TEST: Seymour Duncan Tweak Fuzz

 Distortion, overdrive, fuzz and all the other subgroups for the most popular effect of all guitarists. Are there seriously any guitarists who don't own at least one "pedal mine" to cut half-waves? Hardly, which is why the selection of products available in the distortion field is almost endless. It is all the more interesting when an established manufacturer of another equipment area targets this segment to take on the top dogs. This is what happened with the company Seymour Duncan, which has primarily gained its fame due to excellent pickups.

Construction:

The Tweak Fuzz is usually mentioned in the same breath as the guitarist Blues Saraceno, especially since his father Alex designed the pedal. The sound approach was to design a pedal that is essentially similar to a vintage fuzz, but is characterized by greater flexibility. While most distortion pedals deliver a more or less fixed sound that can be rudimentarily varied in terms of tone control and distortion level, the Tweak Fuzz has a six-way selector switch to generate multiple presets using various transistors. Ideally, you would actually have six pedals in just one housing.

But hey presto, you'll have no problem finding the device on your pedal board even in the most diffuse stage light - that's what I call a screaming squeaky duck yellow! ;-) First impression after opening the packaging: the device comes in an ultra-stable design, visually flawlessly crafted. Two solid rolled sheets, the base of which is covered with non-slip corrugated rubber, protect the contents of the device against kicks or other rough treatment. Not even your beloved biker boots can cause this construction any problems. Only the three chickenhead-style controls protrude upwards due to the construction and could provide a point of attack if they are treated extremely badly, but who would intentionally treat their floor pedals so badly that they cause the potentiometer spindle to break? In addition to the "tweak switch" mentioned above, the control options are volume and gain. An input and output socket as well as a 9V power supply connection round off a good impression of the workmanship.

After loosening the 4 Phillips screws, the device reveals a neat and tidy interior. 2 circuit boards, short cable runs, a 9V block and a true bypass switch, that's all there is inside the "Fussel Zwickers". To replace the 9V battery, the screws on the base plate have to be loosened; there is no flap to make this work easier. However, since the Tweak Fuzz, like almost all other distortion devices, only requires a small amount of power, in this case 2 mA, this action will occur relatively rarely.

In order to be able to assess the practical suitability of a fuzz, you should first consider the area of ​​application of the device. In contrast to the overdrive, which is often switched on as an additional channel in front of a tube amp, or the distortion, which sometimes gives weak transistor amps a more or less assertive distortion sound, the fuzz occupies a niche that is not quite as mainstream as the above-mentioned protagonists of the "half-wave cappers".

We all know the advantages and disadvantages of a classic fuzz. On the plus side, we have a very characteristic sound, which gives single lines or a vintage distortion in particular the official sound. In addition, fuzz is very popular in the pop sector when it comes to supporting melodic lines on the electric guitar, as it has a high level of assertiveness and is not in danger of drifting into the rock area that pop/dance producers hate so much. On the problem side, many fuzzes suffer from the problem of "mud" coupled with a high "scratch" content in the high frequency range. If you really want to go all out, you should play a fuzz in attack mode without speaker simulation directly into the mixer and listen to it on the studio monitors, it doesn't get more like a razor! This sound is so broken that it's great again.

In order to retain the above advantages and still minimize the disadvantages if necessary, the Tweak Fuzz was equipped with the aforementioned selector switch. It gives the device the ability to sound like a typical fuzz, but also has a few special features up its sleeve, which are listed as follows:

Tweak switch position 1: The sound loses some of its low end, the sound becomes richer in treble and develops somewhat in the direction of a single coil in terms of resonance behavior. The result is a nice, crisp rock sound with a lot of power, suitable almost anywhere where a distorted rock sound in the direction of a "dirty Telecaster" is needed.

Tweak switch position 2: The bass is cut heavily, the midrange is slightly boosted. In this position, the Tweak Fuzz reacts particularly intensively to the guitar's volume control and can be driven almost towards clean when the level is reduced. The guitar sounds sharp, sometimes biting.

Tweak switch position 3: In this position, the Tweak Fuzz slightly touches the distortion terrain without losing its fuzz characteristics. Strong compression and a strong low-mid portion make this sound a kind of "bread and butter" setting. A good basic setting to familiarize yourself with the device.

Tweak switch position 4: Here we touch on typical fuzz terrain for the first time. The sound becomes slightly "mushy" and just manages to avoid the cliff of mud. Single lines are mostly played in this position; the compression is too strong for chord playing and the frequency content is too bass-heavy.

Tweak switch position 5: A variation of position 4, which also makes chord playing possible thanks to a more open sound character. Very thick in the end result and with targeted EQ settings a powerful rhythm sound. Here too, the fuzz sound is retained in a practical way.

