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Here is a free discussion thread about non-diatonic pitch shifting (detuning and pitch bends, specifically, though no one will be penalized for discussing intervallic, harmonic use of pitch shifters). Single-voice, multi-voice, stereo, delayed voices with feedback, etc, etc. What pedals/racks/etc like to use for this? What offers the most voices that you know of? What do you like to do with it?

First one that comes to my mind is the Red Panda Tensor, which tracks really well and in combination with the speed and time knobs can deliver dive bombs, pitch bends etc, all of this with time stretching option and randomization. Can do intervals and is a looper too. I miss it very much.
The second one is the Red Panda Raster V2, which I just got, and does all sort of detuning / chorusing, even with 2 different voices, stereo, feedback and delay options. I got it yesterday so I can't say much, but vidret made a detailed review in the dedicated thread.
I think the Dwarfcraft Wizard of pitch could do some detuning too iirc and, yeah, EHX Pitch fork+ can do a lot of that stuff with 2 simultaneous voices.

friendship wrote:What offers the most voices that you know of?

Eventide H9000. But if you want to keep it under $500, the Boss SE-70 has a pitch/delay algorithms with 6 voices, and the Digitech DHP-55 (their uber rack harmonizer) has four voices available. Can’t speak from direct experience of either, but I want both.

Most other stuff tops out at two voices. The Digitech stand-alone detune box lamed out at one voice, which was not a flaw in the Boss PS-5 given everything else it brought to the table, but if you can’t do +&- detune ala Van Hagar, why bother being a detune pedal. (Even the iStomp can do two voices.)

IMO the Pitchfactor is the king of two voice pedals for its flexibility, including having more than one algorithm. (Honorable mention to the MicroPitch for tricking out one of those algorithms just a little more.) Sure, the H9 has those algorithms, but with less headroom. I don’t know what Zoia or BeeBo bring to the table; they might be able to do things, but I don’t know how good their pitch stuff sounds.

When I think “detune” I think thickening. But you can do things. On an IPS-33B, there are two voices for the Whammy, so why not set the range a few cents different for detuned Whammy without using up another processor? The brilliant thing about the MicroPitch pedal is the addition of extra delay time, since detuning a delay is less obvious as a contrasting pitch and sounds a bit more like a slightly slowing record or tape reel—it’s a way to degrade the repeat without getting it grungy with the usual faux analog gunkifying.

Where in the chain? It’s cleaner earlier, but maybe you want to multiply the degradation of a swampy delay or cavernous reverb. So try it everywhere.

Mooer Pitch Box. Seriously. It's my favorite "chorus" pedal. 3-way switch for pitch, harmony, and Detune. Every setting is great. True bypass. Tiny form factor, huge size-to-features ratio.

Anybody knows how tricked out the QV2 is? The wedge has 4 voices so it should at least do that methinks.

What about the Rainmaker? Hasnt it got like 8 taps with pitch shifting on it?

Waiting for any of the Beeboo/Zoia folks to chime in on them.

Alexander Marshmallow is not the most capable but it's really fun and has a sound and some unique algos. Esp for a mxr size pedal

The timebender just does it for me, but the pitchfactor is probably the better pedal. The TB DOES lame out at anything more than 1 voice, and it sounds really crunchy all the time. There is no way to have it in just pitch shift mode, unless you set the delay to the lowest setting and and then apply one or two pitches. Or you can have it in looper mode, which makes it an always-on pitchshifter, which is great when doing loops. For making noise it is excellent, because the sound of it crapping itself is excellent.

Here is a little clip of a harmonic looped, and then turning the mix knob on the timebender in envelope mode. It was just a recording I did in Whatsapp and sent to CBS, and as I said then: how did knobs not demo this

https://www.dropbox.com/s/tningqsr693bf ... 5.mp3?dl=0

The timebender just does it for me, but the pitchfactor is probably the better pedal. The TB DOES lame out at anything more than 1 voice, and it sounds really crunchy all the time. There is no way to have it in just pitch shift mode, unless you set the delay to the lowest setting and and then apply one or two pitches. Or you can have it in looper mode, which makes it an always-on pitchshifter, which is great when doing loops. For making noise it is excellent, because the sound of it crapping itself is excellent.

