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Spring reverb and bonus “room” reverb mode. Decay control to dampen or expand reverb. Retain your tone with all analog clean signal path. Trails option when bypassed Separate controls for the reverb and dry signal levels. Redesigned preamp for tube like dynamics and feel. Tone control for subtlety or in your face splash. By analyzing the design, sound and physics of real spring tanks we captured the nuances of tube driven spring reverb. Even something as innocuous as unplugging your guitar cable (kerplangagnangang)  sounds like real deal. A tone control allows you to dial in the perfect timbre. There is also an internal reverb send trimmer serving two purposes- 1. It allows you to turn down for hotter input signals. 2. It does essentially what the dwell control does on an outboard reverb tank. You can turn it up for a more dramatic effect or back it off for subtlety. Unlike a real spring tank the the decay knob allows you to dampen the springs for shorter reverb or bend the laws of physics resulting in long psychedelic resonating trails. The clean signal path is all analog. JFET amplifiers carryout the send and recovery of the reverb signal for even more tube like dynamics. The Super Spring Theory is equally at home in front of a clean or dirty amp. …But wait, There’s more! – Room Reverb There’s also that other reverb setting. ROOM. Don’t think of this as your typical subtle ambiance room reverb. That is certainly possible with the decay knob rolled back. The decay knob alters the dimensions from a broom closet to a cavern covered in ceramic tile with reverb trails over three minutes long. Like no other reverb pedal on earth. Every aspect of the Super Spring Theory was designed from the ground up. You won’t find a “reverb brick” inside. It’s not a datasheet design from someone else.  The Super Spring Theory uses our own DSP reverb algorithms that you can’t get anywhere else. More options In 2011 we set out to create the most realistic spring reverb simulation ever. The Spring Theory was born with authentic sound, feel and dynamics. Since then we’ve been taking notes for the next evolution. We listened and we know what you want. New features are packed in the same pint sized pedal. Now you can hear reverb tails when bypassed. Separate level controls for the dry and reverb sounds along with the new wide range tone control allow for subtle reverb to in your face salt water splash.

The Quasar v4 offers eleven modes paired with a simple control surface. An abundance of non-traditional options are on tap. Rhythmic modulation patterns. Sci-fi discombobulation. Envelope speed control. Traditional phaser and rotary tones are in the box too, but you want more, right? Something different? Something that stands out? All analog phaser. Synchronized tremolo and chopper effects. Active volume regulation. This eliminates the drastic volume disparities typical of many phasers. Wide range of traditional and experimental sounds. Subdecay has been designing and building Quasar phasers since 2005. For the new Quasar we explored new territory. We love defying effects conventions and breaking the rules. The Quasar’s next evolution is here and we’ve built in so much more than before. Many of the new features are normally only found in fully digital effects. A wide variety of options are under your control. Pairing the analog and digital world together means there’s no compromise of analog headroom or that organic swirl that digital units just can’t match. Modes & Controls: In most modes the controls do what you’d expect. The offset knob is the exception. The offset knob is mode dependent. It sets anything from the phaser sweep center point to synchronized modulation ratios. Rate: Always controls modulation speed.Depth: Controls modulation depth.Color: Usually controls phaser resonance. In mode 5 it controls a portamento function.Mode: Set to any of the eleven modes. Modes are broken down into four categories: 1-4 Cross modulation (X-MOD)5-6 Step Sequencing (STEP)7-8 Envelope (ENV)9-11 Traditional X-MOD: Cross modulation is our fancy way of saying the effect is modulated two different ways at the same time. 1 & 2 -Triangle + Sine & Triangle + Square:The phaser is modulated by a slow triangle LFO and a faster Sine or Square wave LFO.Offset: Sets LFO ratio to 2, 4, 8, 16 or 32. 3 – X-Fade:A cross fade effect. This is kind of like when the radio DJ fades out from one song and into the next one, but instead this crossfades the phaser effect and the clean signal.Offset: Controls how often the effect crossfades over each cycle of the phases. Set to a ratio of 2, 4, 8, 16 or 32.Depth: Controls the cross fade depth. 4 – Tremolo:Synchronized phaser and tremolo.Offset: Sets tremolo ratio to 2, 4, 8, 16 or 32.Depth: Controls tremolo depth. Step Sequencer: Rather than traditional smooth phasing these modes create rhythmic phaser/filter patterns. 5 – Step Pattern:A stepping pattern based on a triangle waveform.Offset: Sets how far steps skip ahead on the triangle waveform creating repeating patterns.Color: Portamento control. Turn to the left to soften step patterns. Turn all the way to the left and modulation will smoothly glide from each step to the next step creating a myriad of unique wave forms. 6 – RND:Random Phaser sequencer with volume chopper (square wave tremolo)Offset: controls how long the volume is chopped per step. (0 – 50%) Envelope modes: Modulation is manipulated by touch dynamics. 7 – Envelope speed control:A phaser effect where the modulation speed is altered by playing dynamics. (Similar functionality to our Vagabond Tremolo, and (discontinued) Siren Vibrato.)Offset: slows down or speeds up modulation when you hit the guitar strings. 8 – Envelope Phaser:Similar to an envelope filter… but with a phaser.Offset: Controls phaser resting point.Depth: Controls how much playing dynamics modulate the phaser (just like an envelope filter.)Rate: Controls envelope attack and decay speed. Traditional: 9 – Rotary / Vibrato:Inspired by the long discontinued DOD FX22 with a deceptively huge range going from straight tremolo or vibrato, to very present filter/phaser tones.Offset: Controls tremolo depth.Color: Turn to the right for resonance. Turn to the left for a pitch vibrato effect. 10 – Slow Triangle LFO:Long linear phaser sweep perfect for slow speeds.Offset: controls center point of modulation. 11 – Fast Sine LFO:A faster phaser using a sine wave LFO.Offset: controls center point of modulation.

