is produced by periodically bringing in and out of play treble frequencies while a note is sustained. Therefore, the effect is a type of spectral glide, a "modification of the vowel quality of a tone" . The Electronic wah-wah effects are produced by controlling tone filters with a pedal . An envelope follower circuit is used in the 'auto-wah'.. Subtractive synthesis can produce a similar effect. Tricky Sam Nanton's wah-wah on trombone in Duke Ellington's Orchestra

neg: Garth Hudson on Cripple Creek" features Hudson playing a clavinet through a wah-wah pedal to create a swampy sound reminiscent of a Jew's harp or the croak of a frog. This clavinet–wah wah pedal configuration was later adopted by many funk musicians. The initial iteration of the Band made its final bow as a touring band with a lavish final concert on Thanksgiving Day 1976 at the Winterland Ballroom in San Francisco, an all-star tribute concert documented in "The Last Waltz". The Band released one more album after the Last Waltz, "Islands", and then dissolved. By then, Hudson had married his singer/actress

neg: Fingerprint File Fingerprint File "Fingerprint File" is the closing track from the Rolling Stones' 1974 album "It's Only Rock 'n Roll". It is one of their first attempts to branch out into dance or electronic music, and the song resembles music by Sly and the Family Stone. Key ingredients of the song are the rhythm guitar played by Mick Jagger, which features heavy phasing due to the use of the MXR Phase 100 effects pedal, and the highly jazz/funk-oriented bass guitar played by Mick Taylor. Keith Richards uses the wah-wah pedal for his guitar part. Bill Wyman is on synthesiser, Charlie Watts

neg: Joe Zawinul one of the first in jazz to use electric pianos and early synthesizers like the ARP 2600 in 1973's "Sweetnighter". He was also among the first to use an electric piano, the Wurlitzer. He used the Fender-Rhodes thereafter, adding a wah-wah pedal and later the Mutron effect unit for a complex phased timbre. His creativity and attention to detail resulted in a very modern sound. He also played the kalimba on Weather Report's albums "Mysterious Traveller" and "Mr. Gone". In 1970, Zawinul co-founded Weather Report with saxophonist and Davis alumnus Wayne Shorter. Their first two years emphasized a relatively open,

neg: Wah-Wah (song) back with suggestions for each song; in the case of "Wah-Wah", these included the addition of a saxophone solo by Keys, and backing vocals. As well as overdubbing his slide guitar solos, Harrison sang all the various vocal parts, crediting himself as "the George O'Hara-Smith Singers" on the album sleeve. The recording begins with Harrison's guitar riff, which is then joined by Clapton's guitar, played through a wah-wah pedal. Leng suggests that the musical arrangement was influenced by the Delaney & Bonnie song "Comin' Home", following Clapton and Harrison's guest roles on the band's European tour in December 1969. "Wah-Wah"

neg: You Shook Me later recorded by the Yardbirds and the Rolling Stones. English guitarist Jeff Beck recorded "You Shook Me" with the first Jeff Beck Group during the sessions for the "Truth" album in May 1968. Beck's hard rock treatment of the song made it a highlight of their live performances. Beck biographer Martin Power notes the appeal of the "dynamic interplay between Jeff's guitar and Rod's [Stewart's] voice". Beck utilized fuzz-box and wah-wah pedal guitar effects for his extensive fills around Stewart's vocals as well as his solo. The song concludes with guitar-amplifier feedback, which Beck described in the "Truth" liner notes:

neg: Morley Pedals Morley Pedals Morley Pedals is the name of a guitar effects pedal company, famous for manufacturing wah-wah pedals and other treadle type effects for guitar. Morley pedals use electro-optical circuitry rather than a potentiometer to control the effect. The foot treadle controls a shutter inside the pedal that in turn controls the amount of light reaching a Light Dependent Resistor (LDR). The advantage to this system is that there are no potentiometers in the signal path to wear out or become "scratchy sounding" over time. Electro-optical circuitry is used throughout the classic Morley pedal line, which includes or has included

