The beginning of fuzz, distortion and introduction of commercial devices

1960: The beginning of fuzz, distortion and introduction of commercial devices

 In 1961, Grady Martin scored a hit with a diffuse tone caused by a faulty preamp that distorted his interpretation of the guitar in the Marty Robbins song "Do not Worry." Later that year, Martin recorded an instrumental song under his own name, using the same defective preamplifier. The song, on the Decca label, was called "The Fuzz". Martin is generally credited as the discoverer of the "fuzz effect". Big Muff Fuzzboxes: a new edition of NYC and a Russian version of Sovtek Soon after, the American instrumental rock band The Ventures asked his friend, session musician and electronics enthusiast, Orville "Red" Rhodes, to help recreate the "Fuzz" sound of Grady Martin.Rhodes offered The Ventures a fuzzbox he had made, which they used to record "2000 Pound Bee" in 1962.The best-known commercial distortion circuit was the FZ-1 Fuzz-Tone Master, manufactured by Gibson , released in 1962. Also in the early 1960s, surf rock guitarist Dick Dale, who produced hits such as "Let's Go Trippin '" (1961) and "Misirlou" (1962), worked closely with Fender to overcome the limits of the technology of electrical amplification, producing the first 100-watt guitar amplifier. In 1964, a blurred and somewhat distorted sound gained popularity after guitarist Dave Davies of The Kinks used a razor blade to cut the cones from his speakers for the band's single "You Really Got Me". In May of 1965 Keith Richards used a Gibson Maestro FZ-1 Fuzz-Tone to record "Satisfaction (I can not get any)". The success of the song greatly boosted device sales, and all available stock was sold out by the end of 1965. Other early fuzzboxes include the FuzzRITE Mosrite and the Arbiter Group Fuzz Face used by Jimi Hendrix, the Electro-Harmonix Big Muff Pi used by Hendrix and Carlos Santana, and the Vox Tone Bender used by Paul McCartney to play fuzz bass on "Think for Yourself" and other Beatles recordings (including in 1962 on their live shows used something about distortion). In 1966, Jim Marshall of the British company Marshall Amplification began to modify the electronic circuit of his amplifiers to achieve a "brighter, stronger" sound and more complete distortion capabilities. In the late 1960s and early 1970s, hard rock bands like Deep Purple, Led Zeppelin and Black Sabbath forged what would eventually become the sound of heavy metal through the combined use of high volumes and a strong distortion.