Once again we’ve knocked the world of filter pedals off its axis. Autowah, envelope filter, step filter, random sample/hold filter, even a pixelated envelope filter. This one does it all. After a year in development we present The Prometheus DLX. An analog filter with digital control. We made sure to not build in any artificial limitations. The filter sweep goes above and below normal guitar frequencies, and works well with other instruments such as bass and synthesizers. Select between lowpass, bandpass and highpass filters, and virtually unlimited ways to manipulate them. We took the mad science of the original Prometheus and multiplied it, adding features that not only increase the sonic possibilities, but also make it easier to use. The DLX is a re-imagined Prometheus that uses all the knowledge we gained from The Quasar DLX, and our experience making the most exciting filter pedals in the world. We also added some improvements. More resonance? Yep! Tap tempo? You got it! For even more headroom the DLX will operate at 18 volts. There’s even an internal switch to add a dry signal blend to the bandpass filter. (See, we love you bass players too!) While the options are nearly infinite, we made sure to keep things simple enough so that the average guitar player could figure them out in a few minutes. The Prometheus DLX has nine basic functions: Analog envelope – forward and reverse. Step – tap tempo step filter based on 7 LFO shapes. Trigger LFO – tap to trigger one LFO cycle. Manual LFO – Manually control LFO speed. Warp LFO – tap tempo LFO speed with wave shape warp. Pixilated Envelope – sample/hold envelope control. Envelope Trigger – Envelope triggers LFO. Envelope->LFO manual – Envelope drives LFO speed. Fixed sensitivity. Envelope->LFO – Envelope drives LFO speed. Variable sensitivity. In each of these settings, the WARP control and TAP/HOLD serve different purposes to get the most out of each effect. The expression pedal input can be used with any non-envelope functions. Depending on the shape & mode settings the expression pedal has a different effect. For example, in trigger LFO mode the LFO shape is mapped to the expression pedal. Select the ramp wave for a “standard wah” effect. Choose the saw wave for a reverse wah. The triangle/square wave is especially strange. We also made major improvements to the step filter in the DLX. We not only added tap tempo, but the underlying LFO rate is locked to the step rate. If the step rate changes, there is no need to readjust anything to keep the same arpeggiated pattern. The warp knob is used to adjust the ratio of the step rate and the underlying LFO between 1:1 and 1:1.5. This ensures that there are no redundant settings. Notes about The Prometheus DLX: Powered by an external regulated 9VDC to 18VDC adapter with a negative center 2.1mm barrel style plug. Power supply is not included. If using a “daisy chain” power supply all other pedals MUST be negative ground. Current draw is less than 100mA. Length 4.7″ x Width 3.7″ x Height 1.2″ Input impedance- 1M Output impedance- Less than 1K. The Prometheus DLX is hand made in Oregon. Die cast metal enclosures for durability. 3PDT switches for true bypass switching. Red/Green LED indicator. Three-year limited warranty July 2015- Version 1.5 update: The most versatile filter pedal on earth just got better.The improvements include: More consistent settings between 9 and 18 volt operation. Minor changes and smoothing of the analog envelope follower Improved power filtering

