Thank you sir for giving the Maestro FZ-1 Fuzz Tone it's deserved credit for being the father of all Fuzzes! So many people in the vintage fuzz video mistakenly credit the MK1 as being the first fuzz, and I even saw one where this poor kid said the Fuzz Face was the first Fuzz. But don't misunderstand me, I'm not "hating" on these guys for their mistakes at all. And, I'm not hating on any of the other legendary 60's Fuzzes. I don't think I've ever even heard what I would describe as a "Shitty" sounding original 60s Fuzz in any of the YT vintage Fuzz demos,(well on second thought, I've heard some less than stellar guitarist playing through the fuzzes, but that's just nitpicking). However, I know some of the 60's fuzzes have been know to sound like shit due to a bad pair of transistors that were put in during manufacturing process because of the lack of hFE testing at the time, but I enjoy all the classic Fuzzes I hear on YT demos, some more than others. But obviously, my favorite out of all of them is the Maestro FZ-1 and the Maestro FZ-1A...It's just my personal preference..And another thing I like about the Maestro Fuzz Tone is the fact that it's the only one I know of that the average Joe could actually afford! The FZ-1A to be exact...I just saw one the other day on ebay for $400!!! My gripe with the Tone Benders (both the Vox & Sola/ColorSound versions) is the fact they can sometimes almost reach 5 figures on ebay! And I also saw an original Zonk Machine the other day on ebay that was extremely expensive, but id love to have one...The original Zonk is one of the best sounding Golden era Fuzzes in my opinion...It's at least in my personal top 3...
The Clientele are one of my all time favorites. Glad you noticed! I was going to start an online tablature site for their guitar parts shortly after they released Strange Geometry, but I never found/made the time. Alasdair's guitar work is beautiful & interesting.
@@acidfuzzpedals9986 Awesome! One of my favorite bands as well. I started following them during "The Violet Hour." I just saw them last week and had the band sign my "Lost Weekend" ep and my "Haunted Melody" 7"
"Have Love, Will Travel". I think Richard Berry, the guy that wrote "Louie Louie, also wrote that one;" but it's been covered by The Sonics and probably a bunch of others. Groovy riff.
The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution. Why not give credit to The Kinks ( You really Got Me ) for the Fuzz Amp tone - which was a YEAR before The Stones, Satisfaction? If we're going to make bones about the origins of 'Fuzz' as a sound.
Thanks for your comment. Unfortunately I don’t really have an effective way to reply to the first part of your comment "The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution"without going down a lengthy rabbit hole with much more detail than is allowed in this comment section. In short I'll say I have to respectfully disagree with your opinion. To answer your question "Why not give credit to The Kinks ( You really Got Me ) for the Fuzz Amp tone - which was a YEAR before The Stones, Satisfaction? If we're going to make bones about the origins of 'Fuzz' as a sound", this video is simply a demonstration of an original Zonk Machine. It was only intended to serve as an example of what to expect in terms of sound and performance of an original example. It wasn’t intended to have anything to do with the origins or history of fuzz as such. My brief mention of the Maestro FZ-1 and MKI Tone Bender in relation to the Zonk Machine is only to illustrate the fact that all three share the same circuit design, specifically the voltage bias "fuzz" control. Hence, at low fuzz settings on a Zonk Machine you can expect a more gated sound, rather than simply the less saturated and lower gain sound you would expect with a more conventional emitter bypass "fuzz" control as found on most other fuzz pedals. If I were interested in "making bones" about the origins of fuzz I probably would have had to dedicate an entire video or video series for that purpose, or at least have gone in to much more than the voltage bias fuzz control common to the FZ-1 Fuzz-Tone, MK1 Tone Bender, and Zonk Machine. Thanks for watching.
@@acidfuzzpedals9986 By all means do so ... then you can address the work of Dick Denny and his Vox circuit as well - who, by the way I have a direct connection to. With regard to the impact of the Maestro FZ-1 vs the Tone Bender and the London Fuzz units that followed - you may well choose to disagree, but history and the lack of general interest as reflected in sales of the former unit, speaks for itself. My comment regarding 'making bones' was not directed at 'you' ... but a statement of 'one' - as in, 'the argument can be made' ... and in point of fact, has been made. The FZ-1 is part of the story ... arguing against the fact that Keith Richards put it on the map, is futile ... and indeed The Kinks 'You Really Got Me' achieved the 'Fuzz' sound via amplification, an entire year before the Stones released Satisfaction. In my view the FZ-1 was not the first Fuzz ... in terms of the sound ... the Kinks already got there in 64 with an amp. Yes ... it's a rabbit hole, but there are nuances that matter. I don't necessarily agree that the FZ-1 is the beginning, however, I have no issue with the assertion that the FZ-1 was a precursor to the Tone Bender.