Tweak switch position 6: And here is the official fuzz sound with all its typical peculiarities in the style of "take it or leave it". A very brutal low-mid cocktail that polarizes the target group with a strong presence component. You either love this sound or you hate it, black or white, you won't find any shades of grey.

Practice:

I chose a Marshall Head JCM 800 Mod. 2204 (single channel with master) + 4x12" Marshall cabinet with 75 watts Celestion as the basis for the sound sample recordings. The low input was also used to keep the basic distortion moderate. The sound clips were all recorded with a '76 Les Paul Deluxe with EMG 85 PUs, i.e. the basic level is consistently a bit hotter than with passive PUs. However, the Tweak Fuzz also mastered the high output of the active pickups without any problems.

The neutral sound immediately jumps out at you when the FX is turned off, thanks to the True Bypass switch, which can also be operated without the notorious crack when switched on. Another plus point for all settings is the homogeneous interaction of the device with the downstream amplifier. Many pedals give the amplifier a very strong sound of its own during operation or in standby mode, usually accompanied by a narrowed frequency band. Not so with the Tweak Fuzz. The device gives the impression that it is an additional, modified channel of the amplifier. You never have the feeling that there is a foreign body in the signal path; rather, the amplifier experiences an expansion of its sound spectrum.

The range of applications of the Tweak Fuzz can be expanded considerably compared to the classic fuzz, especially via positions 1 - 3. The typical overdrive is not far away here, but never in danger of losing its touch of scratchiness. The spectrum extends from pop rock and blues to modern country, in which the guitar can also hint at a few "balls".

Positions 4 - 6, on the other hand, justify the second part of the product name. With a specific area of ​​application and a basic knowledge of EQ settings, you can coax all the sounds that made the term fuzz famous out of the Tweak Fuzz, be it Hendrix live in a feedback frenzy or Black Sabbath's Tommy Iommi on "Paranoid". It scratches, it rumbles, it mushes and it roars so much that it's a real joy ;-) Nevertheless, the device remains practical without losing the extreme germanium transistor sound and ruining any useful use because of all the muddyness.

Conclusion:
It may be that the Tweak Fuzz opens up a different sound spectrum with other amplifiers, but the single-channel Marshall version in particular is known to harmonize well with upstream distortion pedals. Here you have to try it out, but in this and probably other spartan setups the Tweak Fuzz could or would be completely convincing. Its flexibility makes it stand out from the overly large pool of competitors with similar sounds, with positions 1 - 3 in particular exposing the variability of the device far beyond the box of a classic fuzz. A recommendable device with high practical suitability.

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Additional Informations:

### The History of Seymour Duncan Effects Pedals

Seymour Duncan, long celebrated for its exceptional pickups, ventured into the world of effects pedals with the same dedication to quality and innovation that had established its reputation in the guitar industry. The journey into effects pedal production reflects Seymour Duncan’s responsiveness to the evolving needs of guitarists and its continuous pursuit of sonic excellence. This article delves into the origins, development, and impact of Seymour Duncan’s effects pedals, illustrating the company’s commitment to enhancing the musician’s toolkit.

#### Early Beginnings and Rationale

The idea of expanding into effects pedals was driven by a growing demand among guitarists for versatile, high-quality effects that could complement the tonal characteristics of their pickups. By the late 1990s and early 2000s, the pedal market was burgeoning, with musicians seeking ways to diversify their sound palettes. Recognizing this trend, Seymour Duncan saw an opportunity to apply its expertise in tone shaping to the world of effects pedals.

The initial goal was to create pedals that not only provided superior sound quality but also met the practical needs of musicians. This meant focusing on durability, ease of use, and integration with other gear. The team at Seymour Duncan, comprised of engineers and musicians, embarked on a mission to design pedals that would stand out in a crowded market.

#### Design Philosophy and Development

The development process for Seymour Duncan’s effects pedals was marked by meticulous research and a commitment to maintaining the brand’s high standards. The company leveraged its extensive knowledge of guitar electronics and signal processing to create pedals that delivered both innovation and reliability.

One of the key aspects of Seymour Duncan’s design philosophy was to ensure that each pedal retained the integrity of the original guitar signal while providing a wide range of tonal possibilities. This involved careful selection of components and rigorous testing to achieve the desired sound quality. Additionally, the pedals were designed to be user-friendly, with intuitive controls that allowed musicians to quickly dial in their preferred settings.

The design process also involved extensive feedback from professional guitarists. Seymour Duncan collaborated with a range of artists to understand their needs and preferences, ensuring that the final products met the real-world demands of musicians. This collaborative approach was crucial in developing pedals that were not only technically advanced but also musically inspiring.

#### The First Releases

Seymour Duncan’s foray into the effects pedal market began with the introduction of the Pickup Booster and the Tweak Fuzz in the early 2000s. These initial offerings were well-received and set the stage for further expansion.

