Subdecay

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.

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.

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

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.

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.