@@thevelointhevale1132 Cool you have a connection to Dick Denny. He is one of my heroes! I've had the privilege of servicing vintage VOX gear & got to see his handiwork up close, including a Phantom Special. He was ahead of his time. I'm sure making a video on the history of fuzz would be fun. In some ways' I'd love to. However, it seem pretentious to make a history of fuzz when all that's required is a search engine and the ability to throw a video up on RUclips. I have no interest in being one of those pedal company RUclips talking heads. I prefer spend my time making more technical service related videos that require actual hands on knowledge that can help people in a way a Google search can't. Running Acid Fuzz and being a dad also takes up most of my time. I will take some time here to elaborate on why I respectfully disagree with your opinion. RUclips's comment section will not allow me the space to fully elaborate with one reply. So, I'll have to respond with many replies. Sorry. If you're interested in understanding my point of view, keep scrolling down. I’m not sure what you mean by "The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map", at least not the “weak affair” part? If you’re referring to it’s influence on the general popularity of fuzz sounds, or more specifically, the FZ-1’s instances of use as a guitar effect in music contemporary to release date in 1962 vs. subsequent fuzz pedals released in England in the mid 1960’s, I would suggest you may not be seeing a significant portion of the bigger picture. If you’re using “weak affair” in terms of the FZ-1’s importance within the history of fuzz as such, I would respectfully disagree. If you were referring to the Maestro FZ-1’s sonic character as compared to subsequent fuzz pedals, I would again respectfully disagree with its description as a “weak affair”. However, if by “weak affair” you’re referring to the Fuzz-Tone FZ-1’s sonic character, but you are confusing the FZ-1 with the much more common 1.5 volt FZ-1A circuit, then I would agree it’s a relatively “weak affair” compared to most later Fuzz-Tone derivatives like the MKI Tone Bender and Zonk Machine. It’s important to keep in mind that, like most vintage fuzz pedals, original FZ-1’s are all over the place in terms of sound. I've owned many FZ-1’s over the years, but only kept what I deem the best sounding/performing units for my personal use. On the other hand, I’ve had about a dozen FZ-1A’s and honestly never fell in love with any of them. There are some manufacturing variations in the 1.5V FZ-1A such as transistor set and passive component tolerance variations, or what I refer to as “tuning” when done intentionally, that make some FZ-1A’s sound and perform better than others to my ear. There are also some 1960’s FZ-1A clones like the fuzz circuit designed and built by Toshihide Ushimaru, which was loaded in some of the 1967 Fujigen made Imperial guitars, that sound a bit better to my ears. Ushimaru’s Imperial fuzz circuit is ~a part for part clone of the 1.5V FZ-1A, but has a slightly different biasing arrangement for Q2, and utilizes three Mitsubishi 2SB175 transistors, as opposed to typically three RCA 2N2613 transistors in the Maestro FZ-1A. In my opinion, given the right idiom, like say 60’s garage or spaghetti western, FZ-1A’s can sound good. However, they are ~a one trick pony no matter how hard a guitarist tries to coax other tones from them. On the other hand, a properly tuned FZ-1 Fuzz-Tone is an outstanding fuzz in all respects. The FZ-1 circuit, when properly tuned, is more versatile and is not inherently weak in terms of saturation, sustain, or amplitude. Of course the term “tone”, as most musicians use it, is subjective. However, there are some objective facts regarding the FZ-1 and it’s sonic character or “tone”. The FZ-1 circuit can clip as much of the waveform, if not more, than many later fuzz pedals. It is capable of producing not only gated fuzz sounds, but can also be as open, saturated, and sustaining as many other fuzz pedals. It’s output amplitude is often greater than later fuzz circuits. This allows the user to achieve an even greater degree of clipping/distortion/fuzz by also overdriving an amplifier with a high amplitude signal. Another important but often-overlooked feature of a well tuned FZ-1 is that it cleans up when rolling off your guitar's volume. This opens up an even greater degree of subtleties to its sonic character. All of these qualities of the FZ-1 can not only be heard, but also seen and quantified on a scope. A well tuned Gibson Maestro FZ-1 Fuzz-Tone is not the weak farty/gated one trick pony most Internet chatter would lead people to believe. Unfortunately, I’ve never heard a demonstration of an original FZ-1 that illustrates this.
As for “it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution.”, that’s true in some ways, if you’re referring only to fuzz pedals, but lacks historical context. It’s important to understand the history of fuzz/distortion as it relates to Western pop culture and the evolution of technology generally. There were many instances of intentionally distorted “fuzzy” guitar sounds going back to at least the first week of March, 1951. Take for example Willie Kizart’s guitar on Jackie Brenston & His Delta Cats’ version of Rocket 88, or Howlin’ Wolfs’ How Many More Times from July of 1951. Neither of these instances of distorted/fuzz guitar involve a fuzz pedal. In the case of Rocket 88, the distortion was reportedly produced by stuffing wadded newspaper into the guitar amp’s speaker. In the case of “How Many More Times” I’m pretty sure it’s just tube amp distortion. Regardless of how these fuzz guitar sounds were achieved, they both speak to the popularity of fuzz guitar going back to the early 1950’s. Rocket 88 went to No. 1 on the Billboard R&B chart. How Many More Times went to No. 4. So, fuzz was kicking in the door all the way to number one as early as March of 1951. Howlin’ Wolf was a huge influence on Keith Richards and the Stones. In fact, the Rolling Stones refused to perform on Shindig unless Howlin’ Wolf also appeared. Incidentally, Howlin’ Wolf performed How Many More Times. However, this Shindig appearance was on May 20, 1965, fourteen years after it’s initial release. A month later Satisfaction, which featured the Maestro FZ-1 Fuzz-Tone, was first released as a single in the United States in June 1965. Satisfaction was the Stones first No. 1 in the US. It later became the Rolling Stones' fourth No. 1 in the UK. So, in this context, it’s at least arguable the prior use of fuzz guitar by US artists and it’s popularity in pop culture, along with the US made FZ-1 Fuzz-Tone, kicked the door in for later artists like The Rolling Stones. Some historians consider Jackie Brenston & His Delta Cats’ version of Rocket 88 to be the first Rock & Roll song. In this sense you can say fuzz guitar has been a big part of Rock & Roll since day one. From my point of view, prior use of fuzz guitar sounds by US artists since the early 1950’s and the invention of the FZ-1 Fuzz-Tone is in many ways responsible for the later “London Fuzz revolution” and the widespread use of fuzz in the late 60’s in general. Another illustration would be US artists Johnny Burnette and the Rock and Roll Trios’ version of Train Kept A-Rollin, released in 1956. Although it didn’t dent the charts, many historians consider this to be the first recorded example of intentionally distorted guitar in rock music. From Wikipedia: “In 1956, Johnny Burnette and the Rock and Roll Trio reworked Bradshaw's song using a rockabilly/early rock and roll arrangement. The Trio's version features guitar lines in what many historians consider to be the first recorded example of intentionally distorted guitar in rock music, although blues guitarists, such as Willie Johnson and Pat Hare, had recorded with the same effect years earlier. The Trio's guitarist, Paul Burlison, explained that he noticed the sound after accidentally dropping his amplifier, which