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 birth a synth pedal that'd defy the boundaries of convention, or at least sound like an actual synthesizer instead of
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.
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 I enjoy the topic, I don’t always have the time. So you’ll be seeing more posts from us with explanations
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 gain stages and an internal tonestack to pack eleven channels of overdrive and fuzz into a stunningly compact pedal. The
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 noise nightmare. Our copper wound guitar pickups make great antennas, and if you are anywhere near electricity 60 cycle hum
Brandon with the Super Spring Theory set to spring reverb mode. Check out the product page for more details.
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 didn't even show the pedal settings throughout the shoot or even say anything about it. That led to a a
Some will be offended, but loud crazy guitar sounds were never meant to be ordinary or boring.
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 being original first. Maybe to a fault at times. It is a challenge to market something without an easy frame
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 left NAMM that year seeing the stompbox world growing in sophistication and becoming much more competitive. Sure the original Prometheus which