Dunlop Cry Baby Junior CBJ95SB vs Dunlop Zakk Wylde Wah

The Dunlop Cry Baby Junior CBJ95SB and the Dunlop Zakk Wylde Wah are both pedals sharing aggressive, bright, mid-forward. The Dunlop Cry Baby Junior CBJ95SB leans dynamic. The Dunlop Zakk Wylde Wah leans high gain. Current prices: $249.65 vs $209.99.

Similarity
citedBlended 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.

42% — somewhat different

Shared genres
citedGenres both listings are associated with.
  • Funk
  • Rock
Shared tone character
citedDerived from overlapping tonal signals across both listings.
  • aggressive
  • bright
  • mid-forward
Citation fame
citedCitation/mention fame — how often this gear is cited across artist rigs and gear discussion.
0%
0%
Price

$249.65via Reverb

$209.99via Reverb

Description

The Dunlop CBJ95 Cry Baby Junior, here in special edition black, is Dunlop's first wah engineered from the ground up for pedalboards, with a compact eight inch chassis and front mounted jacks so it slots into crowded boards. Three instantly selectable voicings, H, M and L, span the full wah spectrum, with H delivering the Cry Baby's trademark aggressive, treble forward snarl, M providing a midrange heavy growl reminiscent of vintage wahs, and L yielding a warm, bassy purr ideal for rhythm. It suits rock, funk, blues and lead players who want classic Cry Baby wah tones with modern voicing flexibility in a space saving, gig ready format.

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.

Genres
citedGenres this gear is documented as being used in.
  • Blues
  • Metal
  • Hard Rock
Tonal lean
  • dynamic
  • high gain
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