The pedal uses a heavily saturated square-wave fuzz to transform your guitar.
Santa Barbara, CA (August 27, 2018) -- Seymour Duncan, a leading manufacturer of pickups, effects pedals and power amps, announces the release of its analog fuzz synthesizer pedalā Fooz.
We have amazing engineers here in the Seymour Duncan research lab. And, like all great engineers, they love to tweak, tinker, and push the boundaries beyond the realm of whatās possible. Wayne brings his deep knowledge of analog circuits from the days of working on the Mars Rover (for real!) and Kevin has been designing circuits since before he could walk. And, now theyāve designed Fooz...
Today we're introducing the Fooz Analog Fuzz Synth pedal. Think of it as your favorite fuzz, synth, wah and trem pedalsā forbidden lovechildābridging the best of each of these effects in a way never offered before in a guitar pedal! Whether youāre on guitar, bass, synth, or even turntables, Fooz gives you endless inspiration and creativity. Who knows, it might just send you to Mars and back.
This unique new pedal is a Fuzz and Filter effect pedal with an all analog signal-path, itās dubbed an āAnalog Fuzz Synthesizer.ā Inspired by iconic guitar tones and synth flexibility, Fooz delivers the spirit of synth creativity to guitar and bass players, as well as electronic musicians. It brings everything to the show - Fuzz, Wah, Trem, and so much more! Many guitar pedals can make your guitar sound like a synth, but few capture the tactile feeling and interactivity of using one. Real analog synths use different blocks (oscillator, Filter, LFO, Envelope) working together to create unique new sounds and textures. Combining these tools in one box and allowing them to interact with each other is the spirit of the Fooz.
Fooz uses a heavily saturated square-wave Fuzz to transform your guitar into the āoscillator,ā ready to be sculpted by other blocks. It also makes for a great Fuzz tone on its own. The next element is the Filter, which can be set to a Low Pass Filter - just like classic synths, or a Band Pass Filter that works more like a Wah pedal. Finally, a deeply tweakable LFO and an Envelope follower provide the modulation. The LFO can be used to control the overall volume and Filter frequency. The Envelope can control the Filter and the LFO Depth and Rate. With the addition of an external expression pedal (sold separately), most of the surface controls can be assigned as well.
The interconnectivity between blocks provides the Fooz user with many options. It can be used to replicate the sounds of a synth as well as a straight-up Fuzz, a Tremolo (using the LFO to module the volume), an Auto-Wah (using the Envelope to modulate the Filter), a Fuzz-Wah (expression pedal assigned to control the BPF), a Rhythmic Filter (LFO assigned to Filter Frequency), or a Cocked Wah (no modulation, BPF set to desired frequency).
Fooz is designed in California and assembled in the U.S.A. at our Santa Barbara, California factory.
Watch the company's video demo:
For more information:
Seymour Duncan
Jack White's 2025 No Name Tour features live tracks from his album No Name, with shows across North America, Europe, the UK, and Japan.
The EP is a 5-song collection of live tracks taken from Whiteās 2024 edition of the tour, which was characterized by surprise shows in historic clubs around the world to support the 2024 album No Name.
No Name is available now via Third Man Records. The acclaimed collection was recently honored with a 2025 GRAMMYĀ® Award nomination for āBest Rock Albumā ā Whiteās 34th solo career nomination and 46th overall along with 16 total GRAMMYĀ® Award wins. The No Name Tour began, February 6, with a sold-out show at Toronto, ONās HISTORY and then travels North America, Europe, the United Kingdom, and Japan through late May. For complete details and remaining ticket availability, please visit jackwhiteiii.com/tour-dates.
Whiteās sixth studio album, No Name officially arrived on Friday, August 2 following its clandestine white-label appearance at Third Man Records locations that saw customers slipped, guerilla-style, free unmarked vinyl copies in their shopping bags. True to his DIY roots, the record was recorded at Whiteās Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.
For more information, please visit jackwhiteiii.com.
