Maestro FZ-1A Fuzz-Tone Owned and Used by Tom Verlaine Distortion Pedal Effect, made by Gibson, c. 1965
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Item # 12795
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Maestro FZ-1A Fuzz-Tone Owned and Used by Tom Verlaine Model Distortion Pedal Effect, made by Gibson, c. 1965, made in Kalamazoo, Michigan, serial # 24902, medium brown enamel finish, stamped metal housing.
It may be hard to think of a time without fuzz, but there was a time without fuzz. Eventually, guitarists and session players began to experiment with overdriving their tube amps to achieve a crunchier tone; history books can point to one noisy preamp in a Nashville studio accidentally leading to several singles like Grady Martin's "The Fuzz" that would jumpstart a trend among young guitarists. Unforuntately, the capricious (and mortal) nature of faulty equipment created the need for something compact, affordable, and intentional for this new generation of fuzz acolytes. Gibson was the first to capitalize on the moment, purchasing the design from recording engineer Glenn Snoddy and his engineer friend Revis Hobbs who had come up with a stompbox to serve their fuzz-seeking clientele. Introducing the FZ-1: Maestro's simple stompbox that became the first commercially available fuzz effect pedal in 1962.
This particular example is an FZ-1A from around 1965, which is the first year of the "A" revision to the original FZ-1 circuit that found unprecedented bestseller success after it was used in one of rock's most iconic riffs, the Rolling Stones' "Satisfaction." It was the second variation, the FZ-1B, that accounted for the use of the more standardized 9V battery and the circuit was further revised by Bob Moog. This pedal can be heard on countless classic rock records, from the Stones to the Who and into psychedelic territories beyond; it was also a studio favorite of Television's Tom Verlaine from whom we can attribute this example.
Overall length is 6 in. (15.2 cm.), 3 in. (7.6 cm.) width, and 2 5/8 in. (6.7 cm.) high.
This classic box of fuzz is nicely original with just commensurate playwear from years of studio use with Verlaine and others before him; these Fuzz-tones in their sturdy aluminum wedge enclosures are typically workhorses. The circuit is nicely original save one common modification: the pedal was modified to accept a 9V battery rather than the original lower voltage battery it would have originally accepted. It is missing one little rubber foot on the bottom. The pedal also comes with a letter of provenance from Jimmy Ripp (his co-guitarist on most Verlaine projects since 1981). Generally Excellent Condition.
It may be hard to think of a time without fuzz, but there was a time without fuzz. Eventually, guitarists and session players began to experiment with overdriving their tube amps to achieve a crunchier tone; history books can point to one noisy preamp in a Nashville studio accidentally leading to several singles like Grady Martin's "The Fuzz" that would jumpstart a trend among young guitarists. Unforuntately, the capricious (and mortal) nature of faulty equipment created the need for something compact, affordable, and intentional for this new generation of fuzz acolytes. Gibson was the first to capitalize on the moment, purchasing the design from recording engineer Glenn Snoddy and his engineer friend Revis Hobbs who had come up with a stompbox to serve their fuzz-seeking clientele. Introducing the FZ-1: Maestro's simple stompbox that became the first commercially available fuzz effect pedal in 1962.
This particular example is an FZ-1A from around 1965, which is the first year of the "A" revision to the original FZ-1 circuit that found unprecedented bestseller success after it was used in one of rock's most iconic riffs, the Rolling Stones' "Satisfaction." It was the second variation, the FZ-1B, that accounted for the use of the more standardized 9V battery and the circuit was further revised by Bob Moog. This pedal can be heard on countless classic rock records, from the Stones to the Who and into psychedelic territories beyond; it was also a studio favorite of Television's Tom Verlaine from whom we can attribute this example.
Overall length is 6 in. (15.2 cm.), 3 in. (7.6 cm.) width, and 2 5/8 in. (6.7 cm.) high.
This classic box of fuzz is nicely original with just commensurate playwear from years of studio use with Verlaine and others before him; these Fuzz-tones in their sturdy aluminum wedge enclosures are typically workhorses. The circuit is nicely original save one common modification: the pedal was modified to accept a 9V battery rather than the original lower voltage battery it would have originally accepted. It is missing one little rubber foot on the bottom. The pedal also comes with a letter of provenance from Jimmy Ripp (his co-guitarist on most Verlaine projects since 1981). Generally Excellent Condition.