dislodged a power tube and later, "whenever I wanted to get that sound, I'd just reach back and loosen that tube".He utilized this effect with the song's main instrumental feature, a three-note minor key guitar line repeated throughout. Burlison recounted how he came up with the signature guitar riff: [I was] in the dressing room with the loose tube. Johnny [Burnett] was playing an E chord and I was playing in a G position but I'd take my fingers off and play in octaves [using the thumb and middle or index finger]. He wasn't singing 'The Train Kept A-Rollin'', it was another song, and I got to doing doom diddle doom daddle doom daddle ... [Later] I told Owen Bradley about it at the Barn, where we cut the stuff, and he said, 'let me hear it'. So I started doing it and he said, 'Well, let's do it'. The day after recording "The Train Kept A-Rollin', the trio recorded a version of Big Joe Turner's "Honey Hush", which features a more extensive use of the riff. Coral Records released both songs on a single in September 1956. Later, authors Vince Gordon and Peter DijkemaIt argue that the guitar sound on "The Train Kept A-Rollin'" could be created with distortion commonly achievable with a highly-overdriven early 1950s guitar amplifier. They point out that in the recording, the higher treble strings sound relatively clean, with the low E string having the most distortion; with a tube malfunction, all strings would be distorted more or less to an equal degree. The authors add that this difference in sound could be achieved with the pole piece for the low E string raised higher than the rest, thereby allowing it to overload the amplifier more than the treble strings. They also argue that Nashville session guitarist Grady Martin provided the guitar parts for the Trio's recording; they base this on stylistic and technical qualities, since, at the time, Martin was a more accomplished player than Burlison, and these qualities are apparent in his work on other recordings.” Regardless of its lack of chart success, or the minutia exactly of how it’s distorted guitar sound was achieved, there are some important things to note about Burnettes’ version of Train Kept A-Rollin. Mainly, it had a huge influence on both Jeff Beck and Jimmy Page, as it was a staple of the Yardbirds setlist during their time with the band. It’s unclear if Beck’s fuzz on Train Kept A-Rollin was a MKI Tone Bender or FZ-1 Fuzz-Tone. They can sound similar. If I had to guess I’d say MKI Tone Bender only because Jeff Beck was photographed using a MKI Tone Bender during a Yardbirds performance on British rock/pop television programe Ready Steady Go, in an episode that aired on June 4th, 1965. The Yardbirds adaptation of Train Kept A-Rollin was first recorded a few months later by Sam Phillips at his Phillips Recording studio in Memphis, Tennessee, on September 12, 1965. However, it’s important to remember Willie Kizart’s distorted guitar on Jackie Brenston & His Delta Cats’ version of Rocket 88 was also engineered by Sam Phillips way back in 1951 at his Memphis Recording Service studio. Since we know Philips already had an affinity for fuzz guitar sounds going back fourteen years, and the Maestro Fuzz-Tone FZ-1 was released in the USA 1962, it’s possible Beck used the FZ-1 on this recording of Train Kept A-Rollin. Incidentally, Train Kept A-Rollin was also the first song Led Zeppelin played together. No one is sure if Page used a Sola Sound MK1.5 or MKII during this time. The important thing is both Beck and Page were influenced by earlier fuzz sounds from the US during the 1950’s, and both went on to play a big role in further popularizing fuzz guitar sounds.
Another thing worth noting about the Wikipedia article on Burnette’s version of Train Kept A-Rollin is the theory that Nashville session guitarist Grady Martin provided the guitar parts. What’s notable is not necessarily whether or not this is true. What’s notable is that Grady Martin later inadvertently became a player in popularizing fuzz sounds, both literally and figuratively, when he played a distorted fuzzy sound on the bridge section and brief reprise at the end of the Marty Robbins single Don’t Worry. This country/pop tune was recorded in 1960 and released on February 6, 1961. Don’t Worry peaked at No. 1 on the US Billboard Hot Country Charts for a total of 10 weeks and further remained on the chart for a total of 19 weeks. The single crossed over to the pop chart and was one of Marty Robbins' most successful crossover songs, peaking at No. 3 on the Hot 100. Unlike other US songs featuring fuzz tones, Don’t Worry likely wasn’t a big influence on any British guitarists of the mid-late 60’s. However, it’s chart success and subsequent demand for fuzz tones in the US led directly to the invention of the first fuzz pedal, the Maestro FZ-1 Fuzz-Tone, by Glenn Snoddy and Revis Hobbs. The Fuzz-Tone had a huge impact on the availability and popularity of fuzz tones worldwide. It’s ~the first commercially available transistorized fuzz pedal, which many subsequent fuzz pedals were derived and evolved from. You see, in addition to being an engineer at radio stations WGNS and WSM in the 1950’s, Glenn Snoddy was also the sound engineer for Marty Robbins’ recording of Don’t Worry at Quonset Hut Studio. Quonset Hut Studio was established in 1954 in Nashville, Tennessee by brothers Harold and Owen Bradley as Bradley's Film & Recording Studios. From Wikipedia: “In 1961, While engineering Marty Robbins' song, Don't Worry at The Quonset Hut, a technical malfunction unexpectedly transformed session musician Grady Martin's Danelectro six-string baritone guitar tone into an unusual distorted sound. Some accounts report that the transformer of Martin's amplifier was damaged. However, it appears that a defect in the mixing console had produced this unique sound. "I'm pretty sure what happened was the primary transformer opened up, causing session player Grady Martin's guitar sound to go from clean to bludgeoning", Snoddy told The Tennessean in 2013.” How the fuzz sound on Don’t Worry was achieved has been a topic of debate. What’s not debatable is that distorted fuzzy guitar sounds had already become popular in many US recordings since the 1950’s, and that it was this demand for fuzz that led Glenn Snoddy to invent the first fuzz pedal. Snoddy recalls in one interview “Nancy Sinatra came to town and wanted to use that (fuzz) sound, and I had to tell her people that we didn’t have it anymore because the amplifier completely quit. So I had to get busy and conjure some other way to make it happen.” In conversation with Harold Bradley, Snoddy has confirmed the fuzz sound was result of a faulty transformer in the mixing console amplifier: Bradley: “We really ought to talk about the fuzz, how that happened, because it seems like we need to put that story to rest. The fuzz on Marty Robbins’ record Don’t Worry seems to concern a lot of people, and how it happened…The Jordanaires, we were all interviewed one time, the A Team of musicians, we were all interviewed. Ray Walkers’ version and Gordon Stokers’ was that Grady Martin created, uhh, he took a tube and put it in his pocket and said ‘that’s it’, you know, took it out of his amp. And that wasn’t it. And I said I really hate to disagree with you. You’re like my brother…I hate to disagree with you, but it didn’t happen that way. I said ‘let me ask you this, if he did that, why didn’t he do it at RCA? Because he couldn’t. It didn’t happen that way.’ I saw after that fuzz, I saw Hank Garland at RCA try to create the fuzz by hooking two amps together and taking a tube out of one of them. It wasn’t the same as this one.” After some back and forth banter about the price of the console and how and where it was acquired, Snoddy clears up how the fuzz sound was produced. Snoddy: “The complete story on this is really kind of complicated, but I’ll try to shorten it up. The amplifiers in that console were made by a company called Linesven (sp?) …Linesven was gonna move from New York to California, so they farmed out fifty sets of coils, transformers that went to those amplifiers. As it turns out, when we got the console, those amplifiers started going out one at a time. I think we wound up with thirty of them out of the fifty that they farmed out, and one of them happened to have Grady’s guitar plugged in to that particular channel. When it went out the amplifier just kinda died because the output transformer had opened up…I can just see a spark inside that transformer happening every time Grady hit a string. So that’s what happened…and the fuzz tone came out of that amplifier. And then later on the amplifier just quit. We didn’t have fuzz at that point. …I said ‘we’re gonna have to do something about that.’ So I got busy and we (Snoddy & Revis Hobbs) built something that looks like this (Maestro FZ-1 or FZ-1A Fuzz-Tone), called a Fuzz-Tone. It had two knobs on it and it worked. So, I went to Chicago with it and sold the idea to Gibson, and they produced the Fuzz-Tone, and I understand sold quite a few of them.” So, it’s clear that fuzz was born in the USA, was popular and in demand since the 50's, and Glenn Snoddy is essentially the father of the fuzz pedal. There is at least one, if not more transistorized fuzz circuits made in the USA before the FZ-1. However, unlike the Fuzz-Tone, they were not mass produced and marketed through a big company like Gibson. In 1960 Lee Hazelwood had a transistorized fuzz commissioned. This was supposedly designed and built by an unknown Phoenix, AZ radio station technician, and only one was made. I think the first recorded example of this transistorized fuzz is when session guitarist Al Casey used it on Sanford Clarks' Go On Home, released in March of 1960. In Los Angeles, CA session musician and electronics technician Orville J "Red" Rhodes also built a transistorized fuzz at some point between 1960-63. This is supposedly the fuzz the Ventures used on their 1962 track 2000 Pound Bee. Rhodes reportedly made a bunch to sell to his fellow musicians. However, the "Rhodes fuzz" was never mass produced and marketed in the way the Fuzz-Tone was. Unfortunately, without marketing, a lot of cool inventions either fizzle out or take years to gain traction. People have to not only know they exist, but also have access to them. From Wikipedia (again): “Snoddy decided to team-up with fellow WSM radio engineer Revis Virgil Hobbs to build a stand-alone device entirely based around three 1n270 germanium transistors that would intentionally recreate the novel fuzzy effect. The Fuzz-Tone was born. The two engineers sold their circuit to Gibson, who commercialized the device in 1962 under the name Maestro Fuzz-Tone. While the initial run of 5000 units was a commercial failure, sales soared after The Rolling Stones' Keith Richards used an FZ1 to record (I Can't Get No) Satisfaction's main riff.” The FZ-1 Fuzz-Tone was based around three RCA 2N270 germanium transistors, not 1n270. Other than this typo, the above Wikipedia statement is correct. It’s obvious Keith Richards’ use of the FZ-1 Fuzz-Tone on the Rolling Stones’ Satisfaction popularized the Fuzz-Tone more than any other artist. It’s arguable his use of the Fuzz-Tone popularized fuzz as such more than any other artist of the time. I think this is due much more to a synergistic right place, right time event between Keith Richards and the evolving world around him than it is to his masterful use of fuzz as an integral sonic tool for achieving his sound, at least not in the same way as other 60’s guitarists like Jimi Hendrix or Jimmy Page. Keith Richards has never really been a pedal guy. He’s ~always been a guitar straight in to amp guy. To understand this phenomenon you have to understand and acknowledge fuzz did not evolve in a vacuum. Nothing does.
i constantly read about reissue pedals that claim to be an exact copy of the original.but like many reissue,s ahem ahem cough cough the fender 60s reissue amps that sound nothing like the classy original amps with ajax caps & superior wireing that over 50 years later still prove .how inferior these new amps are.well basically i found 3 pedals i liked & then i heard the reissues & just thought its an insult to claim they are repro,s with the exact same specifications.when you take the pedals or reissue amps apart & look at the wiring & the components nothing looks the same.me im old school all the way digital guitar amps & pedals are piss poor.ive listened to about 60 fuzz pedals i found that most of them are just trying to recreate what a top amp can produce.in other words most of these pedals are not adding nothing new to what a quality amp provides.the dunlop jimi hendrix pedal im told is digital if hendrix was alive he would NEVER put his name to a digital pedal.i couldnt afford the amp of my dreams so i got a 1997 60 watt all tube marshall with overdrive & twin reverb if i could choose it would probably be a fender bassman 60 or a 65 fender.i think 59 to 68 was fenders best moments for amp building hand wired turret board amps are the best amps ever built but the ajax caps & original wiring & components made hand wired the best you can get..
Maybe when you said "Made in England... Wacky!"? I took that as "Like Wow!" and not that you were slamming the Brits. Maybe because you mentioned the Jeff Beck incarnation of the Yardbirds and thus slighted the Clapton and Page years? Obviously a touchy guy!
For the crazy amount of money these cost I gotta say whoopee, big deal and doesn't sound drastically different or better than anything else. You do get bragging rights and mojo though for all that money.🙄
@@harveycan5820 Yeah man. Apparently some people read in to things way too much. I got an email asking why I mentioned Nazism in my video. I had no idea what they were talking about until they pointed out the magazine on my coffee table. I had to bite my tongue, but basically politely explained this is just a demo of a fuzz pedal recorded on my iphone, not a Stanley Kubrick film.
![Cordae - Saturday Mornings (feat. Lil Wayne) [Official Music Video]](http://i.ytimg.com/vi/z2GYJua09F0/mqdefault.jpg)
I like the mild intermoduation it has.
Mild for a fuzz...
Mild?
Wow it sounds fantastic. Surprisingly quiet too. Very cool.
Hey there! Great Demo. Thanks for making the comparison with the JMI version.
Sounds brill with the Ricky!
Thank you sir for giving the Maestro FZ-1 Fuzz Tone it's deserved credit for being the father of all Fuzzes! So many people in the vintage fuzz video mistakenly credit the MK1 as being the first fuzz, and I even saw one where this poor kid said the Fuzz Face was the first Fuzz. But don't misunderstand me, I'm not "hating" on these guys for their mistakes at all. And, I'm not hating on any of the other legendary 60's Fuzzes. I don't think I've ever even heard what I would describe as a "Shitty" sounding original 60s Fuzz in any of the YT vintage Fuzz demos,(well on second thought, I've heard some less than stellar guitarist playing through the fuzzes, but that's just nitpicking). However, I know some of the 60's fuzzes have been know to sound like shit due to a bad pair of transistors that were put in during manufacturing process because of the lack of hFE testing at the time, but I enjoy all the classic Fuzzes I hear on YT demos, some more than others. But obviously, my favorite out of all of them is the Maestro FZ-1 and the Maestro FZ-1A...It's just my personal preference..And another thing I like about the Maestro Fuzz Tone is the fact that it's the only one I know of that the average Joe could actually afford! The FZ-1A to be exact...I just saw one the other day on ebay for $400!!! My gripe with the Tone Benders (both the Vox & Sola/ColorSound versions) is the fact they can sometimes almost reach 5 figures on ebay! And I also saw an original Zonk Machine the other day on ebay that was extremely expensive, but id love to have one...The original Zonk is one of the best sounding Golden era Fuzzes in my opinion...It's at least in my personal top 3...
