Guitar Synth Pedal Comparison

It’s no secret that Subdecay makes a few different synth pedals. So it’s no surprise that folks reach out asking how they compare.

Along with the Octasynth, M3, Octave Theory and Pixelwave, we also offer some synth adjacent pedals like the Vitruvian Mod ring modulator and the Harmonic Antagonizer oscillator fuzz. The Prometheus 3 also can get very synthy with its built in octave down envelope. The Noise Theory Fuzz even has a built in MIDI synthesizer if you are into that sort of thing.

All of our synth pedals are monophonic.

Been exploring your options? Watched a few videos but still on the fence? We’ve got all the details you need right here.

Simple
Easy

Octasynth – Square Wave Octaves and Filter

The Octasynth initially appeared in a limited release as a 3-knob version around 2007. However, the production model officially launched in 2011 and has remained consistent ever since. As Subdecay’s simplest synth pedal, the Octasynth stands out for its fully analog design, featuring square wave octave dividers and a resonant filter.

This pedal is one you might place on your board, dial it in, and never touch the knobs again.

The octave divider in the Octasynth is reminiscent of certain octave pedals from the 70s and 80s. Like many of those classic pedals, the tracking depends on an internal preamp to isolate the fundamental note. The pedal is highly monophonic, using a straightforward preamp to filter out higher harmonics. It tracks exceptionally well on guitars, with the neck pickup providing the best results. While tracking on bass can be a bit more challenging, it generally performs well above the 7th fret.

Lots of octaves
Shepard Tone
Lots of options

Octave Theory – Octave modulation?

The Octave Theory, released in 2018, marked our first foray into synth pedals that requiring some digital assistance. Despite this, the filter remains analog, preserving the warmth and character that analog circuits provide. Among our synth pedals, the Octave Theory is the quirkiest.

This pedal employs several digital square wave oscillators that blend in different ways depending on the setting of the mode knob. You can create an envelope-driven Shepard tone or modulate between octaves using an LFO, offering a unique range of sounds.

When you turn the mode knob all the way to the right, the pedal transforms into an even better version of the Octasynth, featuring an expanded octave range and enhanced control over the filter.

The tracking relies on an analog fundamental detector, which ensures excellent tracking across the entire range of a guitar. It also performs well on bass, particularly above the 5th fret.

MS20 Inspired
ADSR envelopes
Recommended for Guitar

M3 3 Oscillator Guitar Synth

Inspired by the 1970s Korg MS-20.

Internally there are about 50 internal parameters going on inside the M3. While there are many possibilities the Oscillator and Algorithm knob each have 11 settings. It’s kind of like 121 presets which can be tweaked with the parameter knob. These are fine-tuned by the parameter knob. This knob adjusts various internal settings based on the selected Algorithm.

The M3 features three oscillators controlled by the Oscillator knob, offering a variety of waveforms, including saw waves, pulse width modulation (PWM) waves. Combinations include detuned saw waves, PWM bass, octave square waves, and even power chords and major chords. While the filter design is reminiscent of the MS-20’s famous low-pass filter, the oscillators are more akin to Roland’s DCOs from the Juno synthesizers.

The Algorithm knob controls elements such as VCA and filter envelopes, portamento, LFOs, and other key parameters, and more.

The M3 is optimized for tracking with guitar. While some users have found success using it with bass, it is primarily designed with guitar in mind.

Flexiblility
Savable Presets
Recommended for Guitar & Bass

PixelWave – Phase Distortion Synth

This guitar synth is our fully programmable synth with savable presets, offering maximum versatility. It is easily configured for either guitar or bass, with separate factory presets specifically designed for bass players.

Our design draws inspiration from the 1980s Phase Distortion, or “COSMO,” synths by Casio. These early synths marked Casio’s initial entry into the professional synth market. For many musicians in the 1980s, their first synth was a CZ101 or CZ1000. During this era, analog synthesizers like the Junos and Poly6 were the last gasp of analog, while digital synths like the DX7 and D50 began to dominate. Although Phase Distortion synths were digital, they could still produce sounds that were strikingly analog. Casio’s marketing made clear comparisons to the DX7, but it’s speculated the CZ and “COSMO” names were nods to the iconic Yamaha CS-80. Some of those dreamy soundscape were in there too.

While the vintage synth engine was the inspiration it’s not a replica. Much was changed to keep programming manageable. We added a few wave forms like saw sync, hard resonance and a pitch tracking resonant noise oscillator.

While our guitar synth was inspired by the vintage synth engine, it is not replica. We made changes to keep programming straightforward and user-friendly. We also introduced new waveforms, including saw sync, hard resonance, and a pitch-tracking resonant noise oscillator.

This guitar synth is capable of delivering sounds that range from warm, analog tones to distinctive vintage digital textures. The oscillators can be tuned to any pitch within a six-octave range and can be ring modulated for even more sonic possibilities. If you seek maximum variety or play bass, we recommend the PixelWave.