World’s first octave modulator / octave shift pedal. World’s first shepard tone guitar synthesizer. LFO and envelope octave shifting. All analog filter design. Inspired by old school synthesizers and the 8 bit computing era. The first ever guitar synth with octave modulation So what the heck is octave modulation? The octave theory seamlessly crossfades between octaves. Paired with an awesome filter this creates a multitude of possibilities. like 8 bit chiptune sounds, classic guitar synth, super sub bass tones and the world’s first ever shepard tone guitar synthesizer. With great power… An array of knobs covered many early 1980s synthesizers. This gave you the power to create a wide range of sounds. Of course, on some settings the synthesizer wouldn’t make a sound, would go into uncontrollable oscillation, or make weird noises. Sometimes the weird noises weren’t the weird noises you expected. While many guitarists enjoy tweaking and honing their tone most of us don’t have that level of patience for fiddling with a matrix of interactive settings. The Octave Theory strikes the perfect balance giving you the power to create your own sound without endless knob tweaking or (gasp!) a tedious menu driven interface. The Filter: Resonant filter inspired by the Korg MS20. Like the MS20 the resonance knob can push the Octave Theory into oscillation. Most guitar synth pedals won’t let you go there. They think you can’t handle so much raw power. To be fair many of those filter oscillation sounds can get shrill or overbearing. If you keep the filter frequency low you can give your synth tones some growl. Use this power responsibly.  AMP vs. Filter priority and envelopes. ADSR envelopes are a mainstay of synthesizers. While lacking full external ADSR control an internal ADR (Attack/Decay/Release) envelope is generated to control the oscillator output level. (AMP – synthspeak for modulating the oscillator output level.) AMP Priority (white marker): In modes with the white marker the decay knob gives you full control of the AMP decay. In these modes the filter also follows the ADR envelope at a fixed depth. This allows you to make notes decay quickly and gracefully. Turning the knob up allows for longer decay times. Filter Priority (green marker): In green marker modes the filter follows an envelope generated by the strength of the input. (The same way envelope filters work) The depth knob controls how much influence the the input envelope has over the filter. When in filter priority the internal ADR envelope is fixed with infinite decay time. Octave Modulation: Modulate your octaves in four ways. LFO modulation, envelope modulation, shepard tone, or manual mode. LFO: This is where you’ll find the chiptune sounds, especially with the square and double square wave modes.In the triangle, square and double square modes the filter follows the internal ADR and the freq knob. In random Mode the filter follows the LFO. The octave mod knob controls the LFO speed. Envelope: Playing dynamics modulate the octave cross fade.  The octave mod knob controls the envelope’s overall influence.  Shepard Tone:  As you work your way up the guitar neck playing higher notes, the octave cross fade descends. When set = modes playing one octave higher will produce the same note. You can play up the neck forever and arrive at the same pitch whether you are playing an open low E or the high E string on the twelfth fret. In ↓ modes the output pitch will get lower and lower as you play higher up the neck. In all shepard tone modes the oct. mod knob manually controls the octaves from several octaves down to several octaves up. Manual mode: This is most similar to our original guitar synth pedal, the Octasynth, but with the most requested feature added. Instead of the Octasynth’s blend control which only allowed for one or two octaves down, the oct. mod knob takes you from three octaves down to two octaves up.

An overdrive for guitarists needing their amp to sound great at any volume. The all jFet design stacks well with other overdrives, pushes your tube amp for more sustain, and  most importantly sounds great on its own through a clean amp at any volume.