Here you go, you're welcome: hewittsgaragestudio.com/fuzz-timeline.php
Great history info for me. Tx!
the Final Boss of fuzzes
So good
nice rick
I just caught video 9 years late.
I noticed you played a riff from The Clientele. I wonder if anyone else did.
The Clientele are one of my all time favorites. Glad you noticed! I was going to start an online tablature site for their guitar parts shortly after they released Strange Geometry, but I never found/made the time. Alasdair's guitar work is beautiful & interesting.
@@acidfuzzpedals9986 Awesome! One of my favorite bands as well. I started following them during "The Violet Hour." I just saw them last week and had the band sign my "Lost Weekend" ep and my "Haunted Melody" 7"
When he started that riff it hit me. I was like, "Wait....The Clientele?" Man, The Clientele is great.
@@wesdavis7371 Same experience here!
How hot was it in the room when you were playing this?
WASP IN A JAR!!!!
I always lilked the not clarity of single coils with fuzz, gibson humbuckers loose clarity and just bland into a flat noise
What's the second song you played after satisfaction?
"Have Love, Will Travel". I think Richard Berry, the guy that wrote "Louie Louie, also wrote that one;" but it's been covered by The Sonics and probably a bunch of others. Groovy riff.
I spotted a clientele number :0
Love The Clientele
Dude. You seem like a fuzz guru. Can you please listen to flower pot by loadstone 5 min in. What fuzz, guitar and amp would u try?
"Listen to what the Flower People say" by Spinal Tap.
Sounds like a maestro fuzztone. Fz-1a most likely
It sounds good into a twin but you should run it into a dirty ish amp or into a light overdrive pedal at least
Anyone ever make a clone?
What’s the song at 2:44?
From 2:44 to 2:58 it's "From A Window" by the Clientele. After that I'm just playing around with the chords.
Acid Fuzz Pedals awesome, thanks
Axe music.
Non si fa la demo di un distorsore col riverbero attivato!!! Non si capisce quanto sia effettivamente il sustain del pedale.
The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution. Why not give credit to The Kinks ( You really Got Me ) for the Fuzz Amp tone - which was a YEAR before The Stones, Satisfaction? If we're going to make bones about the origins of 'Fuzz' as a sound.
Thanks for your comment. Unfortunately I don’t really have an effective way to reply to the first part of your comment "The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution"without going down a lengthy rabbit hole with much more detail than is allowed in this comment section. In short I'll say I have to respectfully disagree with your opinion.
To answer your question "Why not give credit to The Kinks ( You really Got Me ) for the Fuzz Amp tone - which was a YEAR before The Stones, Satisfaction? If we're going to make bones about the origins of 'Fuzz' as a sound", this video is simply a demonstration of an original Zonk Machine. It was only intended to serve as an example of what to expect in terms of sound and performance of an original example. It wasn’t intended to have anything to do with the origins or history of fuzz as such. My brief mention of the Maestro FZ-1 and MKI Tone Bender in relation to the Zonk Machine is only to illustrate the fact that all three share the same circuit design, specifically the voltage bias "fuzz" control. Hence, at low fuzz settings on a Zonk Machine you can expect a more gated sound, rather than simply the less saturated and lower gain sound you would expect with a more conventional emitter bypass "fuzz" control as found on most other fuzz pedals. If I were interested in "making bones" about the origins of fuzz I probably would have had to dedicate an entire video or video series for that purpose, or at least have gone in to much more than the voltage bias fuzz control common to the FZ-1 Fuzz-Tone, MK1 Tone Bender, and Zonk Machine. Thanks for watching.
@@acidfuzzpedals9986 By all means do so ... then you can address the work of Dick Denny and his Vox circuit as well - who, by the way I have a direct connection to. With regard to the impact of the Maestro FZ-1 vs the Tone Bender and the London Fuzz units that followed - you may well choose to disagree, but history and the lack of general interest as reflected in sales of the former unit, speaks for itself. My comment regarding 'making bones' was not directed at 'you' ... but a statement of 'one' - as in, 'the argument can be made' ... and in point of fact, has been made. The FZ-1 is part of the story ... arguing against the fact that Keith Richards put it on the map, is futile ... and indeed The Kinks 'You Really Got Me' achieved the 'Fuzz' sound via amplification, an entire year before the Stones released Satisfaction. In my view the FZ-1 was not the first Fuzz ... in terms of the sound ... the Kinks already got there in 64 with an amp. Yes ... it's a rabbit hole, but there are nuances that matter. I don't necessarily agree that the FZ-1 is the beginning, however, I have no issue with the assertion that the FZ-1 was a precursor to the Tone Bender.
@@thevelointhevale1132 Cool you have a connection to Dick Denny. He is one of my heroes! I've had the privilege of servicing vintage VOX gear & got to see his handiwork up close, including a Phantom Special. He was ahead of his time.
I'm sure making a video on the history of fuzz would be fun. In some ways' I'd love to. However, it seem pretentious to make a history of fuzz when all that's required is a search engine and the ability to throw a video up on RUclips. I have no interest in being one of those pedal company RUclips talking heads. I prefer spend my time making more technical service related videos that require actual hands on knowledge that can help people in a way a Google search can't. Running Acid Fuzz and being a dad also takes up most of my time. I will take some time here to elaborate on why I respectfully disagree with your opinion. RUclips's comment section will not allow me the space to fully elaborate with one reply. So, I'll have to respond with many replies. Sorry. If you're interested in understanding my point of view, keep scrolling down.
