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Not in front of my gear, so forgive any errors.  Many of the Pitch algorithms will get you there, with varying degrees of tracking, and some coloration added to your base tone.  First, the things that will generally apply to most of the Pitch selections:

* MIX – 100% wet.  You don’t want to hear your dry tone folded in.
* Pitch Mix – start with CCW for Pitch A or CW for Pitch B (unless you prefer the ‘doubled up’ tone at center).
* Pitch A / Pitch B – often set to -m2 for Eb, with an exception* below.  If you are only dialed in Pitch Mix toward one Pitch, the other Pitch value won’t matter.
* Delay A / Delay B / Feedback A / Feedback B – Normally, all set to 0.

Here are a couple other algorithms to try, with more settings specific to each:

H910 / H949

* Splice Type – Modern
* Pitch Control – Chromatic
* Pitch A/B – Here’s the *exception – expressed as a ratio.
(Something like 0.916 or 0.917 for Eb … it’s chromatic here – it will latch to that.)


* Modulation Depth – 0c
* Modulation Rate / Shape – CCW


* It works as above.  Just not my personal favorite option.

It’s also possible with MicroPitch, but it’s a little tricky to implement.  100% wet Mix, Pitch Mix CW, only using Pitch B fully CW, and the rest following the ‘general’ settings above.  The “trick” is that you’ll need a latching Aux switch mapped to the FLEX parameter, doubling the (-50) cent maximum in Pitch Shift B.  Any one of those differences in the settings might account for you hearing the two guitars earlier on.