Dunlop Cry Baby Mini Wah CBM95 review

Tiny Baby, fully grown tones

  • £89
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MusicRadar Verdict

The Mini's compact size does nothing to diminish the Cry Baby legacy, thanks to top-class sounds and functionality.

Pros

  • +

    Quality construction.

Cons

  • -

    Lack of LEDs.

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It had to happen eventually: hot off the back of its Mini Fuzz Faces, Dunlop has chopped the Cry Baby in half, but without sacrificing spec.

As well as true bypass switching, a smooth-riding Hot Potz potentiometer and red Fasel inductor, the Mini also packs an internal three-way switch, which chooses between low, vintage and GCB95 voicings. Finally, it's powered by either a nine-volt battery or power supply.

On first sweep, there's a surprising amount of travel on the Mini, more akin to a full-size Cry Baby than similar mini wahs. Your heel moves further back than on a regular wah, though, so best get that ankle in shape! On the middle 'vintage' setting, the pedal's sweep is full and wide - it's closer to Dunlop's higher-end 535Q or CAE wahs than the standard-issue GCB95, thanks to a gradual transition from bass to treble that does away with harsh high-end in the toe-down position.

However, if you want to engage the GCB95's wiry upper range, a quick flick to the right on the three-position switch does the trick, while the low position gives you a throaty, resonant tone for synth-y sweeps on lower strings.

The Cry Baby Mini injects new life into the age-old wah formula, and any complaints we have about the lack of LEDs, easier battery access or external switches pale into insignificance when you consider the boutique-level tone and high-quality construction on display. For downsizers, mini-'boarders and anyone searching for a reasonably priced, classic-sounding wah, the CBM95 is a must-buy.

Michael Astley-Brown
Michael Astley-Brown

Mike is Editor-in-Chief of GuitarWorld.com, in addition to being an offset fiend and recovering pedal addict. He has a master's degree in journalism, and has spent the past decade writing and editing for guitar publications including MusicRadar, Total Guitar and Guitarist, as well as a decade-and-a-half performing in bands of variable genre (and quality). In his free time, you'll find him making progressive instrumental rock under the nom de plume Maebe.