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Description
gibson pedals MAESTRO Gibson FUZZ-TONE FZ-1A 90s Vintage Re-issue Distortion Overdri – Still Kickin MusicReissue of the 60s classic overdrive pedal. NOTE: Click on picture to open large gallery. Description This is a Maestro by Gibson Fuzz Tone FZ 1A distortion pedal. A re issue of the original 60s pedal made in the 90s. It has a very signature sound used by Keith Richards on Satisfaction. It takes your guitar tone and compresses it into a very intense band of distortion hot in the midrange for a searing sound. It won't be something you use on every
Reissue of the 60s classic overdrive pedal.
NOTE: Click on picture to open large gallery.
Description
This is a Maestro by Gibson Fuzz-Tone FZ-1A distortion pedal. A re-issue of the original 60s pedal made in the 90s. It has a very signature sound used by Keith Richards on Satisfaction. It takes your guitar tone and compresses it into a very intense band of distortion hot in the midrange for a searing sound. It won't be something you use on every song, but it's another color to add to your sound palette. And for the song or two you use it on, your guitar tone will jump to the front of the mix and turn heads. Yea, it's that kind of pedal. Totally distinctive and like no other distortion you have. Condition on this pedal is excellent as shown in pics. Works perfect. One non-original screw. Thanks for looking.
Wiki Info
Gibson introduced the Maestro FZ-1 Fuzz-Tone in 1962, the first commercially available fuzzbox to gain widespread acceptance. It was the most popular device of its kind for several years.[4][5] In May 1965 Keith Richards used a Maestro FZ-1 on his guitar riff in (I Can't Get No) Satisfaction, later claiming it was originally meant to be played by a brass section.[6] The song's success greatly boosted sales of the device, and all available stock sold out by the end of 1965.[5][7] It became a favorite of many garage rock and psychedelic bands.
Description
This is a Maestro by Gibson Fuzz-Tone FZ-1A distortion pedal. A re-issue of the original 60s pedal made in the 90s. It has a very signature sound used by Keith Richards on Satisfaction. It takes your guitar tone and compresses it into a very intense band of distortion hot in the midrange for a searing sound. It won't be something you use on every song, but it's another color to add to your sound palette. And for the song or two you use it on, your guitar tone will jump to the front of the mix and turn heads. Yea, it's that kind of pedal. Totally distinctive and like no other distortion you have. Condition on this pedal is excellent as shown in pics. Works perfect. One non-original screw. Thanks for looking.
Wiki Info
Gibson introduced the Maestro FZ-1 Fuzz-Tone in 1962, the first commercially available fuzzbox to gain widespread acceptance. It was the most popular device of its kind for several years.[4][5] In May 1965 Keith Richards used a Maestro FZ-1 on his guitar riff in (I Can't Get No) Satisfaction, later claiming it was originally meant to be played by a brass section.[6] The song's success greatly boosted sales of the device, and all available stock sold out by the end of 1965.[5][7] It became a favorite of many garage rock and psychedelic bands.
The Maestro FZ-1 sported a three germanium transistor circuit with RCA 2N270 devices, powered by two 1.5-volt batteries, and a lead cable to connect it to an instrument (bass as it was originally intended, or guitar). Germanium devices are temperature sensitive, and the effect responds to the incoming signal's amplitude (volume) consistently. Upon release, Gibson/Maestro made a demonstration disc available, featuring sound samples of the different settings of the pedal and guitar combination, emphasising the "brass-like" quality of certain tones. The circuit made its way into the body of Gibson's EB-0F "fuzz basses" (circa 1964). Before the Rolling Stones' hit, Fuzz Tone's sales were abysmal. In late 1965, when the original units sold out, the circuit was revised, using 2N2614 or 2N2613 transistors, with pertinent biasing network, powered by a single, 1.5-volt battery.[5] The model was re-designated as the FZ-1a, keeping the same wedge shaped enclosure as the FZ-1.[5] In 1968, an updated model with a different look and sound was introduced, with a circuit designed by Robert Moog using a 9 volt power supply and alternatively 2 or 4 silicon transistors, and labelled the Maestro FZ-1B. It went through 3 circuit revisions.[5]In the 1970s Maestro came out with the FZ-1S Super-Fuzz, which had a distinctly different look and sound than previous models.[5]
Guitar Setup
My setup on guitars includes new strings (9s or 10s depending on what the nut is cut for), overall polish, cleaning any gunk off fingerboard, oiling neck, and polishing frets when necessary. I spray out any pots that are noisy. I turn the truss rod (if necessary) and set string height at low-to-medium action depending on string buzz present. Since setup is highly subjective you may need to get it set to your particular needs by your personal luthier. I don't claim to be a trained luthier, but I'm able to set guitars/basses for a reasonable out-of-box experience and have had very few complaints. If you're looking for the perfect setup on a used guitar, please expect to take it to a trained luthier who is familiar with your individual playing style and preferences. ps: basses get the same setup minus the new strings. Thanks!
Packing
I use quality boxes, thick bubble wrap, and peanuts to pack guitars. I have a very high rate of successful guitar and bass shipping (meaning few damaged instruments). I have been doing this 10 years and know how to pack well--with or without a hard case. I wrote a detailed story with photos on how I pack a guitar, which you can find on my StillKickinMusic site blog. If you Google "THERE IN ONE PIECE...How to Pack a Guitar" you will find it. Thanks.
