Musicians can still be a little fuzzy when it comes to describing the sound of a fuzz box. Some guitarists will tell you it sounds like a 2,000-pound bee trapped in a sturdy metal box — perhaps with a potentiometer installed somewhere behind the wings. And while many early fuzz guitar tunes and tones did indeed make the most of the original fuzz buzz, fuzz actually has many facets, many sides, many fuzz faces, if you will.
It’s probably not a coincidence that effects such as wah pedals and fuzz boxes started appearing en masse about the same time that recreational drugs like marijuana and LSD became popular with rock musicians.
A Martin acoustic guitar is the beloved instrument of millions of fans and famous players worldwide. Starting with the early days in New York circa 1833, this fabled story comes to life in the long-awaited revision of the seminal Martin History book.
Sterling Winfield got his start in the music industry as a studio apprentice and live sound engineer in Dallas. Those experiences led to his tenure as a staff engineer at Dallas Sound Lab and eventually recording and touring as a bass and guitar tech with rock and metal bands, including Damageplan, Hellyeah and Pantera, with whom he worked as assistant engineer on the Grammy-nominated album Far Beyond Driven.
The sound of the guitar was so untamed, and it lit a fire inside me to approach the guitar like a weapon. The lore behind Let There Be Rock is that Angus and Malcolm Young would face a Marshall against the wall and crank the sucker all the way up. You can tell the amp was turned up unbelievably loud: you can practically feel Angus' fingerprints rubbing against the strings.