Cry Baby Dunlop Akira Takasaki Cry Baby Fuzz Wah vs Dunlop Zakk Wylde Wah
The Cry Baby Dunlop Akira Takasaki Cry Baby Fuzz Wah and the Dunlop Zakk Wylde Wah are both pedals sharing mid-forward. The Cry Baby Dunlop Akira Takasaki Cry Baby Fuzz Wah leans dynamic. The Dunlop Zakk Wylde Wah leans high gain and bright.
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Blended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.43% — somewhat different
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Genres both listings are associated with.- Hard Rock
- Rock
- Metal
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Derived from overlapping tonal signals across both listings.- mid-forward
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$209.99via Reverb
The Dunlop Akira Takasaki Cry Baby Fuzz Wah is a signature model built with Japanese metal guitarist Akira Takasaki of Loudness, combining a classic Cry Baby wah sweep with an onboard fuzz that can be engaged or disengaged from the circuit, for aggressive, fuzzy wah tones in one pedal. A side-mounted low-frequency sweep control shapes the wah's frequency range, and auto-return switching lets players snap instantly between dry and effected tone mid-performance without a separate bypass action. Built around Takasaki's decades of heavy metal lead playing, it suits players wanting an all-out, aggressive combination of fuzz and wah rather than a subtle, clean wah voice.
The Dunlop ZW-45 Zakk Wylde Cry Baby is a signature wah tuned to Zakk Wylde's own specifications for a thicker, more aggressive, throaty tone than a standard Cry Baby, closely matching the wah sound heard on Black Label Society records. Unlike many signature wahs it skips extra tone-tweaking controls in favor of a simple, rugged, stomp-and-go design built to survive heavy live use. Wah has been part of Wylde's rig since his 1988 Ozzy Osbourne debut No Rest for the Wicked and has remained a fixture through his Ozzy and Black Label Society tours since. It suits high-gain metal and hard rock players wanting a durable, aggressive, vocal wah sweep that cuts hard through a distorted mix.
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Genres this gear is documented as being used in.- Funk
- dynamic
- high gain
- bright
- aggressive