The Pitch Fork transposes an instrument’s pitch over a +/- three octave range and features three modes which allow the pitch to be transposed up, down or both, simultaneously. The pitch shift amount can be set to a fixed interval or continuously varied by an expression pedal or control voltage.
The controls are straightforward and intuitive. An 11-position Shift switch selects the maximum transposition interval ranging from D (Detune), a shift of 17 cents, through Minor 2nd, Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Minor 7th, 1 Octave, 2 Octaves and 3 Octaves. A three position toggle switch controls whether the pitch is transposed up, down or both. In Dual mode, two pitch-shifted signals are output. One follows the shift knob as if in the Up position while the other creates a harmony. Dual Mode settings include M3 up + P5 up, P5 up + 1 Oct down, 1 Oct up + 1 Oct down and many others. A Blend knob controls the mix of the dry signal and the effected signal, and an EXP jack enables the player to control pitch and glissando with an expression pedal.
The Latch button selects Latch or Momentary mode which affects how the footswitch and EXP input behave. In Latch mode, the footswitch toggles between effect on and buffered bypass each time it’s pressed and the EXP input continuously varies pitch. In Momentary mode the effect is only on while the footswitch is depressed and when it is released the Pitch Fork goes into bypass.
In Latch mode the EXP input controls pitch shift amount, ranging from unity to the interval set by the Shift knob, and pitch varies continuously throughout the expression pedal’s range. In Momentary mode the EXP input controls glissando rate for the Pitch Fork’s footswitch. When the bypass footswitch is pressed, the Pitch Fork jumps from bypass to the interval set by the Shift knob. The amount of time it takes to reach that new note is the glissando rate. When the footswitch is released the pitch will return to unity at the same rate. That glissando time can vary between 4 milliseconds to two seconds depending on the heel/toe position of the expression pedal. The default glissando rate is 60 milliseconds when nothing is plugged into the EXP input.
The Pitch Fork comes equipped with an EHX 9.6DC-200mA power supply and also runs on a 9Volt battery.
theshadowofseattle wrote:the 3 octave setting is either going to terrible or incredible.
Coming from the Pog-People I'd assume the latter.
Damned if EHX aren't transforming into the FX pedal world's Taco Bell though. Not much variety by way of ingredients or flavor, just push it around the plate a bit and get the chihuahua/Mike Matthews (respectively) to release another sassy video.
Aug wrote:which one of you bastards sent me an ebay question asking if you can get teh kurdtz with that 64 mustang?
robertOG wrote:fran & paul are some of the original gangstas of the JS days when you'd have to say "phuck"
George wrote:if the tracking is as good as a pog then that's very tempting
It will be. EHX have used the POG template for all octave effects since it came out, with the exception of the smaller Octave Multiplexer reissue I believe, because people wanted it to be close to the (warbly) original.
I have a Ring Thing and it has a pitch-shifting function and the tracking is stupidly good on that. And that can also be used as a whammy.
On the SMMWH, it drove me nuts. Want your dry signal not to get quieter as you turn up the delay? TOUGH.
It's fine if you're running these Blend-equipped FX into compression/distortion/etc (as the volume reduction just results in a slightly less distorted sound), but without it, your guitar just disappears in a band context.
Not cool for something you're trying to make stand-out by effecting it.
It seems like a blend control won't be so bad in this case, but give me independent volumes (ala M-Pog) or give me DEAF.
Hmm. Sounds like I may have found Matt's Christmas present.... I'm not sure I can justify it for myself, but it's so much better than what was available a few years ago.
(she/they)
