Timefactor, Pitchfactor and RogerLinn Adrenalinn3

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    • #108500
      darkhorizon
      Member

      Hello Eventide users,

      I've recently purchased a Pitchfactor to incorporate to my rig. I already have a Timefactor which is doing wonders. I also have an Adrenalinn 3 (love it) which I use not only for its effects but for amp modelling. (here lies my trouble) I really don't know how to arrange the order of pedals. This is what I have and its order:

      Gtr –> boss ds1 –> boss ge7 eq –> boss dd5 –> adrenalinn3 –> timefactor –> amp fx loop (old marshall 5152 series loop -10db or less I think!!!!)

      Again, I do not know where to put the Pitchfactor. I think after dirt is good but I'm not sure it should go before the ad3, especially if the latter is used as a modelling device. Then again I know it can't go after it because its pitching capabilities may be altered. Would you please let me know. Please advise me if you consider aother possible connections as well. Great products Eventide and great forum with lost of people willing to help. Thank you for your time. (Sorry about my English… not my native tongue)

      Cheers

      Diego

    • #123205
      MarcoR
      Member

      After the Adrenalinn 3 and before the Timefactor especially if you are using the ad3 for modeling.

    • #123207
      brock
      Participant
      Quote:
      Then again I know it can't go after it because its pitching capabilities may be altered.

      I thought the same thing (at first).  But now, my AdrenaLinn III has a permanent place just before the PitchFactor.  The pitch detection hasn't suffered, even when I'm using the more extreme "dirty" amp models.

      If you're running in stereo (as I do), there's no other logical placement.  The ADR III is mono-in, stereo-out.  And that leads to some amazing effects.  For example, simple stereo panning in the AdrenaLinn acts as a synchronized "voice-switcher" for the Diatonic and QuadraVox modes.  It ends up sounding like very complex finger-picking, especially using random panning.

      Tremolo, filter, and "arpeggio" sequences, as well as some of the other stereo effects, are really inspiring when followed by the PitchFactor.  When you get a chance, check out some of the FX beyond the amp models.

    • #123208
      darkhorizon
      Member

      Hi Marko, thank you for replying. It does seem logical what you are proposing. After all, the amp should be the backbone of the whole sound but when the pitchfactor is after the ad3 it seems to alter (not in a good way) some ad3's effects (which I'm also using) like filters and swells. I'll keep experimenting. Cheers

    • #123209
      darkhorizon
      Member

      Hi there Brock! Thank you for taking the time to answer. Right now I'm following your advice and I have the PF before the AD3. They complement each other very well and I also agree that the pitch detection stays pretty much stable even with extreme bogner or egnater amp modelling. I also can use the ad3 drums without them being altered by the PF. Great. As always there are some sounds which do not sound very well together but I suppose they can always be tweaked (and tweaked and tweaked and tweaked……ad infinitum) Smile

      Quote:
       For example, simple stereo panning in the AdrenaLinn acts as a synchronized "voice-switcher" for the Diatonic and QuadraVox modes.

      Would you be kind enough to elaborate on this or how to achieve it. I mean, which presets from both pedals are you referring to? 

      In time, I will follow your second suggestion and put the PF after the ad3 but I need to play some time to understand the difference. If you have further suggestions or preset combinations that work for you, please let me know.

      Thanks again Brock!

      Cheers

      DIEGO

    • #134314
      brock
      Participant
      Quote:
      which presets from both pedals are you referring to?

      I've overwritten the presets on both pedals.  To start, use one of the stock ADR III panning presets from 63 to 71.  But most any random flanger, sequence, or even ping-pong echo will work as well.  The key is to present the Pitchfactor's Input 1 and Input 2 with different signals; sync'ed together, and varied over time.

      In the PitchFactor, use any stock QuadraVox or Diatonic preset that delays the voices with TEMPO: ON.  If you don't mind dialing in the settings, here's one preset of mine that I use for this "voice-switching" technique.  And I can use it as an example of how this works.  If you don't use an expression pedal, change Delay B from [. A .B .C .D] to [. . . . ABCD] to hear the difference between arpeggio and chordal effects.

      Quote:
      Would you be kind enough to elaborate on this or how to achieve it.

      The ADR III is taking its mono input, and bouncing it between left & right outputs.  The PitchFactor's Input A and Input B signals will alternate between Pitch A & Pitch B [Diatonic], or between Voices A+C, and Voices B+D [QuadraVox].  An auto-panner [Sine LFO modulation] will crossfade between PF voices.  With square modulation, the voices will bounce hard between channels.  Sawtooth modulation will fade the voices in (or out).

      Random panning (or filtering) is particularly interesting.  Different combinations of Voice A & Voice B constantly change, and move from center, both hard-panned extremes, and every point in-between.  This process still works if you decide mix back to mono after the Pitchfactor outputs, because all the interaction is between the ADR III's outputs, and the PitchFactor's inputs.

      The other thing to tweak [ad infinitum] is the relationship between the tempo divisions of each device.  If a QuadaVox preset has a delay of 1/4, and the voice delays are spaced evenly [. A .B .C .D], each voice will be a 16th note apart.  A panning rate of 16n in the ADR III will ping each PF voice rapidly from left to right.  A change to 1m, 2n, 4n, 8n will give you a completely different effect.

      The same applies to the PitchFactor.  Changing its tempo division to 1/2, 1/8, or 1/16 will yield something different.  There are dozens of variations on this combination, just by changing the PF's delay times in relation to the current ADR III panning rate.  And when you have that mastered, we can talk about blending in the delay at the end of your chain.  You can use simple guitar techniques to produce extremely complex effects, all harmonized to scale.

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