I know polyphonic fuzz sounds like a mishmash of buzzwords, but hear me out:

Conventional fuzz sounds very nice with single notes and power chords, but if you play any kind of jazz chord, or even a Gmaj7, it sounds like mush.

BUT, if you record the very same complex chord one note at a time and then play back all the tracks simultaneously, the chord sounds very nice. Think Brian May and his rich, many-layered solos. He recorded those solos one note at a time, allowing for complex chords with a healthy amount of gain.

Instead of running all notes through a single analog fuzz circuit, use polyphonic processing to separate each note into its own dedicated digital distortion “circuit”. In other words, algorithmically add harmonics to each polyphonically segregated note as though it were the only note played, then combine the notes back together after digital distortion processing. That way, a Gmaj7 or even a G(#9b5) chord will still translate clearly and sound nice.

Heres an example design using existing EHX technology:

Use the polyphonic processing and the Muff-like digital fuzz from the Attack Decay. Run each note through its own dedicated fuzz circuit so the notes retain clarity. You could call it the Many Muff. Two switches: one to turn on the pedal and one to engage polyphonic mode. The polyphonic switch could be momentary or latching depending on user preference. Maybe include an analog Muff when polyphonic mode is disengaged to calm the digital fuzz naysayers. Have separate volume, tone, and sustain knobs for analog mode and volume, tone, and sustain for digital mode, since the controls will likely interact differently with an analog vs. digital polyphonic setting.

I think this idea would turn a lot of heads at NAMM. Thank you very much for your time, and please let me know what you think!