JACK WHITE - NO NAME TOUR 2025
FEBRUARY
11 ā Brooklyn, NY ā Kings Theatre
12 ā Brooklyn, NY ā Brooklyn Paramount
17 ā Boston, MA ā Roadrunner
18 ā Boston, MA ā Roadrunner
21 ā Paris, France ā La Cigale
22 ā Paris, France ā La Trianon
23 ā Paris, France ā La Trianon
25 ā Utrecht, Netherlands ā TivoliVredenburg (Ronda)
26 ā Utrecht, Netherlands ā TivoliVredenburg (Ronda)
28 ā London, UK ā Troxy
MARCH
1 ā London, UK ā Troxy
2 ā Birmingham, UK ā O2 Academy Birmingham
3 ā Glasgow, UK ā Barrowland Ballroom
10 ā Hiroshima, Japan ā Blue Live Hiroshima
12 ā Osaka, Japan ā Gorilla Hall
13 ā Nagoya, Japan ā Diamond Hall
15 ā Tokyo, Japan ā Toyosu PIT
17 ā Tokyo, Japan ā Toyosu PIT
APRIL
3 ā St. Louis, MO ā The Factory
4 ā Kansas City, MO ā Uptown Theater
5 ā Omaha, NE ā Steelhouse Omaha
7 ā Saint Paul, MN ā Palace Theatre
8 ā Saint Paul, MN ā Palace Theatre
10 ā Chicago, IL ā The Salt Shed (Indoors)
11 ā Chicago, IL ā The Salt Shed (Indoors)
12 ā Detroit, MI ā Masonic Temple Theatre
13 ā Detroit, MI ā Masonic Temple Theatre
15 ā Grand Rapids, MI ā GLC Live at 20 Monroe
16 ā Cleveland, OH ā Agora Theatre
18 ā Nashville, TN ā The Pinnacle
19 ā Nashville, TN ā The Pinnacle
MAY
4 ā Austin, TX ā ACL Live at the Moody Theater
5 ā Austin, TX ā ACL Live at the Moody Theater
6 ā Dallas, TX ā South Side Ballroom
8 ā Denver, CO ā Mission Ballroom
9 ā Denver, CO ā Mission Ballroom
10 ā Salt Lake City, UT ā The Union Event Center
12 ā Los Angeles, CA ā Hollywood Palladium
13 ā Los Angeles, CA ā Hollywood Palladium
15 ā Santa Barbara, CA ā Santa Barbara Bowl
16 ā Oakland, CA ā Fox Theater
17 ā San Francisco, CA ā The Masonic
19 ā Seattle, WA ā The Paramount Theatre
20 ā Seattle, WA ā The Paramount Theatre
22 ā Vancouver, BC ā Commodore Ballroom
23 ā Vancouver, BC ā Commodore Ballroom
24 ā Troutdale, OR ā Edgefield Concerts on the Lawn
A dose of magic gain potion.
Works like a little vial of magic gain potion. Fattens without obscuring individual frequency bands.
None.
$129
Solodallas SVDS Boost
solodallas.com
The Schaeffer-Vega Diversity Systemāan early and very successful wireless systemāexcelled at the tasks it was designed for. But there was more magic than met the eye. Though designed to sound as transparent as possible, it nonetheless colored the signal in a way that people like Angus Young and Eddie Van Halen found essential.
SoloDallas explored the possibilities of this circuit before in pedals like theSchaeffer Replica, but the new SVDS Boost strips the formula to essentials. Minimalist controlsāone knob, thatās itāmake this boost no less delicious. Iām not surprised Angus Young was smitten with the original SVDS. An SG and Marshall 18-watt amp sound fantastic naked, but the SVDS Boost has the rare talent for fattening everything without seeming to favor or obscure any frequency band too much. And as zest to the PAF/Marshall style formula, it makes the kind of rowdy, organic, airy, large, and punch-packing Marshall sound you would dream of getting in a studio or hearing on the radio. There are many shades of this basic awesome color in spite of the single knob. Unity gain lives in the earliest third of its range. From there you certainly get more volume, but mostly you bathe in various hues of compressed, saturated, thick, and dynamite growl. You donāt need a Gibson and a Marshall to use it to devastating effect, either. A Telecaster and Vibrolux snap with attitude and whip-crack energy with the SVDS in the line. And with both guitar/amp combos, the SVDSā wide dynamic responsiveness to volume and tone attenuation assures that things stay cracking when you need more control.
Learn about this iconic guitar's journey, its mods done by Frank, and hear how it sounds in the hands of his son Dweezil.
Neil Youngās ā70s hits are some of the most recognizable radio rock jams of all time. But Neilās guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Neil Youngās ā70s hits are some of the most recognizable radio rock jams of all time. But Neilās guitar playing continued to grow over the ensuing decades, as he traversed styles from blues to country to electronic to rockabilly and beyond, eventually developing one of the most tonally decadent, fully formed improvisational voices in the entire guitar universe.
Like any discography thatās been growing over the course of more than half a century, it can be hard to decode Youngās work. And with such an adventurous spirit, it could be easy to make some missteps and miss out on his best guitar works. In this episode, Nick guides Jason through some of his heroās finest moments.
More news from Neil always seems to be on the horizon, so hereās your chance to catch up.