No doubt, Snoddy’s invention earned him a spot in popular music history however, the story also represents the spirit of innovation, creativity, and serendipity that Snoddy brought to Woodland Sound Studios. Snoddy’s Fuzz-Tone can be heard on The Rolling Stones' "(I Can't Get No) Satisfaction" and countless other classic rock hits. Ironically, this standard country music recording session had a major impact on rock music. Captivated by the fuzzy tone, Snoddy designed an effect pedal to replicate it, which he later sold to the Gibson Corporation and they marketed as the Maestro Fuzz-tone. Mid-way through a recording of the track “Don’t Worry,” a transformer blew in either in the bass amp or the recording console causing the bass guitar sound to distort.
Snoddy stumbled into popular music history inadvertently in 1961 while recording the singer Marty Robbins for Columbia Records. Throughout the 1960s, Snoddy cut his teeth at Nashville’s preeminent studios such as Owen Bradley Recording Studio, Columbia Records, and Acuff-Rose. After being introduced to radio technology while serving in the army during World War II, Snoddy returned to Middle Tennessee to pursue a career as a recording engineer. Woodland Sound Studios made great strides in advancing the reputation and quality of Nashville Studio recording, and its success is largely attributed to the skill and foresight of Middle Tennessee native, Glenn Snoddy.
While Broadway was brimming with Honky Tonks and major labels on Music Row were solidifying the “Nashville sound,” a new eclectic sound emerged from East Nashville under the shrewd supervision of studio wizard Glenn Snoddy. Until Woodland Sound Studios opened in 1967, the borders of Nashville “Music City USA” didn’t extend east of the Cumberland River. Well, they’re just plain nice, friendly folks" - Charlie Daniels Text "I like recording at Woodland partly because it's a state of the art studio.and partly because.
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