Used during the recording of Dinoasur Jr.'s Farm. In this video, it is used for an in-studio performance of "Tarpit" from You're Living All Over Me, as seen at 19:36.

In this pic a Dunlop crybaby is visible

Used live, as stated in the January 1988 Guitar Player interview "Richard Lloyd: The 6 String Alchemy of Richard Lloyd" by Mark Dery.

Switching effects on but not turning the dials up has become something of a Lloyd trademark. "Yeah," he nods, "I'm using a wah-wah pedal now, and when I put the wah on, I don't want to hear the phasing. I just want to use it as a tone control. That way, you can get tenacity, starting a passage in the bass frequencies and slowly moving it toward the treble. A lot of times, I use it to get extra midrange."

Lloyd runs his Strat into a Cry Baby wah-wah and then a Boss Super Overdrive with the tone set at three o'clock and the overdrive at one o'clock. That feeds into a Korg SDD-2000 digital delay set at 400 milliseconds: "I keep it at about eight repeats, to get that old Echoplex-type effect. That goes into the high channel of the Roland JC-120, and there's a small cable going into the Acoustic, which has its own overdrive, preamp thing, which I use. I like to have things so they're just at the point of bursting – just this side of overload – but I get quite a clean signal. The Boss Super Overdrive is not that dirty an effect, and the wah-wah pedal doesn't overdrive. I tried different orders, but the signal-to-noise ratio was the cleanest this way, with the digital delay closest to the amp."

In this frame, Eddie Glass is seen using this wah pedal.

Listed on the back cover of Back Against the Wall among McPhee's equipment and shown up close in Live At Anti WAA Festival 1989 at 12:54.

Cry Baby Wah Wah

In this Guitar Geek page you can see all the Christopher Thorn's Pedalboard.

Mentioned the September 1990 Guitar Player interview "Gary Lucas' Gods and Monsters" by Mark Dery.

Lucas remains true to Beefheart's aesthetic. Backed by Gods and Monsters – country yodeler Julia Heyward, bassists Paul Now and Jared Nickerson, and alternate drummers Tony "Thunder" Smith and Tony Lewis – he rattles off strings of notes like a turret gunner spitting shells. He runs his sunburst '63 Fender Strat and red '65 Gibson Firebird (both strung with light-gauge D'Addario rock strings) through a maze-like signal chain: "My pedals sit on a percussion stand," he explains. "I go through a [Dunlop] Cry Baby wah into a T.C. Electronic Sustainer/Equalizer, a Boss Digital Metallizer, a Boss Flanger, another equalizer, which I use as gain-stage control, and then into a noise suppressor, a DeArmond volume pedal, a Whirlwind box – an effects loop with a gain stage – and then into a Boss Pitch-Shifter/Delay, a Boss Chorus, and then into another Pitch Shifter – which I manually manipulate – and then into a DigiTech 8-second delay, an Electro-Harmonix 16-second delay, an Alesis Midiverb, and a second Electro-Harmonix delay. At that point, I split the signal, running the direct sound into a Gallien-Krueger 250 ML and the effects into a Roland JC-120."

Listed among Jones' gear in the May 1991 Musician interview "Fishbone Swims Upstream To Spawn Its Punk-Funk Hybrid" by Roy Trakin.

KENDALL REY JONES' "Rack o' Doom" includes two MESA Boogie 2x12 cabinets with EV speakers, a Furman Power Conditioner and Light Module, a Samson Broadcast STD Series channel switcher with 10-channel capacity, a dbx 160X compressor limiter, a 32-band IEQ-ART MIDI-programmable EQ, a t.c. electronics 2290 digital delay and effects controller, two Eventide M-3000s, including the SE with the "real cool crazy psycho-effects." His axes include a '57 Strat reissue he's gutted and rebuit with Seymour Duncan live wire pickups and a Floyd Rose tremolo. He uses a Switch 2 L for all the amp and MIDI switching and running two MESA/Boogie Mark IVs in stereo. His other guitar is a Tom Anderson Pro-Am custom-built in Sylmar, California, with Stay-in-Tune strings. He also uses a Jim Dunlop Cry Baby wah-wah pedal and "various secret stomp boxes I can't tell you about."

At Expomusic 2009, Faíska can be seen using the Dunlop Cry Baby Original Wah-Wah pedal, as shown in a video by CanalBossBrasil on YouTube.