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brock wrote:
That’s the coolest compliment that I’ve gotten in quite some time. Thanks. I tried to mix it up with some bread ‘n’ butter presets, along with the spacy ambient stuff. There’s just so much in there to take advantage of!
If it’s feasible, try an expression pedal (or Aux switch, mapped to the expression pedal programming). Check out the Pedal View tab to really see what goes on throughout the pedal travel. As a rule of thumb, if a preset starts out busy and showcase-y, then the Toe position will tone it down. Conversely, if the preset is a little mild, the Toe position slides in other components & more wildness. Some presets will morph with more subtlety.
For example, a looping-type preset at default will continue to play back. The Toe position of the expression pedal fades it out. Or a favorite trick from the Diatonic algo: delay times are changed & stuttered; depending on pedal position. One of the more powerful targets for expression pedal is the unlikely Voices parameter; simply because of its positioning in the FX routing scheme. PitchFuzz is a crazy-deep algorithm.
Have you met your match, algorithmically speaking?
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Given To Fly wrote:
Have you met your match, algorithmically speaking?
That could very well be, Mark. I didn’t hold out much hope originally, based on the initial NAMM descriptions. But I’ve been pleasantly surprised. The multi-FX structure is one obvious reason for the depth. The voice & effect routings adds another level. It’s the subtle interactions that have captured my attention lately.
For example, I’ll set up some generic gain-staging: guitar volume & tone controls around 7-8; healthy levels using H9 Control’s meters & clip indicators. Flip around the pickup selection, or swap out guitars with similar setups. All of my PitchFuzz presets hold at 0 dB / unity gain now. I’m really liking the variety that I can squeeze out, using only the on-board controls of the guitar(s). Volume / tone are reactive for the full 0-10 range.
And there’s still the occasional Eureka! moment. Just last night, I started exploring wet signal-only, discrete glissando pitch shifts. Something that cropped up here on the forum, & I never followed through on it. All algorithms benefit from expression pedal control, but this one excels at delicate ‘morphing’.
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brock wrote:Given To Fly wrote:
Have you met your match, algorithmically speaking?
That could very well be, Mark. I didn’t hold out much hope originally, based on the initial NAMM descriptions. But I’ve been pleasantly surprised. The multi-FX structure is one obvious reason for the depth. The voice & effect routings adds another level. It’s the subtle interactions that have captured my attention lately.
For example, I’ll set up some generic gain-staging: guitar volume & tone controls around 7-8; healthy levels using H9 Control’s meters & clip indicators. Flip around the pickup selection, or swap out guitars with similar setups. All of my PitchFuzz presets hold at 0 dB / unity gain now. I’m really liking the variety that I can squeeze out, using only the on-board controls of the guitar(s). Volume / tone are reactive for the full 0-10 range.
And there’s still the occasional Eureka! moment. Just last night, I started exploring wet signal-only, discrete glissando pitch shifts. Something that cropped up here on the forum, & I never followed through on it. All algorithms benefit from expression pedal control, but this one excels at delicate ‘morphing’.
Wow! That certainly is saying something! I must confess, I have not even tried the demo yet. I’ve only listened to the examples. Perhaps it is my natural dislike for peaches and fuzz pedals that it is subconsciously making PitchFuzz a non-priority for me. When that changes I’ll be sure to try out your half bushel of presets.
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