A flanger inspired by the Starlight DLX

The Starlight MKIII brings back some favorite features of the Starlight DLX and introduces exciting new ones, including through-zero flanging, MIDI control, and savable presets. With an ultra-wide sweep range (0-21ms), the Starlight MKIII offers unparalleled versatility, allowing you to dial in everything from smooth, classic flanging to boldly experimental.

Starlight MKIII Flanger controls:

The Starlight MKIII offers 10 adjustable parameters and 11 flanger modes for precise sound control. Obviously there are more settings than knobs. The EDIT MODE switch changes the function of the controls.

Edit MOD/PRESET: The EDIT MODE switch changes the function of the knobs. When set to MOD PRESET, the select knob is used to switch between different presets. The top three knobs function as the classic flanger controls, RATE, DEPTH, and REGEN.

Edit COLOR: When the EDIT MODE switch is set to COLOR, the top three knobs control MIX, MANUAL, and WARP. The SELECT knob allows you to choose from 11 modulation modes.
MIX adjusts from 100% dry to 100% wet. Fully wet is great for vibrato effects. Flanger effects are usually a 50/50 mix.
MANUAL controls the flanger sweep—often called ‘frequency’ on other flangers. For traditional flanger sounds, keep the MANUAL knob at noon or higher. Turning it left can create wilder tones, especially when REGEN is set high.
WARP alters each modulation mode in different ways, giving you even more options for sound design.

Edit FINE: For fine-tuning, switch the EDIT MODE to FINE.
The GATE control acts as a squelch, particularly helpful when using extreme settings with high REGEN and wide sweeps. It cuts the flanger effect when you’re not playing.
LPF and HPF are great for refining vibrato effects or stepped LFO modulation.

Typically, these last three controls are built into a flanger’s internal design. However, with the ultra-wide sweep and variety of modulation types on the Starlight MKIII, we wanted to give you full control rather than a curated experience. You fine-tune your sound or embrace the more experimental side. It’s okay to color outside the lines.

MIDI

All Parameters are controllable via MIDI. There is also optional MIDI clock sync, preset changes, automated bypass, LFO reset and more.

Experience the fuzz future with the Noise Theory. Unconfined by 60’s and 70s tradition, it embraces synth technology like wave folding and wave shaping distortions. Uncommon in the guitar world, but they’ve been used in modular synthesis for years. Unexplored sonic territory awaits. 

Wave Folding: Harness the chaos

With the Edit Mode switch set to Shaper you can choose from 11 fuzz types. Fuzz 2 through 9 introduce wave folder fuzzes. These offer a spectrum of mind-bending tones with intermodulation overload.

So what is wave folding exactly?

Basic: Wave folding is a different type of distortion. Rather than simple clipping or compression, the signal folds back in on itself.  This creates complex harmonic content and timbral changes. As the gain increases the signal folds more and more.

Familiar controls for gain and tone sculpt your sound, while adjusting the bias adds a distinct second harmonic.

The Noise Theory provides the means to tame the madness, offering controls for pre-fuzz compression, a high pass filter, and a low pass filter. Consult the online user guide for comprehensive details.

In addition to the wave shaper fuzzes, blend in the analog fuzz signal for added versatility, particularly beneficial for bass guitar or maintaining a semblance of normalcy if you are into that sort of thing.

Oh, and there’s also an internal chorus/flanger just because we could.

Fuzz Types

Fuzz 0 Square Fuzz:

Amplifies the signal until it reaches its limits, resulting in squared-off peaks and valleys. Your typical overdrive or fuzz simply amplifies a signal until it’s pushed past its limits. This is exactly what fuzz 0 does.

Fuzz 1 Sine Clipper:

 Based on a sine wave response, providing a distinct fuzz texture. An approximation of Tube and Jfet compression at low gain.

Fuzz 2 Full wave rectifier:

A full wave rectifier akin to classic octave up fuzz pedals. The simplest version of wave folding and one many guitarists will find familiar. 