The Old Blood Noise Endeavors Mondegreen pedal is a digital delay hellbent on giving you something different than what you put in.  It’s delay. Into modulation.  And it’s weird.   A three-way toggle switch selects between three modes of modulated delay.STUTTER: A delay with a percussive tremolo on the trails.  WHIRL: A modulated delay adding chorus on the wet signal.  SHEER: A delay with increasing octaves on the repeats. Perhaps it’ll be strange enough in your hands.  Perhaps I’m underestimating your adventurous nature.  You sly dog.  Precocious Pup.  Get out of here.  Go get weird.   9VDC - 2.1mm negative center pin adapter.60 mA draw. The art of the Mondegreen comes from the illustrative ends of Jake Blanchard's mind. Check out more of his excellent work here: http://www.jakeblanchard.co.uk

Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them.  Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume.  Play whatever you like, you're the only one who can hear.  Or a buddy can plug into the additional Headphone output.  Headphone output is mono out. Two 1/4 Headphone Output jacks allow two users to simultaneously listen. 9VDC ***Not to be used as a normal amplifier pushing cabinets.  Outputs are only intended for Headphone use.***

There's a gentle hum, a soft light somewhere in the darkness.  And it grows.  A little hope that you're not the only one in a vast universe.  Isolated, alone and dying.  When there's truly nothing making noise, what do you hear?  Is it nothing?  Or is it the softness, the growing of a voice that resides below the normal hum and frequency of the universe.  The voice of the Dark Star. The Dark Star is what we would use to create long reverberated pads.  The noises underneath the lead.  The mood setter.  That's the Dark Star.  The way a song feels.  That's because of the Dark Star. At its heart, the Dark Star is a Reverb.  Then the Reverb signal passes through three possible modes:  Pitch, Delay and Crush. CTRL 1 and CTRL 2 correspond with the selected mode.  In Pitch, you've got two independent pitch controls for + and - an octave.  In Delay, you've got the Delay Time and Delay Feedback.  In Crush, you've got a pitch control for +/- an octave and then a control for Bit Crush.  The Mix and Reverb knobs control the mix of dry/wet signal and the decay of the reverb, respectively.   The Dark Star has two footswitches.  The Bypass switch is your standard on/off True Bypass switch.  The Hold switch is a momentary footswitch that when pressed, will lock in whatever note is being played through the reverb effect.  This will sustain as long as the Hold switch is pressed.  If the Mix control is set less than 100% wet, you can continue to play over the sustaining reverb signal. The Dark Star now features an expression out jack and clickless switching.  The output level can be tweaked via an internal trimpot for boost, slight drop, or unity gain. 9VDC - 2.1mm negative center pin adapter.60 mA draw. The art of the Dark Star comes from the magical mind of Jon Carling. Check out more of his excellent work here: joncarling.com

After nearly six years of production, we have expanded our flagship pedal, the Black Fountain Oil Can Delay. The Black Fountain captures the sound of vintage oil can delay units, which processed the instrument signal through actual oil in order to create warm, modulated repeats unlike anything else. This previously rare and unwieldy sound is now available in the Black Fountain, which features three modes and ample control over the signal.  Black Fountain V3 features: Tap tempo: set your tempo on the fly with two taps of a footswitch, and subdivide that tempo into quarter, eighth, or triplet notes Hidden function: hold the Tap footswitch to momentarily maximize feedback, leading to a nearly sound-on-sound effect Expression control: use an expressional pedal to control Time, Feedback, or both simultaneously Expanded delay time: all the way down to around 30ms and up to around 1s Modern, Organ, and Vintage mode give three different takes on the voice of the delay, and Fluid, Mix, Time, and Feedback knobs give control over the elements Black Fountain art by Sam Larson https://www.samlarson.com/

It was the best of times, it was the worst of times. Back in the go-go ‘90s, a band of mad scientists emerged from a lab in the wilds of Iowa with a strange pedal that altered the very fabric of time and space. This pedal found its way into the hearts and minds of a select few - the dreamers and the music makers, the wild and free. But those pedals weren’t made to last. As the years have passed, their fragile circuitry has begun to fail, until one day they will be only a memory. Wise grandfathers will tell the children tales of the strange black pedal from the west, and that will be the end of the story. Or will it? Alexander Pedals designer Matthew Farrow decided to recreate the magic-using modern DSP technology and high-quality construction techniques. All the strange sounds of the original lurk within the Super Neo-Matic, along with some fun new surprises. The original pedals may be slowly fading, but your journey has just begun.