I’m not sure what you mean by "The Maestro FZ-1 was a pretty weak affair as Fuzz goes and it took Keith Richards to put it on the map", at least not the “weak affair” part? If you’re referring to it’s influence on the general popularity of fuzz sounds, or more specifically, the FZ-1’s instances of use as a guitar effect in music contemporary to release date in 1962 vs. subsequent fuzz pedals released in England in the mid 1960’s, I would suggest you may not be seeing a significant portion of the bigger picture. If you’re using “weak affair” in terms of the FZ-1’s importance within the history of fuzz as such, I would respectfully disagree. If you were referring to the Maestro FZ-1’s sonic character as compared to subsequent fuzz pedals, I would again respectfully disagree with its description as a “weak affair”. However, if by “weak affair” you’re referring to the Fuzz-Tone FZ-1’s sonic character, but you are confusing the FZ-1 with the much more common 1.5 volt FZ-1A circuit, then I would agree it’s a relatively “weak affair” compared to most later Fuzz-Tone derivatives like the MKI Tone Bender and Zonk Machine.
It’s important to keep in mind that, like most vintage fuzz pedals, original FZ-1’s are all over the place in terms of sound. I've owned many FZ-1’s over the years, but only kept what I deem the best sounding/performing units for my personal use. On the other hand, I’ve had about a dozen FZ-1A’s and honestly never fell in love with any of them. There are some manufacturing variations in the 1.5V FZ-1A such as transistor set and passive component tolerance variations, or what I refer to as “tuning” when done intentionally, that make some FZ-1A’s sound and perform better than others to my ear. There are also some 1960’s FZ-1A clones like the fuzz circuit designed and built by Toshihide Ushimaru, which was loaded in some of the 1967 Fujigen made Imperial guitars, that sound a bit better to my ears. Ushimaru’s Imperial fuzz circuit is ~a part for part clone of the 1.5V FZ-1A, but has a slightly different biasing arrangement for Q2, and utilizes three Mitsubishi 2SB175 transistors, as opposed to typically three RCA 2N2613 transistors in the Maestro FZ-1A. In my opinion, given the right idiom, like say 60’s garage or spaghetti western, FZ-1A’s can sound good. However, they are ~a one trick pony no matter how hard a guitarist tries to coax other tones from them. On the other hand, a properly tuned FZ-1 Fuzz-Tone is an outstanding fuzz in all respects. The FZ-1 circuit, when properly tuned, is more versatile and is not inherently weak in terms of saturation, sustain, or amplitude.
Of course the term “tone”, as most musicians use it, is subjective. However, there are some objective facts regarding the FZ-1 and it’s sonic character or “tone”. The FZ-1 circuit can clip as much of the waveform, if not more, than many later fuzz pedals. It is capable of producing not only gated fuzz sounds, but can also be as open, saturated, and sustaining as many other fuzz pedals. It’s output amplitude is often greater than later fuzz circuits. This allows the user to achieve an even greater degree of clipping/distortion/fuzz by also overdriving an amplifier with a high amplitude signal. Another important but often-overlooked feature of a well tuned FZ-1 is that it cleans up when rolling off your guitar's volume. This opens up an even greater degree of subtleties to its sonic character. All of these qualities of the FZ-1 can not only be heard, but also seen and quantified on a scope. A well tuned Gibson Maestro FZ-1 Fuzz-Tone is not the weak farty/gated one trick pony most Internet chatter would lead people to believe. Unfortunately, I’ve never heard a demonstration of an original FZ-1 that illustrates this.
As for “it took Keith Richards to put it on the map ... Fuzz didn't start kicking the door in until the Tone Bender Mk1 and the entire London Fuzz revolution.”, that’s true in some ways, if you’re referring only to fuzz pedals, but lacks historical context. It’s important to understand the history of fuzz/distortion as it relates to Western pop culture and the evolution of technology generally.
There were many instances of intentionally distorted “fuzzy” guitar sounds going back to at least the first week of March, 1951. Take for example Willie Kizart’s guitar on Jackie Brenston & His Delta Cats’ version of Rocket 88, or Howlin’ Wolfs’ How Many More Times from July of 1951. Neither of these instances of distorted/fuzz guitar involve a fuzz pedal. In the case of Rocket 88, the distortion was reportedly produced by stuffing wadded newspaper into the guitar amp’s speaker. In the case of “How Many More Times” I’m pretty sure it’s just tube amp distortion. Regardless of how these fuzz guitar sounds were achieved, they both speak to the popularity of fuzz guitar going back to the early 1950’s. Rocket 88 went to No. 1 on the Billboard R&B chart. How Many More Times went to No. 4. So, fuzz was kicking in the door all the way to number one as early as March of 1951. Howlin’ Wolf was a huge influence on Keith Richards and the Stones. In fact, the Rolling Stones refused to perform on Shindig unless Howlin’ Wolf also appeared. Incidentally, Howlin’ Wolf performed How Many More Times. However, this Shindig appearance was on May 20, 1965, fourteen years after it’s initial release. A month later Satisfaction, which featured the Maestro FZ-1 Fuzz-Tone, was first released as a single in the United States in June 1965. Satisfaction was the Stones first No. 1 in the US. It later became the Rolling Stones' fourth No. 1 in the UK. So, in this context, it’s at least arguable the prior use of fuzz guitar by US artists and it’s popularity in pop culture, along with the US made FZ-1 Fuzz-Tone, kicked the door in for later artists like The Rolling Stones. Some historians consider Jackie Brenston & His Delta Cats’ version of Rocket 88 to be the first Rock & Roll song. In this sense you can say fuzz guitar has been a big part of Rock & Roll since day one.
From my point of view, prior use of fuzz guitar sounds by US artists since the early 1950’s and the invention of the FZ-1 Fuzz-Tone is in many ways responsible for the later “London Fuzz revolution” and the widespread use of fuzz in the late 60’s in general. Another illustration would be US artists Johnny Burnette and the Rock and Roll Trios’ version of Train Kept A-Rollin, released in 1956. Although it didn’t dent the charts, many historians consider this to be the first recorded example of intentionally distorted guitar in rock music.
From Wikipedia:
“In 1956, Johnny Burnette and the Rock and Roll Trio reworked Bradshaw's song using a rockabilly/early rock and roll arrangement. The Trio's version features guitar lines in what many historians consider to be the first recorded example of intentionally distorted guitar in rock music, although blues guitarists, such as Willie Johnson and Pat Hare, had recorded with the same effect years earlier.