Wave Folder Fuzzes

Fuzz 3 Wave Folder:

When the signal is pushed past its limits it folds back in on itself. Similar to wave folders found in the synth world. 

Fuzz 4 Single Sided Wave Folder:

A variation of the Wave Folder that only folds one side of the signal.

Fuzz 5 Sine Wave Folder:

Similar to Fuzz 3, but based on sine waves. 

Fuzz 6 Single Sided Sine Wave folder:

Similar to fuzz 4 but based on sine waves. 

Fuzz 7 Zero Limited Wave Folder:

Similar to the Wave Folder, but folds the signal back before crossing the zero point, reducing intermodulation and more agreeable with complex chord playing.

Fuzz 8 Harmonic Ripple Wave Folder:

Blends the characteristics of a sine clipper and wave folder, offering less intermodulation and adds a filter-like effect on some settings.

Fuzz 9 Wave Smasher:

With each fold, the amplitude decreases. It gets splattery, especially at high gain. Not for the faint of heart.

Oscillator Fuzz?

Fuzz 10 Oscillator Fuzz:

Similar idea to the 2007 Noise Box, but different.

Midi control:

All parameters are controllable via MIDI in real time. See the comprehensive user guide for the full MIDI implementation.

Synth abomination?

Additionally, transform the Noise Theory into a versatile 4-voice MIDI synthesizer based on phase distortion and wave folding.  Simply connect a MIDI controller to the MIDI A input and play any note on the keyboard to activate the synthesizer.

This synthesizer combines 1980s phase distortion synthesis with the Noise Theory’s wave shaping fuzz to create something special and unique. Wave shaping is applied individually to each oscillator. It will get analog like, similar to old Casio CZ synthesizers, but it really shines with dirty in your face fuzzy tones. It IS a fuzz pedal after all.

64 user preset patches and 64 factory preset patches are accessible via MIDI Program Change (PC.) There are over 30 parameters editable via MIDI CC. See the Synth MIDI map here.

TRS MIDI A input

For a comprehensive MIDI CC map and instructions on changing the MIDI channel, refer to the online user guide.

Introducing the TremCoder 2 – A tremolo/sequencer with MIDI.

A new world of pulsating rhythm awaits within the TremCoder 2. We took cues from the original TremCoder, then expanded and improved. Designed to be more than standard fare tremolo, this pedal packs in multiple LFO shapes, repeating patterns and a programmable 32 step tremolo sequencer. 

Features

Waveform Versatility: Dive into a wide range of LFO shapes ranging from traditional to modern. These include the mainstays like sine and triangle to hard cornered ramp, saw and a variable pulse wave. Additional possibilities await with pattern based LFO shapes and two shapes with envelope speed control. Further transformation of each LFO shape is available via the warp knob. 

32 Step Tremolo Sequencer: If the LFO selection wasn’t enough, the TremCoder also includes a programmable 32 step sequencer. Build your own 4 to 32 step patterns to suit your rhythm and groove.

Eleven Savable Presets: With so many options you are bound to create something you will want to recall later. Save your favorite creations by holding the bypass switch for two seconds. Then select a place to save it with the Shape/Preset knob. Press the switch again to save. Recall your settings with the Shape/Preset knob at any time. 

Tap into Rhythm: Tap tempo lets you quickly sync your tremolo to the beat. Select rate divisions from 16 beats to 32nd notes. Usher in slow volume swells or dizzying staccato sequences.

MIDI Integration: Elevating your creativity and take control with MIDI. All parameters can be accessed via MIDI CC messages in real time. MIDI clock sync means your rhythms stay locked on tempo. Change presets on the fly. You can completely automate the TremCoder via MIDI in the studio or for live performances.

Embark on a sonic journey with the TremCoder Tremolo Sequencer. Equally at home for live performances or in the studio, this pedal invites you to reimagine the sonic possibilities of a tremolo pedal.

