Starlight mkIII
NEW | Available Now
Inspired by our long retired Starlight DLX. Many of our favorite DLX features are included along with modern improvements like savable presets and MIDI.
Noise Theory – Wave Shaper Fuzz
NEW
Parallel Wave Shaper fuzz with full MIDI control, Parallel fuzz effects, savable presets and 11 fuzz types.
TremCoder 2
TremCoder 2 – with MIDI – Completely redesigned with improved clarity and more options.
All Parameters controllable and automatable via MIDI. Eleven user presets. Eleven warp-able LFO shapes. Programmable tremolo sequencer 4- 32 steps. Tap tempo with division from 16 beats to 32nd notes.
Prometheus 3 – Dual Super filter
Our all new DLX series Dual Filter. The Prometheus 3 draws from the MS20’s classic high and low pass filters and adds so much control. Go for subtle, or you can overdrive the filters and make them self oscillate. With 3 LFOs, internal synchronized tremolo and multiple envelope slopes the possibilities are endless.
PixelWave – Phase distortion synth
A 3 oscillator synth for guitar or bass, the PixelWave’s Phase Distortion synth engine bridges the gap between early 80s analog and digital synthesizer sounds. Create resonant filter sweeps, portamento leads or modulated madness and save them to 11 user presets.
Which Subdecay Guitar Synthesizer is for you?
Looking for simplicity or fexibility?
For bass or guitar?
Check out this comprehensive comparison the Octasynth, Octave Theory, M3 and PixelWave.
M3 – 70s style mono synth
Vagabond – Harmonic & Bias Tremolo
Octave Theory – Octave Mod/Synthesizer
Quasar – Phaser v4
Proteus Sample Hold Filter v2
Vitruvian Mod – Ring Modulator
Vector – 11 Channel Preamp
Octasynth – Synthesizer
Harmonic Antagonizer – Fuzz Oscillator
Pedal news and reviews.
Brian Marshall interviews himself on the making of the M3 guitar synth.
Brian: So tell us about how the M3 was created. What was going on? How did it get started? Brian: Sure. Right from the inception of Subdecay, I harbored an audacious dream – to
Toni Lindgren with the Super Spring Therory
Toni & MAS Distro get together at The Pearl Recording Studio and share what they love about one of the best selling Subdecay pedals of all time.
How pedals even work? Science! Part 1.
Over the years we’ve received emails from folks wanting a deeper explanation of how their pedals work. Some want an overview. Others want to get to the details and and nuances. As much as
Subdecay launches the Vector Preamp.
Subdecay is proud to announce the new eleven channel Vector Preamp. The Oregon pedal maker merges their early roots of fuzz and overdrive with their current design ethos. The Vector uses digitally controlled analog
Your Power Supply Sucks: 60 cycle hum edition.
Guitar is a naturally noisy instrument. Throw 50 decibels of gain at it, crank your amp, and it’s safe to say there will be some noise. It’s amazing that any guitar rig isn’t a
Evolution of the (Super) Spring Theory reverb.
Brandon with the Super Spring Theory set to spring reverb mode. Check out the product page for more details.
Exploring the depths of the Starlight Flanger v2
The Starlight v2 does more than your typical flanger. In our first demo for the Starlight v2 we covered a lot of sonic territory, but there was little in the way of explanation. Hell, we
When circuits are at war – YOU WIN!
Some will be offended, but loud crazy guitar sounds were never meant to be ordinary or boring.
Andy from PGS features the new Subdecay Starlight Flanger V2
Andy starts off this Starlight Flanger demo with one of my favorite songs by my favorite band. Check it out!
Turn your guitar in to a ring modulation synthesizer.
More info here on the Vitruvian Modulator.
Spring Theory: the beginning.
Since 2010 or so I'd been wanting expand our horizons. We had never made clones or pedals that were really supposed to emulate any kind of vintage gear. We had always tried to focus on
A little about us…
In 2009 we set out to take the old and make anew. That was my vision anyway. I wanted to take some of those old stand by effects we are all familiar with and expand. I