neg: Loveless (My Bloody Valentine album) get away with a lot more when you mess around with the contents." In a 1992 "Guitar World" interview, Shields described how he achieved a sound akin to a wah-wah pedal on "I Only Said" by playing his guitar through an amplifier with a graphic equaliser preamp. After recording the track, he bounced it to another track through a parametric equaliser while he adjusted the EQ levels manually. Asked if he could have achieved the effect more easily using a wah-wah pedal, Shields said, "In attitude toward sound, yes. But not in approach." All but two of the drum tracks

neg: Jimmie Vaughan 1960s and began playing with such musicians as Paul Ray and WC Clark. In 1969, Vaughan's group opened for The Jimi Hendrix Experience in Fort Worth, Texas. It was at this show that Vaughan lent Jimi Hendrix his Vox Wah-wah pedal which Hendrix ended up breaking. In return, Hendrix gave Vaughan his own touring Wah-wah pedal. Jimmie Vaughan developed his own easily recognized personal style. He formed the band The Fabulous Thunderbirds with the lead singer Lou Ann Barton and harpist Kim Wilson, bassist Keith Ferguson, and drummers Mike Buck and Fran Christina. (The original Fabulous Thunderbirds were all protégés

neg:
Effects unit Peter Frampton's "Show Me the Way".
 Talk boxes: Dunlop HT1 Heil Talk Box, Rocktron Banshee. Wah-wah: A wah-wah pedal creates vowel-like sounds by altering the frequency spectrum produced by an instrument—i.e., how loud it is at each separate frequency—in what is known as a spectral glide or "sweep". The device is operated by a foot treadle that opens and closes a potentiometer. Wah-wah pedals are often used by funk and rock guitarists.
 Wah effects: Dunlop Cry Baby, Morley Power Wah, Musitronics Mu-Tron III. "Modulation", in general electronics, means the altering of signal strength. In audio devices, modulation is a control

neg: Big Jim Sullivan for his physical appearance and as he was usually first choice to play guitar on sessions for major musicians and bands. Another session musician at the time, and at some of the same sessions, Jimmy Page, was referred to as "Little Jim." Sullivan played on around 750 UK chart entries, and averaged three recording sessions a day. He played on the first records in the UK to use a wah-wah effect – Michael Cox's 1961 "Sweet Little Sixteen" and Dave Berry's 1964 hit "The Crying Game" used a DeArmond Tone and Volume pedal. He played on the first record in

neg: Wah-Wah (song) 1000 Days of Revolution", p. 118.</ref> In an article for "Mojo" magazine's July 2001 "Solo Beatles Special", John Harris wrote that although Harrison "nominally" remained a Beatle, he was "serving out his notice" after 10 January 1969. In his autobiography, "I, Me, Mine", Harrison explains that the song title was a reference to "a 'headache' as well as a footpedal", the wah-wah pedal being a guitar effect that he favoured for much of the early "Get Back" sessions. The message of the song, according to Harrison, was: "you're giving me a bloody headache." Leng identifies "Wah-Wah" as being directed at

neg: Del Casher for. It enabled him to express a better bluesy feeling on the electric guitar Casher asked the engineering team to have a breadboard with that circuit installed into a Vox organ volume pedal. This enabled him to play his guitar while moving the pedal. However, with the rich harmonics of the guitar, the sound was too harsh in the "bright" position and too muddy in the "mellow" position. With a little experimenting, Casher and the Vox engineering staff were able to create a sound similar to a trumpet "wah" mute. Vox saw no use for a "wah" sound for the

neg: Wah-wah pedal or Donny and Marie Osmond; or with the soundtracks of pornographic films, the sound referenced in TV commercials for Axe body spray as "bow chicka wow wow." David Gilmour (Pink Floyd) used the pedal to create the "whale" effect during "Echoes". He discovered this effect as a result of a roadie accidentally plugging his guitar into the output of the pedal and the input being plugged into his amp. The effect was first used during live performances of "The Embryo" during 1970 but was then switched into "Echoes" as it was being developed before being released on the "Meddle" album