My setup on guitars includes new strings (9s or 10s depending on what the nut is cut for), overall polish, cleaning any gunk off fingerboard, oiling neck, and polishing frets when necessary. I spray out any pots that are noisy. I turn the truss rod (if necessary) and set string height at low-to-medium action depending on string buzz present. Since setup is highly subjective you may need to get it set to your particular needs by your personal luthier. I don't claim to be a trained luthier, but I'm able to set guitars/basses for a reasonable out-of-box experience and have had very few complaints. If you're looking for the perfect setup on a used guitar, please expect to take it to a trained luthier who is familiar with your individual playing style and preferences. ps: basses get the same setup minus the new strings. Thanks!
Packing
I use quality boxes, thick bubble wrap, and peanuts to pack guitars. I have a very high rate of successful guitar and bass shipping (meaning few damaged instruments). I have been doing this 10 years and know how to pack well--with or without a hard case. I wrote a detailed story with photos on how I pack a guitar, which you can find on my StillKickinMusic site blog. If you Google "THERE IN ONE PIECE...How to Pack a Guitar" you will find it. Thanks.
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4.4 ★★★★★
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Product Reviews
★★★★★ 5
Above The River: The Complete Poems of james Wright
Format: Paperback
This volume is fascinating, because it does show the different stages of Wright's development as a poet and a writer (the prose sketches and descriptions of Italy are wonderful).
The early poems are extremely capable but there is a sense in which they feel constrained by formal verse conventions, especially rhyme. This becomes evident when he writes in free verse and his voice becomes easier and more vernacular. Some of the poems like "Hook" and "To A Blossoming Pear Tree" are wonderful:
'An old man / Appeared to me once / In the unendurable snow./ He had singe of white beard on his face. / He paused on a strett on Minneapolis / And stroked my face. // Give it to me, he begged / I'll pay you anything. // I flinched. Both terrified, / We slunk away, / Each in his own way dodging / The cruel darts of the cold. "
There are some late poems when he becomes almost incoherent, but the centre of the book is a whole series of poems as powerful and honest as this.
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Reviewed in the United States on March 21, 2011
★★★★★ 5
Seek and you will find. (Poems that speak to you)
Format: Paperback
I was not familiar with his work but have become a fan. Of course, as is true of my review of most poets work, I find more of the author's poems that I don't get or can't appreciate than ones I do; however, I found enough which moved me or had some profound impact that I am keeping this collection close for re-reading.
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Reviewed in the United States on December 17, 2025
★★★★★ 5
Above the River: The Complete Poems of James Wright
Format: Paperback
James Wright is a terrific, though not well known, American poet of the 1950's and 60's. Along with Robert Bly and William Duffey, Wright helped to open a new page in modern poetry which encouraged writers to break from the restrictions of traditional British formats. Personal and reflective, the poems focus on nature and have a strong touch of influence from ancient Chinese poets. Though the collection is filled with great stuff, my favorite is "Northern Pike."
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Reviewed in the United States on October 10, 2010
★★★★★ 4
Sublime Poetry Slightly Flawed by Format
Format: Paperback
I hate to give this work anything less than 5-stars, because at the moment (and probably most future moments) I revere James Wright's poetry. He makes blue collar blackened river Ohio come alive riven death with darkness and life. So this book is a must for poetry lovers.
Where it distracts me is the attempts at completeness is a difficult editor's dilemma and one that doesn't serve the poet or the poet's reader well here. There are two James Wright's out there (this book presents three), as is true with most sublimated artist that pass through a learning phase before hitting on their voice, their style.
James Wright started as a formalist (not my favored style) hailing structure and rhyme sometimes at the expense of meaning and language (disclaimer...one man's humble opinion belies a personal taste and no two taste buds seem the same). The book of course being a complete work, offers all of those poems of bandied prose. And then the editor offers a bridge or break of sorts in Wright's translated works of German and Spanish poets. Wright was a great poet in English, but the gift of gifted translation should have been left to the likes of W.S. Merwin, Anthony Kerrigan, Charles Tomlinson, and Stephen Mitchell for Neruda, Paz, and Rilke.
So, Wright's "Above the River," really first breaks the surface on page 119 after his epiphany to all thing free form. It is then that his poetry sings darkly. I leave you with some of Wright's beautiful language (there's plenty to be had). Buy the book for the rest.
In Fear of Harvests
It has happened
Before: nearby,
The nostrils of slow horses
Breathe evenly,
And the brown bees drag their high garlands,
Heavily,
Toward hives of snow.
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Reviewed in the United States on September 30, 2003
★★★★★ 5
A Twentieth Century Teasure
Format: Paperback
James Wright's poems are acts of courage. His persistent advocacy of the underdog is real and clear-eyed(American Twilights 1957, written fo the executed killer Caryl Chessman). "Arrangements with Earth for Three Dead Friends" is one of the most moving elegies I know in the language (taken from his early career). Then there are the wonderful and luminous translations "ten Short Poems: from the Spanish of Juan Ramon Jiminez, Pablo Neruda's "Anguish of Death", Cesar Vallejo's "I Am Freed" and many others. These are vital and wide-ranging poems that belong in every library.
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Reviewed in the United States on June 11, 2013