Here is a little clip of a harmonic looped, and then turning the mix knob on the timebender in envelope mode. It was just a recording I did in Whatsapp and sent to CBS, and as I said then: how did knobs not demo this

https://www.dropbox.com/s/tningqsr693bf ... 5.mp3?dl=0

You invoke the timebender so thoroughly you get delays on your posts


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I have nothing to add but by posting this this will be subscribing me so I can follow and find this thread easier down the road

Erica Synths Pico Drums has a very cool pitch shifting feature. If you select the same sample for both slots, and modulate the pitch of the one that takes CV, the pitch shifting will lengthen and shorten that sample, creating a true time bending delay (or pre-delay, depending on how you patch it) effect.

Rainmaker can be used as an 8 voiced, 8 filtered pitch shifter if you set all the tap times to zero.

I guess this would also be the place to talk about my always-fucked floyd tunings. I hate fucking with floyds and spending hours trying to intonate them, and I hate too much string/spring tension, and 3 springs is definitely too much for my liking. I like to stretch the hell out of my shit with 2 springs and fuck staying in tune, and leave those nut clamps off too. One good hard bend is enough to wreck the tuning of every string when you only have 2 springs in, but that is what I like the feel of so fuck it, the feel is the only consideration with these guitars anymore, and the tuning can go to hell. Now if I tune them at all, it's mostly just to adjust the tension and keep the bridge level, and I'll set them up on shit like DGAGDF, DEADAF, etc, because it's gone after the first pull and doesn't matter.

for purely arbitrary multi-voice detune i still like the Iron Ether polytope jawn - either static for wideass synth bass tonez or all warbled up for the faux leslies - sometimes limitations're a good thing, even tho i do love both the expansive timebender and pitchfactor vectors too, but 4 voices hardly feels limited

Gone Fission wrote:

friendship wrote:What offers the most voices that you know of?

Eventide H9000. But if you want to keep it under $500, the Boss SE-70 has a pitch/delay algorithms with 6 voices, and the Digitech DHP-55 (their uber rack harmonizer) has four voices available. Can’t speak from direct experience of either, but I want both.

Most other stuff tops out at two voices. The Digitech stand-alone detune box lamed out at one voice, which was not a flaw in the Boss PS-5 given everything else it brought to the table, but if you can’t do +&- detune ala Van Hagar, why bother being a detune pedal. (Even the iStomp can do two voices.)

IMO the Pitchfactor is the king of two voice pedals for its flexibility, including having more than one algorithm. (Honorable mention to the MicroPitch for tricking out one of those algorithms just a little more.) Sure, the H9 has those algorithms, but with less headroom. I don’t know what Zoia or BeeBo bring to the table; they might be able to do things, but I don’t know how good their pitch stuff sounds.

When I think “detune” I think thickening. But you can do things. On an IPS-33B, there are two voices for the Whammy, so why not set the range a few cents different for detuned Whammy without using up another processor? The brilliant thing about the MicroPitch pedal is the addition of extra delay time, since detuning a delay is less obvious as a contrasting pitch and sounds a bit more like a slightly slowing record or tape reel—it’s a way to degrade the repeat without getting it grungy with the usual faux analog gunkifying.

Where in the chain? It’s cleaner earlier, but maybe you want to multiply the degradation of a swampy delay or cavernous reverb. So try it everywhere.

My man! The SE-70 is why I started this thread. Almost bought one but then realized I hadn't done a lot of research in what's out there so thought I would Post Online about it. The two Digitechs look great, especially the DHP-55. I wanna plug my monosynth into it so bad.

qersty wrote:Anybody knows how tricked out the QV2 is? The wedge has 4 voices so it should at least do that methinks.

The QV2 just has one voice of pitch shifting I think. The Wedge algo "Quad Pitch Shifter" does have four voices--it's what I use now and I'm here to tell you it's fuckin cool. It only does +/- one octave though. BUT it has 250ms delay and feedback controls on each voice, and you can pan each pair of voices (since it's technically two stereo pitch shifters).

My amp modeler has a single-voice detuner, but you can create multiple instances of it until the CPU feints, so sometimes I just set a couple voices up in stereo when I want simple, broad thickening.

yeah the wedge one is sick as hell! i use mine to seldom because i only have one of that stupid psu and need it for the qv+ which hasnt got that many voices but a pretty grangled up sounding detuner

Yeah it's a real pain in the keister to dig it out and use its weird power supply. My "studio" is very tiny and I don't have much desktop space either. But god damn it sounds good. The quad chorus on it is pretty LllLlLlluuuuUUUUuUUUUuush too.