neg: Irakere timba. Another important Irakere contribution is their use of batá and other Afro-Cuban folkloric drums. "Bacalao con pan" is the first song recorded by Irakere to use batá. The tune combines the folkloric drums, jazzy dance music, and distorted electric guitar with wah-wah pedal. According to UC Irvine musicologist and Irakere expert Raúl A. Fernández, the Orquesta Cubana de Música Moderna members would not have been allowed by the orquesta to record the unconventional song. The musicians travelled to Santiago to record it. "somehow the tune made it from Santiago to radio stations in Havana where it became a hit;

neg: Storm (Luna Sea song) Storm (Luna Sea song) "Storm" is the ninth single by Japanese rock band Luna Sea, released on April 15, 1998. It is their fourth to reach number 1 on the Oricon singles chart, and was the 29th best-selling single of the year with 720,370 copies sold, also making it the band's best-selling single. It was used as the April 1998 theme song for NHK's music television show "Pop Jam". Guitarist Sugizo cited "Storm" as one of the songs he tried to replicate the "psychedelic feel of shoegaze bands" by using effects, "like playing fast with a wah-wah pedal, or using

neg: Jazz violin violinists may use an electric violin plugged into an instrument amplifier along with effects such as a wah pedal or a distortion fuzzbox. Jazz violinists included Clarence Black and J. Wright Smith, who recorded in the 1920s with Jelly Roll Morton. Joe Venuti paired with guitarist Eddie Lang until the latter's passing in 1933. Classically trained Eddie South began his career in the 1920s and performed with Europeans following a 1928 visit there. Stuff Smith, Ray Nance and Claude Williams were other noteworthy jazz violinists. European jazz violinists included Stéphane Grappelli (1908–1997), a French jazz violinist who founded the Quintette

neg: N.I.B. N.I.B. "N.I.B." is a song released by British heavy metal band Black Sabbath. It first appeared as the fourth track on the band's 1970 debut album, "Black Sabbath". The lyrics are in the first person from the point of view of Lucifer. Lyricist Geezer Butler has said that "the song was about the devil falling in love and totally changing, becoming a good person." "N.I.B." begins with a bass solo by Geezer Butler, titled "Bassically" on some US releases. It involves the use of the wah-wah pedal and was recorded in one take, as the amp's volume control is audibly

neg: Crazy (Seal song) Square massacre in 1989. In 2015, Seal said of the song's conception in 1990: "I felt the cycle had reached its apex. I felt the world changing and I felt profound things happening." According to the song's producer Trevor Horn, "Crazy" was made over the course of two months: "Crazy wasn't an easy record to make, because we were aiming high." The song's signature is a keyboard mantra that continually swells and swirls, driven by bass-heavy beats and wah-wah pedal guitars played by Simply Red guitarist Kenji Suzuki. Its floating, ambient stylings established a sound years before "The Politics of

neg: Mike Mangan (musician) Mike Mangan (musician) Mike Mangan is an American keyboard player from Los Angeles, California who specializes in the Hammond B3 Organ. Mangan is known for his percussive playing technique and his use of effects pedals on the Hammond Organ. Mike Mangan is best known for his band "Big Organ Trio", which he formed in Los Angeles, CA in 2003. The band is an instrumental power trio consisting of Hammond B3 Organ, electric Bass, and Drums. The trio showcases Mangan's improvised soloing and use of effects pedals on the organ, most notably the wah-wah pedal. In 2006 Mangan's trio was signed

neg: Rosier (song) ~ Japanese Legendary Rock Covers". Rosier (song) "Rosier" is the third single by Japanese rock band Luna Sea, released on July 21, 1994. It reached number 3 on the Oricon singles chart. Guitarist Sugizo cited "Rosier" as one of the songs wherein he tried to replicate the "psychedelic feel of shoegaze bands" by using effects, "like playing fast with a wah-wah pedal, or using tape-echo and harmonizers. I couldn’t figure out how they did it, so I just made it into my own thing." The fast spoken English words in the middle of the song were written and performed by

neg: Bloody Well Right to perpetuate the false impression that "Crime of the Century" is a concept album. According to Hodgson, any unifying thread beyond that was left to the listener's imagination. The song begins with Rick Davies playing a Wurlitzer electric piano 51-second piano solo, leading into the rest of the band joining in. There is then a guitar solo played by Roger Hodgson, making use of the wah-wah pedal, leading in the first sung word at the 1:38 mark in the song. The first verse and chorus occur with a short instrumental bridge into the second verse and second, slightly modified, chorus.

