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Boss Sy 200 Guitar Synthesizer
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Mwfx Glitch Pll Guitar Synth Pedal [used]
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Pigtronix Mothership Analog Guitar Synthesizer Pedal
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Guitar synthesizer, 12 analogue synth sounds, three adjustable parameters, easy to read display, 128 memory slots, MIDI, expres... All product info
The Boss SY-200 Guitar Synthesizer offers the groundbreaking synth technology of the SY effect units in the compact format of the Boss 200 series. With 12 different and intuitively variable synth categories, additional setting options for fine-tuning the synth sound and a clear and easy-to-use user interface, the SY-200 opens up countless possibilities to elicit a variety of possible sounds from your own guitar. The sophisticated effect pedal also offers astonishingly precise polyphonic
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And does not require a special MIDI pickup, which means that the SY-200 can be used with any conventional electric guitar and any electric bass without any problems and almost without latency.
For the basic sound of the SY-200, a total of 12 categories of the most popular analogue synth sounds are available, which with their respective variations provide an extensive library with up to 171 different basic sounds. In addition, three different parameters can be adjusted for each selected sound using knobs 1, 2 and 3, and the sound can be edited in terms of timbre, resonance or effect depth, for example. Of course, finished sound creations can easily be saved to one of the 128 memory slots for later use.
To breathe additional life into the SY-200's sounds, this sophisticated effects pedal offers extensive real-time control options. For example, thanks to MIDI implementation, the SY-200 eg. can easily communicate with existing effect devices in the setup, while the front-side connection options for footswitches or expression pedals make it possible to implement real-time control of individual parameters by foot. The internal footswitches of the SY-200 are also customizable in their function and can be used, for example, as press-and-hold switches for
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With an additional effects loop and combo jack for footswitches and expression pedals, the Boss SY-200 can be easily combined with external effects units and footswitches.
The fact that the SY-200 can be easily integrated into any effects setup is proven by its connection options, which are suitable for every area of the application. In addition to regular input and Output in mono, there is also a serial effects loop available for looping in external effects pedals. This makes it easy to create experimental hybrid sounds in combination, expanding the SY-200's sonic options to an almost unlimited number of possible synth sounds. Subdecay’s latest pedal underlines the wealth of new synth pedals we have had this year - including examples from Boss, EHX, Empress Effects, Keeley Electronics, Parasit Studio, Pigtronix, Red Witch and Source Audio to name a few - as well as a slew of new releases last year. As much as this is the era of glitch effects and granular synthesis and micro loopers, it also has to be said that there are a very significant amount of new guitar synth pedals out there too.
I have had both the Octasynth and the Octave Theory on my wishlist for a while - the first was sort of pipped by the DigiTech Dirty Robot, then I got the Pigtronix Mothership 2, and next I took the Boss SY-1 Synthesizer over the Octave Theory. Not that these are like for like, but they all sort of fall into the same category. I was long considering the Meris Enzo too, but I thought I would get more use out of the Octave Theory and the Boss SY-1 for my own purposes - and for the kind of things I do, and anything not covered by the SY-1 I should be able get out of the Empress Zoia - although I need to apply myself a little more on that score - I’ve not really given myself enough time to fully master the Zoia.
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As far as Subdecay goes, I was pretty much set to getting the Octave Theory at one stage - before the Boss SY-1 kind of gazumped that. So I had already been through the OctaSynth vs Octave Theory exercise - the latter has slightly more too it, while the former is obviously easier to deploy.
I really feel I should own one of the Subdecay synth pedals - something about these really appeals to me - I just need to decide which of the M3 and Octave Theory I prefer - just double checking with the OctaSynth again in case I’ve changed my mind of that too!
I had almost forgotten how much fun this one can be - and it's actually really easy to dial in with just 4 controls - Blend | Depth | Level | Resonance - there not a massive variety of tones here - but there's plenty of variation between squelchier and smoother textures - and really elegant response to playing dynamics. These have been around for a good 8 years now - so chances are you can pick up one for a relative bargain price - I might just keep my eyes peeled for one such - one of the most easily satisfying fuzz pedals out there - especially considering how fiddly some of these can be.
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In most ways this is a significant advance on the above Octasynth - both are based on the octave synth mechanic, and while the former relies on just 4 controls - you have 5 here alongside a 11-Mode rotary selector - Filter Frequency | Amp Decay/Filter Depth | Filter Resonance | Volume | Octave Modulation/Parameter.
The 11 Modes are split across 4 categories - LFO, Envelope, Shepard Tone and Manual. LFO has Random, Square, Double Square and Triangle options; Envelope is Up or Down; Shepard tone is Equivalent or Down; and Manual mode essentially takes the best of the Octasynth and improves it somewhat.
So I guess it's down to how simple or complex/versatile you want your synth to be - some modes obviously take more tweaking than others, while the Octasynth is far more straight-laced in comparison -
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