Dual Super Filter inspired by the MS-20

At the heart of the Prometheus 3 are an analog high pass and low pass filter inspired by our favorite 1970s monophonic synthesizer classic. Like the MS20 these filters are controlled separately. You can make them do completely different things at the same time.

It’s packed it with features including multiple LFOs, separate envelopes for each filter, tremolo, savable presets for each of your creations. You can also assign the parameter knobs for each preset. Octave down effect? Oscillating fuzz? Why not? You can even customize the LED color for each preset.

That’s a lot of parameters you have there…

If you’re not the diving right in type, there are 121 factory presets. To access them flip the switch to BANK mode. Use the Preset and Select knobs to access eleven categorized banks. Each bank contains eleven patches ready to go. Use them as is, or as a starting point and edit to your delight.

Each bank also has settings mapped to the parameter knobs unique and intuitive to their bank category. For example, the envelope filter bank’s parameter knobs control the envelope depth, the filter cutoff frequency and resonance. For LFO filters the knobs control the modulation depth, filter cut off and resonance.

What the heck is Auto-Set?

While in edit mode some parameter rows have an Auto-Set under the select knob. These don’t control their own paramter. Instead AUTO SETS send preset values to each parameter in that row. This can be helpful for dialing in tones faster.

AUTO SET 0 will recall the original settings before editing. Setting the AUTO SET to 1 generally sets things to default or “off.” Turning the select knob to the higher positions are more extreme.

Oscillating Filters

Both filters will oscillate with the resonance set to maximum. With the pre-filter gain set high the guitar and filter oscillation interact in a menagerie of chaotic fuzz.

Maybe you’re thinking all that chaos would get annoying. Especially annoying if it’s oscillating while you aren’t playing. Luckily you can set a noise gate to shut off all output or limit each filter’s resonance while you aren’t playing.

More than your average Envelope Filter

So there’s loads of options beyond the chika-chick-bow-wow. There are also easy places to start. There are funky places. Of course, the random sample/hold filter is on the menu. There are minute long swooshing waves of gooey goodness to ride. There are bombastic oscillating robots under your (mostly) control. A sonic adventure awaits!

Phase Distortion Synthesizer

Take a trip back in time to the underappreciated 12bit era of synthesis. A time of experiments built for mass appeal. Finally, synthesizers were available to the everyday musician. One new idea was phase distortion synthesis.  Casio sold it as the answer to Yamaha’s FM synthesis. Ultimately, Casio discontinued the CZ phase distortion synthesizers, but these synthesizers garnered a cult following for their versatility and relative affordability.

The PixelWave covers a wide range of synthesizer sounds. From string ensembles to filter sweeps and resonant noise. Oscillators can be offset over four octaves by half-step increments and fine-tuning. Use this to create massive 80s unison leads or modern one key dance chords.

So Many Options. Where are all the controls?

The EDIT MODE switch and SELECT knob put the R G and B knobs in control individual parameters. Find these parameters listed as MATRIX on the face of the PixelWave. Parameters allow direct control of waves shapes, modulation, pitch, LFOs, and more.

Set the EDIT MODE switch to LOCK to disable the R G and B knobs. This avoids unintentional changes while using the pedal live. In LOCK mode only two parameters are available. The master volume is available and the SELECT knob chooses the preset.

RGB Pixel Matrix

Flip the EDIT switch to MATRIX for deep programming options. Then use the R G and B knobs to take control. Each knob corresponds to parameters for its oscillator (with a few exceptions noted in red in the table below.) The SELECT knob chooses the parameter from the matrix.

In MATRIX mode hold down the bypass switch for two seconds to save a preset. Then choose the preset location with the SELECT knob. Finally, press the bypass switch again to save.
In ADJUST mode the R G and B knobs change to alternate functions: FILTER, SENSITIVITY, and CLEAN MIX.

