TEST: Eventide Pitchfactor

 Quiz question, extremely short: Harmonizer? Answer: Eventide! OK, maybe one or two people who haven't yet reached the age of 30 may have hesitated a bit when it came to answering, but colleagues beyond this threshold will have needed a few milliseconds to think about their answer.

For colleagues in my genre, the thinking time will even be 0 milliseconds, because when I first worked in high-end studios such as the Wisselloord Studio in Hilversum, there was no manufacturer of harmonizers other than Eventide. Both expressions were inseparably merged, similar to the Tempo handkerchief, Harmonizer = Eventide!

Products like the legendary H3000 were something like the legitimacy of being able to charge a daily studio price of 1000 DM and more (an incredible amount of money at the time), since there was absolutely NOTHING at the time in terms of computing speed that even came close to Eventide's algorithms the water could suffice. While the grumpy colleagues from the octaver area were happy to allow three-digit milliseconds to pass between the original and the effect signal, Eventide set them to work in the single-digit (!) range. The ultimate Formula 1 racing car for the second voice.

Eventide finally received maximum respect in 1990, when Steve Vai recorded the best-selling instrumental album of all time with his solo album “Passion And Warfare” and largely degenerated it into a kind of “product presentation CD” for the H3000. The piff-puff-puff-babble-bubble that was used here in terms of electric guitar effect sounds and some songs were literally composed for the H3000, went beyond any imagination at the time and broke a lot of records in many ways.

When it comes to CPU performance, a lot has of course changed due to the quantum leaps over the last few decades and the top dog from New Jersey can't complain about the lack of competition. Nevertheless, there is a slight crackle in the air among experts when the name Eventide is mentioned; the heritage that is associated with the product range is too great to simply “just” acknowledge it.

Today, no company can rest on their laurels, no matter how big the wreaths they once woven may have been. Eventide is therefore setting out to transfer its 19 inch experience to the stompbox area in order to win new customers in terms of both handling and price.

I have the “Pitchfactor” for testing, which, according to the product information, is about to pack the usual Eventide studio quality in terms of sound and computing speed into a floor pedal. Well roared, Leo, we're curious to see whether this target can be met.


construction

The PitchFactor has dimensions of 12.2 cm x 19 cm x 5.4 cm and weighs just under one kilogram. Packed in a robust metal housing and equipped with a large non-slip rubber pad on the bottom of the housing, the external impression promises a long device life.

The device has 10 pitch algorithms, which can be changed in many ways with a total of 11 controls. 100 presets are available from the factory. In addition to the pitch shifter effects, which are usually created in two forms, various delay effects are used, which are particularly used in the more complex presets.

Three high-quality foot switches manage the areas on/off, presets, banks, tap functions and tuner through multiple assignment, supported by three LEDs. MIDI In and Thru/Out are located on the side of the housing. All ins and outs are located on the back, with the device being completely stereo if required. Two mini switches are used to switch the input and output levels between guitar/bass or high-level instruments such as keyboards.

An expression pedal, an aux switch and a USB cable can also be connected to install an operating system update.



Practice

If you look at the PitchFactor, it will actually become clear after just a second which manufacturer it is. It's rare enough that in the FX processor segment the tester is jumped out at by a trademark, but that's the case here.

As usual with the Studio Elite, the processor works at an incredible speed. Even with the four-part excursions of the Quadravox setting, it only takes a few milliseconds for the algorithms to generate the harmonically adequate intervals and with an outstanding sound quality.

In terms of effects, the PitchFactor offers the entire range of harmonic modulation, be it just a subtle thickening in the micropitch range to a heavy Punch and Judy show, where hitting a single note generates tons of tonally adjusted repetitions replicated using echo.

Even if the sophisticated effect batteries a la “Crystals” make the biggest impression at first listening impression, in practice it is the “subtle” presets a la Micropitch that offer the user a greater range of possible uses. How often does it happen, especially with the classic rock trio line-up of guitar, bass, drums, that the guitar, despite clean playing and accurate performance, does not manage to generate the necessary tonal fullness.

Van Halen, from the 1990s onwards, used the classic approach of placing the original guitar in the panorama all the way to the left and a slightly pitched and delayed FX signal to the right, thereby “broadening” the guitar’s sound without having to double it. A setting that I personally like to use as a producer for small ensembles with just one guitar. The micropitch effect can work wonders here, as there are almost no delays due to its high performance.

However, what you should always keep in mind and what is often forgotten is that anyone who does not have at least basic harmonic training and who loses their joy of playing at the mere idea of an augmented fifth or diatonic should keep their hands off the pitch factor. The sonic possibilities only open up to musicians who know what they are doing harmonically, or are at least willing to acquire this knowledge immediately. Without this knowledge, the harmonic playing under the aegis of the PitchFactor is like a pitiful poke around in the tonal swamp of chance and is only occasionally interrupted by melodious intervals, which represents an imposition on both the “creator” and especially the listener.


