Recording - November 2009 - 37

tap tempo switch, or the tempo can be set universally for every patch (this disables tap tempo for individual presets). The PitchFactor has three distinct bypass modes: DSP bypass, relay bypass, and DSP + FX bypass. Each mode is actually quite useful depending on the situation. DSP bypass simply cuts out the effects processing but leaves the pedal connected as an inline device. Relay bypass, or “true” bypass, physically disconnects the PitchFactor from the signal chain. This is useful when an effects switching system is used. Finally, DSP + FX bypass turns off effects processing without cutting off the balance between usability “on the fly” and programmability. I strongly recommend budgeting for both the triple footswitch and the expression pedal to get the most out of this processor. In use—going beyond guitars in the studio The PitchFactor’s full complement of I/O connectors makes it easily adaptable for studio use. I added the unit to my current rig as an external effects processor by connecting the stereo inputs and outputs in a send-return fashion. I also set up the PitchFactor to respond to MIDI control from save to. There are 50 banks with two presets per bank for a total of 100 presets which can be overwritten by user settings. In a performance setting 100 presets might be unmanageable or unnecessary. The PitchFactor is capable of disabling unneeded banks to help aid with navigation. Presets can be saved and loaded via MIDI—a somewhat mind-numbing chore (like most MIDI system tasks)—follow the manual and you’ll succeed. The PitchFactor supports control of parameter values and preset selections using MIDI Continuous Controller messages. In both stage and studio settings this can be really useful. With laptops and sequencers being the norm on stage, MIDI control of the PitchFactor can be a great tool for synchronizing patch changes and tempos to set lists and loops. In the studio, the PitchFactor can be entirely controlled from an external MIDI controller. Ah yes—the sound! Last but by no means least—the sound quality of the PitchFactor is on par with Eventide’s flagship rack processors. Eventide has managed to pack this pedal full of gorgeous, detailed sounds that any guitar player or producer will love. The effects are lush and there’s a harmonic detail and depth that can be missing from processors in this price range or category. As a guitar effect or as an outboard processor the PitchFactor shines in the fidelity department. The final quality of tracks in the mix with the PitchFactor is fantastic and the tonal flexibility is unmatched by most other pedal-style effects. “tail” of the current effect. This is great for situations where the PitchFactor must be smoothly transitioned out of the music. External help With only three footswitches, the PitchFactor can feel a bit limited on the floor. In Play mode the switches are adequate, but in Bank mode I found myself wanting an additional switch to decrement banks since the bank switch only increments through banks. Accessing the tuner mode is also awkward since it requires simultaneously holding down two switches for over a second (a true test of balance). Thanks to the PitchFactor’s aux switch input, adding three additional switches is as easy as connecting an external set of switches wired to a TRS cable. External switches can be configured to control almost any parameter including bank controls, tuner access, and effect parameters. This expands the PitchFactor to a six-switch unit, which is a much more desirable layout for a pedal with this much power. An expression pedal can be used to make onthe-fly adjustments to single parameters or groups of parameters for endless creative fun. From a player’s perspective the PitchFactor does a good job of striking a my M-Audio Oxygen controller and sent it MIDI sync from Pro Tools. This layout gave me full access to the PitchFactor as an effects box for any track in my DAW. I was curious to see how the PitchFactor would perform on more than just guitar tracks and I tried it on just about anything I could think of, including drums, vocals, and other instruments. The quality of the effects held up beautifully and really set the PitchFactor apart from other guitar-oriented pitch/delay effects processors. Granted, the PitchFactor only loads one effect at a time and it’s limited to the ten included effects, but there’s enough adjustability in each effect to make the PitchFactor a very useful production tool. MIDI control allows the PitchFactor to be completely remote-controlled, which is a nice convenience in a studio setting. Preset management Saving presets is a fairly simple process of changing effect parameters and choosing the bank and location to All things considered It’s hard not to fall in love with the PitchFactor after hearing what it can do. What’s not to like? At first look, maybe the price—at $499, the PitchFactor is on the more expensive side of stomp-box effects. However, when you consider how much flexibility this pedal offers, the price tag is much easier to stomach. Then there is the learning curve of this pedal—much steeper than that of most stomp-boxes. Once the basics are learned it’s easy enough to use the pedal, but keeping the manual nearby is definitely recommended. Even after several weeks with the PitchFactor I found myself going back to look up effect parameters and pitch sequences. But the effort is certainly worth it. The PitchFactor is a winner in a big way. Guitar players, producers and tweakheads will all be happy with the PitchFactor’s flexibility, programmability, and the supreme sonic quality that simply screams—“Eventide!” Price: $499 street • More from: Eventide, www.eventide.com. Nick Casares (casares@recordingmag.com) is a recording musician, engineer, producer, and web designer, living and working in Colorado. RECORDING NOVEMBER 2009
http://www.eventide.com

Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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