Dunlop 535Q Multi-Wah Settings Guide
The Dunlop 535Q Multi-Wah is the most adjustable wah in the Dunlop range — six frequency range positions (Q switch) allow the wah's peak frequency to be set across a wide range, from a low, funky sweep to a high, nasal cry. A Boost switch adds +6dB when engaged (useful for solos). The variable Q makes it genuinely versatile across genres where a fixed-Q wah like the Cry Baby GCB95 works for one application only.
Used by: Jimmy Page
The best Dunlop 535Q Multi-Wah settings start with: Treadle at 5/10, Q at 3/10, Boost at 0/10. Adjust from there based on your amp, guitar, and room volume. For Classic Rock (Cry Baby equiv): Treadle 6/10, Q 4/10, Boost 0/10.
⚡ Start Here — Recommended Settings
| Control | Starting Position | Range |
|---|---|---|
| Treadle | 5/10 | Heel → Toe |
| Q | 3/10 | 1 (Low) → 6 (High) |
| Boost | 0/10 | Off → On |
These are universal starting points. Adjust based on your amp, guitar, and room. Scroll down for genre-specific settings and artist-documented positions.
What Each Control Does
Recommended Starting Settings
Safe starting positions for any style. Adjust from here based on your amp and room.
All values on a 0–10 scale. These are starting points — fine-tune by ear.
Settings by Genre
Q position 4 approximates the standard Cry Baby GCB95 frequency sweep — the same range that Clapton, Page, and most classic rock wah playing uses. Treadle at 6 (toe-forward) produces the classic rock "wow" vowel.
Q position 1 — the widest, lowest-frequency sweep. Funky rhythmic wah playing benefits from a deeper, broader sweep that emphasises lower frequencies. At Q 1 the 535Q has a more bass-forward character that suits Stratocaster or Telecaster clean rhythm wah.
Q position 6 — narrow, high peak frequency for a nasal, vocal wah sound. The highest Q settings produce the most extreme, "quack"-focused wah character. Boost engaged adds volume for lead playing. This combination is useful for expressive solo wah work where the extreme frequency peak is desired.
A mid-range Q setting keeps the wah vocal and cutting without becoming shrill against high-gain distortion, useful for both lead lines and rhythmic wah-chuck riffing.
A low Q with the treadle parked heel-down produces a fixed, bass-emphasized filter tone rather than a swept effect, usable as a static tonal color rather than a rocking wah.
Artist Settings
Documented settings used by professional guitarists on this unit.
Page used wah extensively across Led Zeppelin recordings, most famously the extended wah-driven solo on Dazed and Confused — a Q setting around the standard Cry Baby range reproduces the vocal, mid-forward sweep his wah playing is known for.
Tips & Common Mistakes
- The 535Q Q selector is the primary differentiation from the standard Cry Baby — exploring different Q positions for different songs or genres is the key to getting the most from the pedal. Lower positions for funk and rhythm; higher positions for extreme cry-style lead wah.
- The Boost function (+6dB) is a useful addition for live performance — in the same footprint as a standard wah, you gain a volume boost that can serve as a solo lift simply by pressing the dedicated Boost switch.
- Because Q is externally adjustable rather than fixed, the 535Q rewards experimentation across songs within the same set — unlike a fixed-Q wah, there is no single correct setting to memorize.
- For players switching from a standard Cry Baby GCB95, Q position 4 is the closest match — starting there before exploring the wider range avoids an unfamiliar tonal jump mid-transition.
- Placed before a fuzz pedal, a narrow, high-Q wah setting interacts more dramatically with the fuzz gain stage than a wide, low-Q setting — worth experimenting with pedal order if the fuzz-and-wah combination sounds harsh.
FAQ
Dunlop 535Q Multi-Wah — Common Questions
Best starting settings for Dunlop 535Q Multi-Wah: Treadle at 5/10, Q at 3/10, Boost at 0/10. Adjust from there based on your guitar, room, and playing style.
For Classic Rock (Cry Baby equiv): Treadle 6/10, Q 4/10, Boost 0/10. Q position 4 approximates the standard Cry Baby GCB95 frequency sweep — the same range that Clapton, Page, and most classic rock wah playing uses. Treadle at 6 (toe-forward) produces the classic rock "wow" vowel.
For Funk (low Q): Treadle 5/10, Q 1/10, Boost 0/10. Q position 1 — the widest, lowest-frequency sweep. Funky rhythmic wah playing benefits from a deeper, broader sweep that emphasises lower frequencies. At Q 1 the 535Q has a more bass-forward character that suits Stratocaster or Telecaster clean rhythm wah.
Treadle: Expression treadle controlling wah frequency sweep (Heel to Toe). Q: Q selector (1–6) — lower = wider, lower frequency sweep; higher = narrower, higher frequency peak (1 (Low) to 6 (High)). Boost: +6dB boost switch for lead volume lift (Off to On)
The 535Q Q selector is the primary differentiation from the standard Cry Baby — exploring different Q positions for different songs or genres is the key to getting the most from the pedal. Lower positions for funk and rhythm; higher positions for extreme cry-style lead wah. The Boost function (+6dB) is a useful addition for live performance — in the same footprint as a standard wah, you gain a volume boost that can serve as a solo lift simply by pressing the dedicated Boost switch. Because Q is externally adjustable rather than fixed, the 535Q rewards experimentation across songs within the same set — unlike a fixed-Q wah, there is no single correct setting to memorize. For players switching from a standard Cry Baby GCB95, Q position 4 is the closest match — starting there before exploring the wider range avoids an unfamiliar tonal jump mid-transition. Placed before a fuzz pedal, a narrow, high-Q wah setting interacts more dramatically with the fuzz gain stage than a wide, low-Q setting — worth experimenting with pedal order if the fuzz-and-wah combination sounds harsh.
Jimmy Page settings: Treadle 6/10, Q 4/10, Boost 0/10. Page used wah extensively across Led Zeppelin recordings, most famously the extended wah-driven solo on Dazed and Confused — a Q setting around the standard Cry Baby range reproduces the vocal, mid-forward sweep his wah playing is known for.
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