"Tony’s favourite wah pedal is an old Tychobrahe Parapedal. It was made in the early seventies. They have not been available new for many years now although I believe there is someone who has now started making clones called the Parachute." - Tony's official website.

Geezer Butler has been using the Tycobrahe Parapedal wah pedal since the 1970s, similar to Tony Iommi. During Black Sabbath's reunion in 1998, he switched to the Cry Baby Wah 95Q, as noted in performances like "Bassically/NIB." This is evident in the live performance of "Heaven And Hell - The Sign Of The Southern Cross" from 2007, available on YouTube.

In this November 8, 2018 Premier Guitar interview, Matt states that he used Al Cisneros’ Tycobrahe Parapedal on the song “The Botanist” from the album The Sciences.

Some songs, like “Sonic Titan” and “Antarcticans Thawed,” have been evolving onstage for years, but “The Botanist” seems like a departure. Was that a new song?

Yeah. “The Botanist” arose from those boot camp sessions. I had this weird, leftover acoustic piece and we just built off that because everyone in the room instantly liked the backbone. It was a slow-burn jam, with us methodically adding in elements and tones, but not forcing anything. That’s the key—you can’t be afraid to improvise and follow an idea, yet you gotta know when something isn’t working. It has such a weird, trippy vibe to it, and when Al and Jason come in, it reminds me of an underwater, hypnotic Pink Floyd.

Those solos definitely have some Gilmour traits, like the oily slickness at the end of “Dogs” or the emotive soaring in “Time.”

I really went after a lush, swirling David Gilmour tone. I think the key to that whole sound is Al’s pedal I used—a vintage Tycobrahe Parapedal—with an old Roland RE-201 Space Echo, and parts of it have a vintage [Ibanez Phase Tone] blue phaser. And everything is played with a Les Paul Recording guitar that has this phase-reverse switch that gives me a more filtered, out-of-phase tone.One thing that Sleep really lets me do, and it’s a testament to Jason and Al, is go off on a guitar odyssey. That song in particular, they really set it up for me to be able to show off a little bit.

Mentioned in the July 1980 issue of Guitar Player, with the details summarized in this March 13, 2009 Gibson article.

Guitar Player, July 1980, "British Rock Guitar Veteran"

From your left to right, how is your pedalboard currently set up?

The first effect is a preamp that Mike built, which is on all the time. The second is another volume booster, a Dan Armstrong Red Ranger, which I use for even greater sustain. Third is my Tycobrahe [sic] wah-wah. The fourth is the Fender Blender. The fifth is the Univibe, and the sixth is a Mu-tron II. The seventh and eighth are Mistresses with different settings; the one on the left gives a double-tracking effect, while the one on the right provides more of a flanged sound. But I think I've come to a halt as far as effects go. I mean, I can just barely handle what I've got now. There's so much stuff going on that if you just started mixing them there would be a limitless number of combinations you could get.

From your pedalboard, where does the signal go?

Into a splitter box, then to my amps. I don't use a mixing board or anything when I'm live because I like to be very much in control of what's going on. Especially concerning dynamics, that's so much a part of my music that I wouldn't feel happy if someone else were controlling it. I like to be creating the sound.

Gibson, "How To Get That Robin Trower Sound", March 13, 2009

Trower’s hottest rig blasted his array of Strats through a pair of 100-watt Marshall JMP-100 Mark II heads feeding two 1960-B 4x12 cabs and had an impressive effects chain on the floor: custom preamp and clean booster pedals, a Dan Armstrong Red Ranger treble booster, a Tychobrahe wah-wah, an octave/fuzz Fender Blender, a Uni-Vibe chorus/vibrato, Mutron II phase shifter, and two Electro-Harmonix Electric Mistresses.