Duncan FOOZ User Manual
-FOOZ-
ANALOG FUZZ
SYNTHESIZER
USER’S GUIDE
FOOZ is a Fuzz and Filter effect inspired by our love of classic analog synthesizers.
The goal of this design was a pedal comprised of distinct blocks that can be combined
together in a variety of ways to create a va st array of possible tones and textures,
much like the elements of a synthesizer - (oscillator, filter, LFO, envelope).
To that end, we’ve included a square-wave fuzz to act as the ‘oscillator’, a Filter section
inspired by classic Low Pass Filters, and an LFO and envelope follower with which to
modulate the effect.
You can use FOOZ as a straightforward fuzz, add a Low Pass or Band Pass Filter, and
modulate the Filter (and other parameters) with either the Envelope or LFO. Addition-
ally, the Envelope can be used to modulate the LFO Rate and Depth, or an external
expression pedal can be used to control most of the surface functions.
Below is a walkthrough of basic operation of the unit and an explanation of the
controls.
ANALOG FUZZ SYNTHESIZER
1
2
INITIAL SETUP
Power the FOOZ with a 9v DC (center negative) power supply capable of providing at
least 100 milliAmps. Connect your instrument to the input jack and send the output to
your amplifier, mixer, or interface. If you have an expression pedal you can connect it to
the expression input at this time.
FOOZ can produce extreme frequencies at high volumes in some settings. Make sure
to set the Level control to ‘0’ before powering on your amplifier (or other device) and
engaging the effect.
We suggest starting by setting all controls except for Level at noon. Set Level fully
counterclockwise. Set the Tremolo switch, the Filter Type, and Filter Control switches
to ‘OFF’. You should also check the dipswitches on the back of the pedal to make sure
they are all set to ‘OFF’.
FUZZ SECTION
Turn on your amp and engage the pedal. Bring up the Level control until the volume is
at an ideal level. You should hear an overdriven tone with no additional effects. Adjust
the Gain (Fuzz) control to a desired distortion level. In general many of the modulation
effects will be more dramatic at higher gain settings, so we recommend you start by
setting the Gain high, then adjust it to a lower setting if you prefer. The gain control
should range from almost clean with a hint of drive to a massive square wave fuzz
tone. Please keep in mind that the volume of the pedal can noticeably increase as you
increase the Gain.
3
4
DEPTH SHAPE WAVE SPEED
LFO
FREQ RESONANCE
FILTER
LFO
ENV
OFF
LPF
BPF
OFF
LEVEL GAIN
OFF
TREM
FUZZ
ON
SENS.
ENV
ENV
FILTER SECTION
Now we’ll explore the Filter section. Set the Frequency Type Switch to ‘LPF’ and
starting from a fully clockwise position, roll the Freq control down – you should hear a
pleasant roll-off of high frequencies as you go. Now set the Frequency Type Switch to
‘BPF’ and try adjusting the Freq control again. You should hear a sweep more similar to
a wah pedal.
Once you find a Frequency setting you like, try adding some Resonance. The
Resonance control adds harmonics at the Frequency cutoff point. The volume of the
effect will be increased as you turn the resonance up, and at higher settings of the
Frequency and Resonance controls there is potential to create some unpleasant
tones—we felt that having the range to explore was important, but please proceed
with caution.
Let’s set the Frequency and Resonance controls around noon for now and move on to
the next section.
5
6
DEPTH SHAPE WAVE SPEED
LFO
FREQ RESONANCE
FILTER
LFO
ENV
OFF
LPF
BPF
OFF
LEVEL GAIN
OFF
TREM
FUZZ
ON
SENS.
ENV
ENV
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