Conclusion

In times of barker advertising, which has unfortunately also reached the instrumental sector, it is becoming increasingly rare that an announcement actually comes true. Therefore, the joy is even greater when flowery descriptions of one's own performance hit the mark. With the announcement that it is transferring the studio quality of its own house brand into a stompbox, Eventide is making a big mess, but it can justifiably claim this.

With the PitchFactor, the traditional company has a pedal on offer that is in no way inferior to its studio predecessors from the 19 inch range and shines in almost all areas in terms of sound and performance. The possible variations are diverse, the presets are comprehensive and the artist's sound design opens up completely new possibilities.

A really high quality stompbox!


————————————-

Additional Informations:

Harmonizer effects pedals have revolutionized the world of music, offering musicians the ability to create rich, harmonically layered sounds and emulate the sound of multiple instruments with a single instrument. From their humble beginnings as experimental studio tools to their widespread use in live performances and recording studios, harmonizer pedals have left an indelible mark on the landscape of modern music. This article explores the origins, technological advancements, and enduring impact of harmonizer effects pedals.

Origins:
The genesis of harmonizer effects pedals can be traced back to the pioneering work of audio engineers and inventors in the mid-20th century. The desire to create harmony and enhance musical arrangements led to the development of early harmonizer devices, which utilized analog circuitry to manipulate audio signals and generate harmonically related tones. These early devices laid the groundwork for the creation of dedicated harmonizer effects pedals.

Early Innovations:
One of the earliest and most influential harmonizer devices was the Eventide H910 Harmonizer, introduced in the 1970s. Developed by Eventide Inc., the H910 was a groundbreaking audio processor that utilized digital signal processing (DSP) technology to shift the pitch of audio signals and create harmonies in real time. The H910 allowed musicians and engineers to achieve previously unattainable musical effects, including pitch shifting, harmonization, and time-based effects.

Adoption in the Music Industry:
The Eventide H910 and subsequent harmonizer devices quickly gained popularity among recording engineers and musicians, who embraced the creative possibilities offered by these innovative tools. Artists ranging from pop icons like Michael Jackson and David Bowie to experimental musicians like Brian Eno and Kraftwerk incorporated harmonizer effects into their music, contributing to the widespread adoption of harmonizer technology in the music industry.

Technological Advancements:
Throughout the 1980s and 1990s, advancements in digital signal processing and microelectronics fueled the evolution of harmonizer effects pedals. Manufacturers began incorporating digital algorithms and programmable parameters into pedal designs, allowing for greater flexibility and control over the harmonization process. This digital revolution expanded the sonic capabilities of harmonizer pedals, enabling musicians to create complex, multi-layered harmonies with precision and ease.

Integration with Guitar Effects:
One of the key developments in the evolution of harmonizer effects pedals was their integration with guitar effects pedals and pedalboard setups. Manufacturers such as Boss, Electro-Harmonix, and Digitech introduced harmonizer pedals specifically designed for use with electric guitars, providing guitarists with a convenient way to add harmonized melodies, intervals, and chords to their playing. These guitar-centric harmonizer pedals became essential tools for guitarists seeking to expand their sonic palette and create lush, harmonically rich sounds.

Live Performance and Studio Recording:
Harmonizer effects pedals found widespread use in both live performance and studio recording environments, where they became indispensable tools for musicians, producers, and engineers alike. In live settings, harmonizer pedals allowed performers to recreate studio-quality harmonies and layered textures on stage, enhancing the depth and richness of their sound. In the studio, harmonizer pedals were used to create intricate vocal harmonies, embellish instrumental tracks, and add depth and dimension to recordings.

Specialized Applications:
In addition to their use in general music production, harmonizer effects pedals found specialized applications in various musical genres and contexts. In the realm of electronic music, harmonizer pedals were used to create unique soundscapes, manipulate audio textures, and explore experimental sonic territories. In jazz and fusion music, harmonizer pedals were employed to create intricate chord voicings, simulate horn sections, and add complexity to solo performances.

Continued Innovation and Versatility:
As technology continues to evolve, harmonizer effects pedals have evolved to offer an unprecedented level of versatility and functionality. Modern harmonizer pedals feature a wide range of programmable parameters, including pitch correction, interval selection, scale quantization, and harmonization modes. Some pedals even incorporate built-in looper functionality, allowing musicians to create layered harmonies and musical arrangements in real time.

Conclusion:
The evolution of harmonizer effects pedals represents a fascinating journey of technological innovation, creative exploration, and musical expression. From their humble beginnings as experimental studio tools to their widespread use in live performance and studio recording, harmonizer pedals have become indispensable tools for musicians and audio professionals alike. As they continue to evolve and adapt to the changing needs of musicians and the music industry, harmonizer effects pedals will undoubtedly remain at the forefront of creative innovation in the realm of musical effects and audio processing.