The Pickup Booster, released in 2002, was designed to enhance the output of any pickup without altering its natural tone. This pedal featured a transparent boost circuit that allowed guitarists to drive their amplifiers harder, achieving greater sustain and dynamics. The Pickup Booster quickly became a favorite among musicians looking to add extra punch to their sound without compromising clarity.

The Tweak Fuzz, introduced shortly thereafter, offered a modern take on the classic fuzz effect. It featured a unique “Tweak” knob that allowed users to adjust the pedal’s EQ response, providing a wide range of fuzz tones from vintage to contemporary. This flexibility made the Tweak Fuzz a versatile addition to any pedalboard, capable of delivering everything from smooth, singing sustain to aggressive, cutting distortion.

#### Expansion and Innovation

Encouraged by the success of its initial pedal offerings, Seymour Duncan continued to expand its effects pedal lineup, introducing a variety of models that catered to different musical styles and needs. Each new pedal reflected the company’s commitment to quality and innovation.

One notable release was the Twin Tube Classic, a tube-driven overdrive pedal that captured the warm, harmonically rich tones of vintage tube amplifiers. This pedal featured two 6021 subminiature tubes and provided a range of overdrive sounds from mild breakup to saturated distortion. The Twin Tube Classic was praised for its authentic tube tone and dynamic response, making it a popular choice among blues and rock guitarists.

In 2011, Seymour Duncan introduced the SFX-06 Paranormal Bass Direct Box, a pedal specifically designed for bass players. This direct box featured a built-in EQ and compressor, allowing bassists to shape their tone and achieve a polished, professional sound in any live or studio setting. The Paranormal Bass Direct Box underscored Seymour Duncan’s commitment to serving the broader musician community, not just guitarists.

#### Digital Integration and Modern Offerings

As digital technology advanced, Seymour Duncan embraced the potential of digital signal processing to create new and innovative effects. The company’s approach to digital effects was to combine the flexibility and precision of digital technology with the warmth and musicality of analog circuitry.

A prime example of this integration is the Andromeda Dynamic Delay, released in 2017. The Andromeda features advanced digital processing to deliver pristine delay effects, while its dynamic control capabilities allow the delay to respond to the player’s touch and dynamics. This blend of digital clarity and expressive control made the Andromeda a standout product in the delay pedal market.

Another significant release was the Fooz Analog Fuzz Synthesizer, which combines analog fuzz with a range of synthesizer-like modulation effects. The Fooz allows guitarists to create complex, evolving soundscapes by blending traditional fuzz tones with LFO-controlled filters and amplitude modulation. This pedal showcases Seymour Duncan’s willingness to push the boundaries of conventional effects design, offering musicians new ways to explore and express their creativity.

#### Artist Collaborations and Signature Models

Throughout its history, Seymour Duncan has collaborated with numerous artists to develop signature pedals that reflect their unique sound and style. These collaborations have resulted in some of the company’s most distinctive and popular effects.

For instance, the Palladium Gain Stage, released in collaboration with several high-profile guitarists, was designed to deliver the high-gain sound of a cranked tube amplifier in a pedal format. The Palladium features comprehensive tone-shaping controls, including a three-band EQ and a resonance switch, allowing players to achieve a wide range of heavy, saturated tones.

Another notable collaboration is the La Super Rica Fuzz, inspired by the classic fuzz sounds of the 1960s and 70s. This pedal features a vintage-style silicon fuzz circuit with modern enhancements, providing a rich, textured fuzz tone with adjustable mids and a range of tonal options. The La Super Rica Fuzz has been praised for its ability to capture the spirit of vintage fuzz while offering modern versatility.

#### Impact and Legacy

Seymour Duncan’s effects pedals have had a significant impact on the music industry, offering musicians high-quality, innovative tools to shape their sound. The company’s commitment to craftsmanship and attention to detail have earned it a loyal following among both amateur and professional musicians.

The success of Seymour Duncan’s pedal lineup is a testament to the company’s ability to evolve and adapt to the changing needs of musicians. By continually pushing the boundaries of what effects pedals can do, Seymour Duncan has established itself as a leading name in the world of guitar effects.

#### Future Prospects

Looking ahead, Seymour Duncan shows no signs of slowing down in its pursuit of innovation. The company continues to explore new technologies and design concepts, aiming to create effects pedals that inspire and empower musicians. Future developments may include further integration of digital and analog technologies, as well as new collaborations with artists to develop signature models that capture their unique sounds.

In conclusion, the history of Seymour Duncan’s effects pedals is a story of innovation, quality, and a deep understanding of the musician’s needs. From the early days of the Pickup Booster and Tweak Fuzz to the advanced digital capabilities of the Andromeda Dynamic Delay and Fooz Analog Fuzz Synthesizer, Seymour Duncan has consistently delivered products that enhance the musical experience. The company’s commitment to excellence and its willingness to push the boundaries of effects design ensure that it will remain a prominent force in the world of music for years to come.