Oscillators and waveshaping.

The PixelWave has three oscillators and one sub-oscillator. Chose from eleven waveforms for each oscillator. The sub-oscillator is limited to Saw, PWM, Hard Res, and Sync.

Why Phase Distortion?

Phase distortion is based on sine waves. The wave distorts to achieve other timbres. These timbres include saw waves, pulse waves, resonance, and more. It’s often compared to FM synthesis, but the implementation is quite different. Some FM sounds are possible, but it will also mimic analog filter sweeps which were impossible in FM synthesis. Programming is also more intuitive and easier to understand. Phase distortion combines digital with the versatility to emulate analog sounds.  This made it an ideal candidate for a deeply programmable guitar synthesizer.

Phase Distortion Synthesizer

Take a trip back in time to the underappreciated 12bit era of synthesis. A time of experiments built for mass appeal. Finally, synthesizers were available to the everyday musician. One new idea was phase distortion synthesis.  Casio sold it as the answer to Yamaha’s FM synthesis. Ultimately, Casio discontinued the CZ phase distortion synthesizers, but these synthesizers garnered a cult following for their versatility and relative affordability.

The PixelWave covers a wide range of synthesizer sounds. From string ensembles to filter sweeps and resonant noise. Oscillators can be offset over four octaves by half-step increments and fine-tuning. Use this to create massive 80s unison leads or modern one key dance chords.

So Many Options. Where are all the controls?

The EDIT MODE switch and SELECT knob put the R G and B knobs in control individual parameters. Find these parameters listed as MATRIX on the face of the PixelWave. Parameters allow direct control of waves shapes, modulation, pitch, LFOs, and more.

Set the EDIT MODE switch to LOCK to disable the R G and B knobs. This avoids unintentional changes while using the pedal live. In LOCK mode only two parameters are available. The master volume is available and the SELECT knob chooses the preset.

RGB Pixel Matrix

Flip the EDIT switch to MATRIX for deep programming options. Then use the R G and B knobs to take control. Each knob corresponds to parameters for its oscillator (with a few exceptions noted in red in the table below.) The SELECT knob chooses the parameter from the matrix.

In MATRIX mode hold down the bypass switch for two seconds to save a preset. Then choose the preset location with the SELECT knob. Finally, press the bypass switch again to save.
In ADJUST mode the R G and B knobs change to alternate functions: FILTER, SENSITIVITY, and CLEAN MIX.

Oscillators and waveshaping.

The PixelWave has three oscillators and one sub-oscillator. Chose from eleven waveforms for each oscillator. The sub-oscillator is limited to Saw, PWM, Hard Res, and Sync.

Why Phase Distortion?

Phase distortion is based on sine waves. The wave distorts to achieve other timbres. These timbres include saw waves, pulse waves, resonance, and more. It’s often compared to FM synthesis, but the implementation is quite different. Some FM sounds are possible, but it will also mimic analog filter sweeps which were impossible in FM synthesis. Programming is also more intuitive and easier to understand. Phase distortion combines digital with the versatility to emulate analog sounds.  This made it an ideal candidate for a deeply programmable guitar synthesizer.

Monophonic Guitar Synthesizer

Based on the Korg MS-20, the M3 brings the sounds of 70s monophonic synthesizers without the modular complications.

Instead of dual oscillators, the M3 employs 3 digitally controlled oscillators for super fat synth sounds that never go out of tune.

Eleven oscillator combinations cover string sounds, analog bass, bell tones, fifths and more. The algorithm knob’s eleven settings further shapes the sound controlling everything from the filter, two envelope generators, LFOs, portamento and more.

70s inspired

The 1970s saw a massive expansion of electronic music instruments. Much like early electric guitars some didn’t know what to make of these electronic synthesizers. Some of these electronic noise makers were almost affordable.  (insert if you can afford a truck, you can afford a synthesizer meme)

Ease of use and portability improved as well, but MIDI wasn’t coming until 1983. Saving patches usually meant writing them down in a notebook. This was still a vast improvement from earlier interconnected cabinets in studios that needed constant tuning and maintenance and were near impossible to use live.

