OK, I ran a rough simulation of the 8 Step Program (as I understand it) using the sequencer section of an AKAI MAX 49 keyboard controller only; plugged directly into the PitchFactor MIDI IN.
– Sequencer length constrained to 8 steps or less.
– Tempo divisions used: 1/4T – 1/8 – 1/8T – 1/16 (1/8* unavailable).
– CC sequence output tied to PitchFactor (MIDI) PDL destination only.
– No glide parameter available. Stepped output only.
– No attempt to simulate the 8 Step Program's Expression Pedal Input capability.
Downsides:
– Eight step maximum can be limiting.
(With some target parameters, and LFO simulation, it can be enough. With others, 16-32 steps would've been much better.)
– Five tempo divisions may not be 'slow' enough for normal song tempo ranges.
(Workaround: Sacrifice 2-4 consecutive steps with identical values to get down to 1/4 and 1/2 note changes. But now you're down to a four- or two-step sequencer.)
– Expression pedal control is more exacting on PF parameters with 'coarser' values.
(EXP PED range of 0-100. Some pitch and delay time parameters have 100's of possible values. Other parameters have 5, 13, or 30 values. Less (than 100) is more (accurate).
– Difficult to align multiple expression pedal assignments with any precision at each 'step'.
(For much the same reason as the point above. Each parameter has a different range & 'curve' of values. Aligning two parameters at any given point for a desired effect takes some pre-planning. And luck.)
– Simulating 'Harpeggiator' patterns with only 8 pitched steps can be disappointing.
(No available variations & no additional processing can lead to monotony. Input pitch variations can help, and there's hope if the 8 Step's 100 potential presets can be brought in smoothly, and without any hiccups.)
– Automated control over PitchFlex is much better with direct CC control over Flex.
(The sequenced PDL destination works, but you lose out on the shape curves and time delays. With CC control, values over 63 can trigger & 'bounce' the pitchshifts, and even create some WILD vibratos with alternating low & high CC values.)
Upsides:
These are some of the sequencer destinations that I found to be most inspiring. Some of the results were out-and-out astounding. Sequenced pitches were also respectable, but that was expected (on my part). The following parameters had sequenced effects that it'd be tough to duplicate with many other 'boxes. (By the way, the PitchFactor took this beating without as much as a whimper).
– Filters of any kind.
– Harpeggiator FX sections.
– Addtive / Subtractive synth parameters.
– Delay time and feedback level.
– Pitch mixing between harmonies / intervals / any other effect.
– Modulation speed and modulation depth.
– Diatonic glissandos.
Most Pleasant Surprise:
– Diatonic / Quadravox harmonies. One static pitch shifter harmony (e.g. +3rd). An automated second harmony playing in & out of the melody with sequenced intervals (unison, thirds, fifths, octaves, etc.; all perfectly tracking my input).
Most Pleasant Surprise (runner-up):
– Sequenced cents/depth variations on micropitch parameters.
Beautiful beyond description.
