Subdecay - Prometheus 3 Dual Super Filter

Once again we are knocking world of filter pedals off its axis. Autowah, envelope filter, step filter, random sample/hold filter, even a pixelated envelope filter. This one does it all. After a year in development we present The Prometheus DLX. An analog filter with digital control. We made sure to not build in any artificial limitations. The filter sweep goes above and below normal guitar frequencies, and works well with other instruments such as bass and synthesizers. Select between lowpass, bandpass and highpass filters, and virtually unlimited ways to manipulate them.

We’ve taken the mad science of the original Prometheus and multiplied it, adding features that not only increase the sonic possibilities, but also make it easier to use. The DLX is a re-imagined Prometheus that uses all the knowledge we gained from The Quasar DLX, and our experience making the best filter pedals in the world. We also added some improvements. More resonance? Yep! Tap tempo? You got it! For even more headroom the DLX will operate at 18 volts. There’s even an internal switch to add a dry signal blend to the bandpass filter. (See, we love you bass players too!)

While the options are nearly infinite, we made sure to keep things simple enough so that the average guitar player could figure them out in a few minutes.

The Prometheus DLX has nine basic functions:

Analog envelope – forward and reverse.

Step – tap tempo step filter based on 7 LFO shapes.

Trigger LFO – tap to trigger one LFO cycle.

Manual LFO – Manually control LFO speed.

Warp LFO – tap tempo LFO speed with wave shape warp.

Pixelated Envelope – sample/hold envelope control.

Envelope Trigger – Envelope triggers LFO

Envelope->LFO manual – Envelope drives LFO speed. Fixed sensitivity.

Envelope->LFO – Envelope drives LFO speed. Variable sensitivity.

In each of these settings, the WARP control and TAP/HOLD serve different purposes to get the most out of each effect.

Even more…

The expression pedal input can be used with any non-envelope functions. Depending on the shape & mode settings the expression pedal has a different effect. For example, in trigger LFO mode the LFO shape is mapped to the expression pedal. Select the ramp wave for a “standard wah” effect. Choose the saw wave for a reverse wah. The triangle/square wave is especially strange.

We also made major improvements to the step filter in the DLX. We not only added tap tempo, but the underlying LFO rate is locked to the step rate. If the step rate changes, there is no need to readjust anything to keep the same arpeggiated pattern. The warp knob is used to adjust the ratio of the step rate and the underlying LFO between 1:1 and 1:1.5. This ensures that there are no redundant settings.