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. 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 may be used as a fixed-filter to alter an instrument’s timbre (known as a “cocked-wah”); they may be used when a guitarist is soloing; or, classically, they may be used to create 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 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 Crying Game".