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.
MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. Find out more about how we test.
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.
“It's rare to encounter a song from the last 70 years that doesn’t involve it in some way”: Why reverb is one of the most reliable effects in a producer's arsenal
“All the albums I did with Metallica were recorded on 24-track analogue tape. There’s not a computer in sight”: How Flemming Rasmussen produced Metallica’s classic Master Of Puppets
“We could see John begin smiling. At the end of the first verse, he gave an exuberant thumbs-up and McCartney and Harrison began slapping each other on the back”: How one Beatles track spawned a recording technique revolution