This era created some of the most iconic synthesizers of all time. We’ve packed the essence of 70s analog monosynth into the M3. Don’t let the simplified controls deceive you. The M3 incorporates the following:  (Synth Speak warning)

Control and structure

Three oscillators.
Three LFOs (PWM & pitch for each oscillator, and the filter)
Two envelope generators. (filter & AMP)
Voltage controlled analog resonant filter.
Voltage controlled amplifier

Synths of this era rarely had more than two oscillators per voice. A single LFO was common. Many synthesizers used a single envelope generator to control the filter and the amplifier. So how did we fit all this 70s goodness in a stompbox? We borrowed some tricks from the 80s. As MIDI became a synthesizer standard many of those “analog” synthesizers used digital control. Analog envelope followers and LFOs were replaced with digital technology. The synth world that was still analog moved on from voltage controlled oscillators to digitally controlled oscillators. Often the same processors found in computers were found in synthesizers controlling everything.

User friendly for guitarists-

Essentially the M3 has 121 tweakable patches. The oscillator knob selects between eleven oscillator combinations. The algorithm knob selects filter, amp and LFO settings. The parameter knob allows you to alter each algorithm in different ways.

Oscillators

Each of the M3’s oscillators are capable of sawtooth waves or pulse waves with variable pulse width modulation. One of the LFOs controls the PWM. Another controls the pitch and is used to detune the oscillators for a chorus effect.

Controls:

Oscillators: This knob sets between 11 different oscillator selections.
A B & C Saw wave ensembles: The basis for the string machines of the past. Can also capture some horn sounds.
D E & F Basses: A mix of lower frequency saw and PWM waves.
G Fifth: Two oscillators track the input pitch with one oscillator offset by a 5th for that classic 5th synth sound.
H Major Triad: This is more of an ode to 90s electronic music than the 70s. We won’t judge you for using it!
I octaves: Stacked octave saw waves.
J: Two square waves and upper octave 5th: This was a common way synthesizers attempted to capture bell and chime timbers, or even electric piano.
K Stacked Squares: All three oscillators run squarewaves in unison. Perfect for synth leads.

Algorithms: This controls everything else. Filter and Amp envelopes, LFOs, portamento and pitch follow for the filter. Additionally one or more setting can be tweaked with the parameter knob.
1 Wide open: Parameter controls filter offset. The envelopes are wide open with moderate release. This is an example of one of the most simply synth settings.
2 String Envelope: Parameter controls filter offset. A moderate attack with high sustain and near reverb like release. Works well with string oscillator settings.
3 portamento: Parameter controls filter offset. The oscillators will glide smoothly from note to note. A classic synth lead trick that never goes out of style.
4 Decay: Parameter controls filter and amp decay length from just a blip to two seconds.
5 Decay/sustain 1: Parameter controls filter sustain. Another common synth sound. A quick decay that doesn’t decay all the way.
6 Decay/sustain 2: Similar to #5, but slower and brighter.
7 Fade: Parameter controls decay. Wide downward filter sweep.
8 Vibrato: Parameter controls Filter LFO speed. Slow decay with filter modulation.
9 Fast Modulation: Parameter controls Filter modulation speed into the audio range from roughly 2 octaves down to two octaves up. This creates a faux ring modulation effect.
10 Slow attack: Parameter controls amp attack. like a reverse or swell effect. the notes fade in instead of out.
11 Filter Rise: Parameter controls the rise rate. Each note triggers a deep rising sweep of the filter. The Amp fades out as the rise peaks.

Volume: You know what this one does, right? Turn it up to make it louder.

Resonance: Controls the resonance of the filter.

Parameter: Control varies depending on algorithm setting.