The Trio's guitarist, Paul Burlison, explained that he noticed the sound after accidentally dropping his amplifier, which dislodged a power tube and later, "whenever I wanted to get that sound, I'd just reach back and loosen that tube".He utilized this effect with the song's main instrumental feature, a three-note minor key guitar line repeated throughout. Burlison recounted how he came up with the signature guitar riff:
[I was] in the dressing room with the loose tube. Johnny [Burnett] was playing an E chord and I was playing in a G position but I'd take my fingers off and play in octaves [using the thumb and middle or index finger]. He wasn't singing 'The Train Kept A-Rollin'', it was another song, and I got to doing doom diddle doom daddle doom daddle ... [Later] I told Owen Bradley about it at the Barn, where we cut the stuff, and he said, 'let me hear it'. So I started doing it and he said, 'Well, let's do it'.
The day after recording "The Train Kept A-Rollin', the trio recorded a version of Big Joe Turner's "Honey Hush", which features a more extensive use of the riff. Coral Records released both songs on a single in September 1956.
Later, authors Vince Gordon and Peter DijkemaIt argue that the guitar sound on "The Train Kept A-Rollin'" could be created with distortion commonly achievable with a highly-overdriven early 1950s guitar amplifier. They point out that in the recording, the higher treble strings sound relatively clean, with the low E string having the most distortion; with a tube malfunction, all strings would be distorted more or less to an equal degree. The authors add that this difference in sound could be achieved with the pole piece for the low E string raised higher than the rest, thereby allowing it to overload the amplifier more than the treble strings. They also argue that Nashville session guitarist Grady Martin provided the guitar parts for the Trio's recording; they base this on stylistic and technical qualities, since, at the time, Martin was a more accomplished player than Burlison, and these qualities are apparent in his work on other recordings.”
Regardless of its lack of chart success, or the minutia exactly of how it’s distorted guitar sound was achieved, there are some important things to note about Burnettes’ version of Train Kept A-Rollin. Mainly, it had a huge influence on both Jeff Beck and Jimmy Page, as it was a staple of the Yardbirds setlist during their time with the band. It’s unclear if Beck’s fuzz on Train Kept A-Rollin was a MKI Tone Bender or FZ-1 Fuzz-Tone. They can sound similar. If I had to guess I’d say MKI Tone Bender only because Jeff Beck was photographed using a MKI Tone Bender during a Yardbirds performance on British rock/pop television programe Ready Steady Go, in an episode that aired on June 4th, 1965. The Yardbirds adaptation of Train Kept A-Rollin was first recorded a few months later by Sam Phillips at his Phillips Recording studio in Memphis, Tennessee, on September 12, 1965. However, it’s important to remember Willie Kizart’s distorted guitar on Jackie Brenston & His Delta Cats’ version of Rocket 88 was also engineered by Sam Phillips way back in 1951 at his Memphis Recording Service studio. Since we know Philips already had an affinity for fuzz guitar sounds going back fourteen years, and the Maestro Fuzz-Tone FZ-1 was released in the USA 1962, it’s possible Beck used the FZ-1 on this recording of Train Kept A-Rollin. Incidentally, Train Kept A-Rollin was also the first song Led Zeppelin played together. No one is sure if Page used a Sola Sound MK1.5 or MKII during this time. The important thing is both Beck and Page were influenced by earlier fuzz sounds from the US during the 1950’s, and both went on to play a big role in further popularizing fuzz guitar sounds.
Another thing worth noting about the Wikipedia article on Burnette’s version of Train Kept A-Rollin is the theory that Nashville session guitarist Grady Martin provided the guitar parts. What’s notable is not necessarily whether or not this is true. What’s notable is that Grady Martin later inadvertently became a player in popularizing fuzz sounds, both literally and figuratively, when he played a distorted fuzzy sound on the bridge section and brief reprise at the end of the Marty Robbins single Don’t Worry. This country/pop tune was recorded in 1960 and released on February 6, 1961. Don’t Worry peaked at No. 1 on the US Billboard Hot Country Charts for a total of 10 weeks and further remained on the chart for a total of 19 weeks. The single crossed over to the pop chart and was one of Marty Robbins' most successful crossover songs, peaking at No. 3 on the Hot 100.
Unlike other US songs featuring fuzz tones, Don’t Worry likely wasn’t a big influence on any British guitarists of the mid-late 60’s. However, it’s chart success and subsequent demand for fuzz tones in the US led directly to the invention of the first fuzz pedal, the Maestro FZ-1 Fuzz-Tone, by Glenn Snoddy and Revis Hobbs. The Fuzz-Tone had a huge impact on the availability and popularity of fuzz tones worldwide. It’s ~the first commercially available transistorized fuzz pedal, which many subsequent fuzz pedals were derived and evolved from. You see, in addition to being an engineer at radio stations WGNS and WSM in the 1950’s, Glenn Snoddy was also the sound engineer for Marty Robbins’ recording of Don’t Worry at Quonset Hut Studio. Quonset Hut Studio was established in 1954 in Nashville, Tennessee by brothers Harold and Owen Bradley as Bradley's Film & Recording Studios.
From Wikipedia:
“In 1961, While engineering Marty Robbins' song, Don't Worry at The Quonset Hut, a technical malfunction unexpectedly transformed session musician Grady Martin's Danelectro six-string baritone guitar tone into an unusual distorted sound. Some accounts report that the transformer of Martin's amplifier was damaged. However, it appears that a defect in the mixing console had produced this unique sound. "I'm pretty sure what happened was the primary transformer opened up, causing session player Grady Martin's guitar sound to go from clean to bludgeoning", Snoddy told The Tennessean in 2013.”
How the fuzz sound on Don’t Worry was achieved has been a topic of debate. What’s not debatable is that distorted fuzzy guitar sounds had already become popular in many US recordings since the 1950’s, and that it was this demand for fuzz that led Glenn Snoddy to invent the first fuzz pedal. Snoddy recalls in one interview “Nancy Sinatra came to town and wanted to use that (fuzz) sound, and I had to tell her people that we didn’t have it anymore because the amplifier completely quit. So I had to get busy and conjure some other way to make it happen.”
In conversation with Harold Bradley, Snoddy has confirmed the fuzz sound was result of a faulty transformer in the mixing console amplifier:
Bradley: “We really ought to talk about the fuzz, how that happened, because it seems like we need to put that story to rest. The fuzz on Marty Robbins’ record Don’t Worry seems to concern a lot of people, and how it happened…The Jordanaires, we were all interviewed one time, the A Team of musicians, we were all interviewed. Ray Walkers’ version and Gordon Stokers’ was that Grady Martin created, uhh, he took a tube and put it in his pocket and said ‘that’s it’, you know, took it out of his amp. And that wasn’t it. And I said I really hate to disagree with you. You’re like my brother…I hate to disagree with you, but it didn’t happen that way. I said ‘let me ask you this, if he did that, why didn’t he do it at RCA? Because he couldn’t. It didn’t happen that way.’ I saw after that fuzz, I saw Hank Garland at RCA try to create the fuzz by hooking two amps together and taking a tube out of one of them. It wasn’t the same as this one.”