A laboratory in which to give full reign to your own creativity, as you experiment with the various “dimensions” of delay. This versatile delay is user-friendly and suitable for immediate use, but also ideal for users with a passion for sound research and experimentation, who will soon discover the unique moods which can be created by synchronizing the various controls. TimeLab is an analog/digital hybrid delay.  The dry signal and the repetition filter are controlled by the analog part of the circuit, while powerful, specially created digital algorithms are used to manage the repetitions, reproducing 4 original delay resonances, all of exceptionally high sound quality. Main features: a choice of 4 types of delay: Digital – Analog – Resonance – Modulation active analog filter, to give emphasis to the frequency response of the repetitions a selection of times, from 0 ms to 1000 ms Tap Tempo with subdivision between quarter, dotted eighth and eighth triplets control over delay time with soft pitch bending FILTER control: This is an active analog filter which allows you to give emphasis to the response frequency of the repetitions. It can be used with all types of delay to enrich the sound environment with unique and unusual colors. The control is flat in its central position. Moving it to the left allows you to add emphasis to the low frequency sounds by obscuring or muffling the repetitions, whereas moving it to the right will have the opposite effect, adding emphasis to the medium-high frequencies. Types of delay which can be selected with the TYPE control: DIGITAL: a transparent and well-defined delay. Used to create a sharp atmosphere and robotic effects. Time can be varied from 0 ms to 1000 ms. ANALOG: recreates the depth, warmth and nuance of the best analog delays. Soft and warm moods and deep, open distortions. Time can be varied from 0 ms to 1000 ms. RESONANCE: offers all the naturalness, depth and warmth of the analog delays, but with the addition of a resonance filter, which gives the sound a psychedelic touch, with a flavor of period synth. Time can be varied from 0 ms to 1000 ms. MOD: an analog delay which adds to the repetitions a multi-vocal choral effect, giving them range and depth. Useful for creating airy and ethereal effects. Time can be varied from 0 ms to 930 ms.

An extremely versatile, warm sounding transparentoverdrive. With its huge range of tonal frequencies and high sound definition the SmoG will make you notice every string’s twang and every note in your chord.Furthermore, the SmoG is highly touch sensitive and dynamicresponsive which makes the SmoG feel like an organic extension to your guitar.The SmoG has also been specifically designed to respond well to low frequencies, therefore it will work perfectly with bass guitars as well.As with most of our pedals, the SmoG comes with a 9V battery inside, ready to rock. Features: - Completely analog circuit - True bypass switch - Power supply: 9-18V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm

The Millibar is a studio-grade optical compressor, designed to achieve optimal compression control on both guitar and bass alike.Inspired by the performance of the Universal Audio 1176 and Teletronix LA2A, we have managed to recreate and implement their characteristics in the Millibar, in terms of both, transparent compression and "tone-full" qualities.Your instrument’s will sound full, rich with harmonics, sustain and without any loss of sound frequencies.The Millibar utilizes separate controls for compression and sustain, which allows the user to choose from a range of dynamic combinations, suitable for arpeggios, solos, grooves and many other styles and effects. In the MKII version we have added an attack control in order to give players maximum flexibility and control over  compression characteristics. Features:- Completely analog circuit- True bypass switch- Power supply: 9-18V/10 mA- Size (L x W x H): 9 cm x 11 cm x 6.6 cm

Hybrid fuzz/distortion pedal for guitars and bass guitars Versatility: A hybrid of germanium and silicon, combining the correct dynamics and well-defined granular effect typical of germanium with the grittiness and high sustain levels of silicon. An endless variety of resonances can be achieved by synchronizing choices of timbre with use of the filter and fuzzcontrols: from the resonances typical of valve distortions to the various fuzz timbres. Presence: Highly sought-after response frequency which, even in cases of extreme saturation, maintains a constant sound presence capable of holding its own in a mix with other instruments. Features: - Completely analog circuit - True bypass switch - Power supply: 9V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm

Dual-purpose pedal: buffer and boost. The buffer offers optimum transparency and will solve any problems of loss of signal caused by long effect chains. It can help you produce those harmonics you thought you had lost and which your audience will think highly of. The clear boost will give you the boost you need for your solo parts and is also useful for saturating your amplifier channels. With close attention to the musician’s needs and requirements, we have chosen a specific range of frequency responses for this product, from medium-low to medium-high frequencies. You can choose from the “Tone” control:  the 12-hour position corresponds to “Flat” frequency. Features: - Completely analog circuit - True bypass switch - Power supply: 9-12 V/10 mA - Size (L x W x H): 9 cm x 11 cm x 6.6 cm