neg: Pete Wylie Pete Wylie Peter James Wylie (born 22 March 1958) is an English singer/songwriter and guitarist, best known as the leader of the band variously known as Wah!, Wah! Heat, Shambeko! Say Wah!, JF Wah!, The Mighty Wah! and Wah! The Mongrel. Wylie was born in Liverpool. He began his career in 1977 with lead vocalist Ian McCulloch and bassist Julian Cope, with whom he formed the band Crucial Three, which lasted from May to June the same year. In December 1977, he joined The Spitfire Boys, who dissolved the same month. Wylie and two of the band, Pete Griffiths and

neg: Justin Hawkins "Vintage 30s". Since The Darkness reformation he has been seen using multiple modified Marshall 1959 MKII Plexi Reissue guitar amps with a boosted gain stage run through Marshall 1960B cabinets. Since 2016, Hawkins uses EVH and Wizard amplifiers. As for pedals, in a 2012 edition of Guitarist Magazine's video series "On the Road with..." Justin's pedal setup consisted of a Boss Analog Delay, a Pro Co RAT, a Diamond Pedals Compressor, a Boss TU-3 Tuner, and a Dunlop Cry Baby DCR-2SR rack module which allows him to have three separate wah-wah pedals strategically placed around the stage. As of 2016,

neg: Tangerine (Led Zeppelin song) guitar chords: Bassist John Paul Jones complements Page on mandolin. The second verse contains the chorus, at the beginning of which Jones on bass and drummer John Bonham come in – Jones follows the chord changes and Bonham plays a straight-forward, backing beat. Through the use of double tracking, Plant provides a harmony vocal line. Page also adds pedal steel guitar fills; however, he departs from the typical American country music approach by adding a wah-wah pedal tonal effect. For the third verse, Plant returns to singing accompanied by guitar chording. The verses are broken up with an instrumental middle

neg: Dave Kushner ES-335, SG and Les Paul models. Dave uses a 12-space rack with a switching system that allows him to use whatever effects he would like in any sequence. Some of the effect pedals he uses most often include Line 6 DM-4, Boss Flanger BF-2, Boss Super Phaser PH-2, Boss Chorus Ensemble CE-5, Boss Digital Delay DD-3, Line 6 Filter Pro, Dynacord CLS222, Rocktron Hush II CX Noise Reduction System, Electro-Harmonix Micro synth, Boss Hyperfuzz, Line 6 delay pedal and a MXR Zakk Wylde overdive pedal. He also uses Dunlop programmable Wah Wah effects and Rotovibe MIDI controllers which are rackmounted.

neg: Rosier (song) Rosier (song) "Rosier" is the third single by Japanese rock band Luna Sea, released on July 21, 1994. It reached number 3 on the Oricon singles chart. Guitarist Sugizo cited "Rosier" as one of the songs wherein he tried to replicate the "psychedelic feel of shoegaze bands" by using effects, "like playing fast with a wah-wah pedal, or using tape-echo and harmonizers. I couldn’t figure out how they did it, so I just made it into my own thing." The fast spoken English words in the middle of the song were written and performed by J. As a staple of

neg: Pete Wylie News of her death surfaced in 2015. For several years, Wylie expressed interest in making another record, as he hadn't made any "this century." In the autumn of 2017, Wylie eventually released his first album of the 2010s, entitled "Pete Sounds". It was made with donations via Pledge Music, and then released on his own label. Pete Wylie Peter James Wylie (born 22 March 1958) is an English singer/songwriter and guitarist, best known as the leader of the band variously known as Wah!, Wah! Heat, Shambeko! Say Wah!, JF Wah!, The Mighty Wah! and Wah! The Mongrel. Wylie was born