Yeah. You're limited to the patterns that the programmers found useful, or most generic for combining patterns. It's fairly straightforward to combine a pair of pitch patterns, 'slice out' certain steps with the grooves (amplitude sequencers), and come out with a result that's convincing. Especially so if you mix back down to mono (making it sound like a single pattern, but not an option in my normal stereo rig). Calling it a 26-pattern limit is misleading, because combinations of the features can yield hundreds of variations.
Very fortunate turn of events here. I use an MPX-1 as my main MIDI generator. So you're already familiar with Lexicon's concept of patches, CTL Send and the other global options, the LFOs, A/B glide, etc. Your MPXG2 has more & better audio effects, and almost as extensive MIDI controller options as the MPX-1. We have the best-kept secrets for MIDI control at our fingertips; more powerful than nearly any MIDI keyboard or digital audio workstation.
So, here's how this relates to the PitchFactor:
– It will accept any MIDI CC #0-99, or pitch bend, over any MIDI channel, and sync'ed to MIDI Clock.
– A small range of the MIDI CC values [a slice of the 0-127 total] will correspond to a discrete parameter value on any PitchFactor knob, in any of the ten algorithms.
– A given incoming MIDI CC value may (or may not) trigger the exact same PF result, depending on the algorithm. [A finer pitch shift resolution may react to all 127 values. A coarser resolution may divide the 127 values into 30 small ranges of CC values.]
Here was my attempt to clarify just one option of one of the PitchFactor algorithms, as it relates to MIDI CC values: PitchFactor H910/949 Remote – MIDI CC Values (thread) (diagram)
I'm trying to keep this brief, but the concepts are wide-open. If you send both Pulse LFOs to the PF, that could translate to – for example – a fifth, and an octave above, in a defined sequence. The simultaneous waveforms available in the LFOs allow you to create glissandos and such between the core PF pitches. The MPX-1 has Sample & Hold, which allows control over varying the "pitch pattern' sequences even more.
Upper and lower limits on the 'pitch pattern notes' can be set on either the Lexicon end, or the Eventide end. Something like the A/B Glide will give you chromatic bends or up/down patterns, and the 'pattern notes' depend on the PF algorithm. That is, a Diatonic or Quadravox selection will limit the 'notes' to the selected scale, while a HarModulator or H910/949 will react chromatically, or even microtonal sweeps. Want to get crazy? Set the upper and lower limits in the Random Generator to produce synchronized 'note sequences' between, say, unison and an octave below. Many more combinations in the Lexicon; I've just sketched out the raw basics.
The real control comes with using programmable sequences of MIDI CC values. If a different MIDI CC value is produced every 16th note (for example), and each one of those MIDI CC values produces a 'note' in one of the PF's pitch shifters, then it's possible to program any musical phrase into an external 'pitch pattern' for the PitchFactor. And it's not limited to any step size, two-bar length, rhythm, or time signature.
Finding a simple MIDI sequencer to transmit MIDI CC sequences is the Holy Grail. They're either total overkill [Akai MPC or over-priced Yamaha relics], MIDI note values only, or computer-based [limiting, unreliable, or tricky at best in a live situation]. I use software sequencer programs at home [Cakewalk or Abelton is sufficient here], and I'll be totally screwed live when my Roland MC-50 finally gives up the ghost. Should that happen, I may finally have to give in to the Doepfer MAQ16/3 [a hardware sequencer that rivals / outperforms many onboard keyboard workstations].
I've been threatening to breadboard a 16-step MIDI CC sequencer in a stompbox format. It may still come to that, or another custom solution. It's a natural: Nearly every new stompbox pedal nowadays can be controlled by MIDI CCs. The Molten MIDI 2 is the right idea, even though it's meant to control a Digitech Whammy4. With the Pitchfactor, you'd have to use this box as the MIDI master, and stick to a single CC11 (expression) only. That's too limiting for something like the Pitchfactor [control over one function]. It's a boutique shop; I haven't checked into customizing it as a 'one-off' for the PitchFactor.
At any rate, I can still expand on the finer details here. In an attempt to cover a lot of ground, I made this whole process sound more complicated than it really is.
Bottom line:
MIDI CC Value In = Pitchfactor Pitch Interval Out.
Sequence of MIDI CC Values In = Sequence of Pitchfactor Pitch Intervals Out.
Two sequences of MIDI CC Values In = Two pitch shifters = Two sequences of Pitchfactor Pitch Intervals Out in Stereo.