After some back and forth banter about the price of the console and how and where it was acquired, Snoddy clears up how the fuzz sound was produced.
Snoddy: “The complete story on this is really kind of complicated, but I’ll try to shorten it up. The amplifiers in that console were made by a company called Linesven (sp?) …Linesven was gonna move from New York to California, so they farmed out fifty sets of coils, transformers that went to those amplifiers. As it turns out, when we got the console, those amplifiers started going out one at a time. I think we wound up with thirty of them out of the fifty that they farmed out, and one of them happened to have Grady’s guitar plugged in to that particular channel. When it went out the amplifier just kinda died because the output transformer had opened up…I can just see a spark inside that transformer happening every time Grady hit a string. So that’s what happened…and the fuzz tone came out of that amplifier. And then later on the amplifier just quit. We didn’t have fuzz at that point. …I said ‘we’re gonna have to do something about that.’ So I got busy and we (Snoddy & Revis Hobbs) built something that looks like this (Maestro FZ-1 or FZ-1A Fuzz-Tone), called a Fuzz-Tone. It had two knobs on it and it worked. So, I went to Chicago with it and sold the idea to Gibson, and they produced the Fuzz-Tone, and I understand sold quite a few of them.”
So, it’s clear that fuzz was born in the USA, was popular and in demand since the 50's, and Glenn Snoddy is essentially the father of the fuzz pedal. There is at least one, if not more transistorized fuzz circuits made in the USA before the FZ-1. However, unlike the Fuzz-Tone, they were not mass produced and marketed through a big company like Gibson. In 1960 Lee Hazelwood had a transistorized fuzz commissioned. This was supposedly designed and built by an unknown Phoenix, AZ radio station technician, and only one was made. I think the first recorded example of this transistorized fuzz is when session guitarist Al Casey used it on Sanford Clarks' Go On Home, released in March of 1960. In Los Angeles, CA session musician and electronics technician Orville J "Red" Rhodes also built a transistorized fuzz at some point between 1960-63. This is supposedly the fuzz the Ventures used on their 1962 track 2000 Pound Bee. Rhodes reportedly made a bunch to sell to his fellow musicians. However, the "Rhodes fuzz" was never mass produced and marketed in the way the Fuzz-Tone was. Unfortunately, without marketing, a lot of cool inventions either fizzle out or take years to gain traction. People have to not only know they exist, but also have access to them.
From Wikipedia (again):
“Snoddy decided to team-up with fellow WSM radio engineer Revis Virgil Hobbs to build a stand-alone device entirely based around three 1n270 germanium transistors that would intentionally recreate the novel fuzzy effect. The Fuzz-Tone was born. The two engineers sold their circuit to Gibson, who commercialized the device in 1962 under the name Maestro Fuzz-Tone. While the initial run of 5000 units was a commercial failure, sales soared after The Rolling Stones' Keith Richards used an FZ1 to record (I Can't Get No) Satisfaction's main riff.”
The FZ-1 Fuzz-Tone was based around three RCA 2N270 germanium transistors, not 1n270. Other than this typo, the above Wikipedia statement is correct. It’s obvious Keith Richards’ use of the FZ-1 Fuzz-Tone on the Rolling Stones’ Satisfaction popularized the Fuzz-Tone more than any other artist. It’s arguable his use of the Fuzz-Tone popularized fuzz as such more than any other artist of the time. I think this is due much more to a synergistic right place, right time event between Keith Richards and the evolving world around him than it is to his masterful use of fuzz as an integral sonic tool for achieving his sound, at least not in the same way as other 60’s guitarists like Jimi Hendrix or Jimmy Page. Keith Richards has never really been a pedal guy. He’s ~always been a guitar straight in to amp guy. To understand this phenomenon you have to understand and acknowledge fuzz did not evolve in a vacuum. Nothing does.
i constantly read about reissue pedals that claim to be an exact copy of the original.but like many reissue,s ahem ahem cough cough the fender 60s reissue amps that sound nothing like the classy original amps with ajax caps & superior wireing that over 50 years later still prove .how inferior these new amps are.well basically i found 3 pedals i liked & then i heard the reissues & just thought its an insult to claim they are repro,s with the exact same specifications.when you take the pedals or reissue amps apart & look at the wiring & the components nothing looks the same.me im old school all the way digital guitar amps & pedals are piss poor.ive listened to about 60 fuzz pedals i found that most of them are just trying to recreate what a top amp can produce.in other words most of these pedals are not adding nothing new to what a quality amp provides.the dunlop jimi hendrix pedal im told is digital if hendrix was alive he would NEVER put his name to a digital pedal.i couldnt afford the amp of my dreams so i got a 1997 60 watt all tube marshall with overdrive & twin reverb if i could choose it would probably be a fender bassman 60 or a 65 fender.i think 59 to 68 was fenders best moments for amp building hand wired turret board amps are the best amps ever built but the ajax caps & original wiring & components made hand wired the best you can get..
Why push your politics?Just came for the pedal.
I’m confused. How am I in any way pushing my politics??? This is a video demonstration of a pedal and not intended to be anything else.
I didn't hear any politics, just the love of fuzz!
Maybe when you said "Made in England... Wacky!"?
I took that as "Like Wow!" and not that you were slamming the Brits.
Maybe because you mentioned the Jeff Beck incarnation of the Yardbirds and thus slighted the Clapton and Page years?
Obviously a touchy guy!
For the crazy amount of money these cost I gotta say whoopee, big deal and doesn't sound drastically different or better than anything else.
You do get bragging rights and mojo though for all that money.🙄
@@harveycan5820 Yeah man. Apparently some people read in to things way too much. I got an email asking why I mentioned Nazism in my video. I had no idea what they were talking about until they pointed out the magazine on my coffee table. I had to bite my tongue, but basically politely explained this is just a demo of a fuzz pedal recorded on my iphone, not a Stanley Kubrick film.
Wow it sounds fantastic. Surprisingly quiet too. Very cool.
You can say THAT again!