Electro-HarmonixPitch Fork Polyphonic Pitch Shift Pedal

One of the more under-utilized features (on YouTube demos) is the dual mode with harmonies. That mode is very inspiring. The M6 setting is amazing (basically comes out to be a major triad a fifth down from the note you play). Use the 1 octave setting in dual mode with the Superego for an organ-like sound. (Or get the EHX B9 if you're really into organs.)You're definitely going to want an expression pedal so you can change the gliss speed or gliss manually. The Moog EP3 (about 40 bucks) works nicely–one Korg pedal I tried at a store shifted the pitch to 100% when pressed down only about 20% of the way. I believe it depends on whether the pedal is linear or non-linear ("audio").Getting precise with gliss duration using an expression pedal takes a minute, so if you want to get more exact gliss duration times for live purposes, you can either program it to stay at one setting (read the manual for info on this) or, if you want multiple settings you're going to want to buy a knob-based expression box (such as the Saturnworks Double Expression Guitar Pedal) instead of an actual shift pedal, that way you can put down a sticker and mark it with different speeds for different songs.The tracking is perfect. The one downside is that when you change the pitch, it does take off some of the highs while the note is being shifted. Sounds fine when the note is not shifted. So if you're doing a super hifi/bright/fuzzy/dry tone and recording it DI, it's pretty noticeable unless you roll off the highs. Not sure if it'd be noticeable through an amp. I don't have the Whammy DT so I can't compare, but I'd imagine all pitch shifting pedals have this problem.I did an A/B test shifting octave down vs a MicroPOG and an actual bass. When you're using distortion, there's almost no difference aside from the low end (which could be accounted for by the fact that I'm using two different brands of instrument). When you're running it clean, it's almost identical to the MicroPOG (although the MicroPOG has some sublte, high pitched artifacting). Compared to an actual bass, it definitely has a different sound and doesn't have the attack a bass has, but might work fine live, for writing purposes, and for special effects.Going down 2 or 3 octaves on the low E string is pretty much useless, muddy.Read the user manual if you're really not sure on this purchase.

I record music for a living yet this is my first stomp box pitch shifter. I wanted to get a simple octave pedal so as to record fake bass parts using my guitar and my new looper pedal "just for fun" when not in the studio. This device does way more than simple octave work. You can pick all major scale intervals (including unison) and then either blend that in with the original signal or have it be the dominating sound. You can also pick either an octave above, octave below, or have both at the same time (including the original signal of course). Finally, you can either pitch up/down by 1-3 octaves. The unison function when blended in with the original provides a lush chorus effect. I also like the latch function, where you can have the effect come in and out by just pressing on the switch. When you release your pressure the effect turns off. What is cool about this pedal that i didn't realize when I ordered it is that I can pitch shift my entire instrument to other keys and for example fake a baritone guitar. Just set the mix to 100% wet, have it set for one octave down and set the interval to a 4th and there ya go. Using latch you can be playing some insane low chunky part and then lift your foot up and seamlessly go into your guitar's original tuning. It sounds fairly realistic and seems to track great. You can also fake a 12 string guitar by blending in an octave up setting lightly. I imagine I'll use this thing for real sessions now that I have it. I can get that cool low tele baritone sound very easily now so that will be great "on tape". There is a little latency for sure but I imagine with anything like this that requires some serious DSP to work will have that. It's not unplayable by any means. It could be that just a simple octave pedal takes less processing and thus has less latency.

I love this thing. I am very impressed with the different textures it produces with adjustments to the mix/blend knob. It also brings two COMPLETELY different soundscapes per pedal / effect to the party - depending on placement before or after. For example: before overdrive or distortion you get a thick organ-like multi-harmonic wall. Choose either an octave or the 4th or 5th, play either one note or a double-stop and listen to the glorious growl as the two (or four) notes merge. Place after OD, this becomes a double barrel shotgun - the added octave and/or 4th or 5th have distinctive voices that retain a great deal of clarity and tone.It is true that not every setting is generally useable - playing with the minor 2nd setting with the original guitar tone still in the mix sounds as ridiculous as it would playing the same note pattern with another guitarist tuned a half-step below or above you. Those settings are meant for all wet only.With some deliberation and adjusting (your attack, guitar volume and tone, the PitchFork mix, effects pedals...) you will get get double leads, massive chords with only two strings, baritone-deathmetal drop tuning destruction, hammond-like textures, electronic-synth bass... many more. Add a looper and you are on your way to sonic landscapes.As for those who lament the "digital" sounds or the fact that it doesn't sound like a real 12 string guitar - the fact that they were expecting it to explains their mindset perfectly. Another reviewer mentions that the tracking can't keep up with him - he must be remarkably fast because I can't outrun it and neither can any reviewer online.A good player with an understanding of harmony can turn this into an absolute weapon.