8 Step Program For Controlling Eventide Stompboxes

I do see your point there.  Some of my main targets in the PitchFactor are the parameters that don't have an LFO.  Maybe a shallow vibrato added to the H910/949.  The filters in the Octaver.  Feedback in any algorithm with delay, or delay times (especially Diatonic, where the longest delay determines the feedback length).

To me, the best part about designing your own 'LFOs' is the discrete steps feature (or not, with glide capability).  The ability to 'jump' from one value to the next without the intervening positions.  For example, hammer-on or pulloff trills a fifth apart.  You may be able to do that in the Harmodulator, but not tapping alternately between unison and fourths, fifths, & octaves.

Expand that to step flanging, pitch mixing between two harmony intervals, or user-programmable MURF-type filter cutoffs and resonance.  It appears that – using the Play and Reset buttons – it'd be possible for one-shot operation of the sequence.  Think chromatic up / down 'bends', or a burst of gliding diatonic intervals; available at the touch of a footswitch.

In addition to the comments above, I've always been interested in ways to customize my own 'Harpeggiator' patterns using other algorithms.  I don't use that algo a whole lot as designed, but I embrace the concept when I can  'roll my own'.  It may be as simple as an octave up every sixteenth step, or as complex as a programmed repeating riff to match the guitar phrasing.

With a sequencer pointing at – say, the Harmodulator – you're not limted to the 26 sequences, 16 steps per-pattern, sequence rhythm, or the intervals that make up a custom sequence.

One other main interest is in automating key & scale changes in the Diatonic / Quadravox modes.  I do that now with MIDI footswitching, but automation takes the fancy footwork out of the equation.  Admittedly, this is territory for a full-featured MIDI sequencer, with changes spread out in terms of measures and verse/chorus.

I'd like to see what could be accomplished within the pedalboard, though, with a relatively small footprint.  That way, it may be possible to synchronize effects with some of the other MIDI-challenged pedals living alongside the PitchFactor.

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.

Verified by an EHX Staff member.

Other Random Updates:

– Dimensions of the 8 Step Program are 5.75 x 4.75 x 2.5 (in.)  146 x 121 x 64 (mm).

– Release date has been bumped to mid-April.  Auxiliary footswitch still says 'late March'.

– My simulation (above) should've used the MAX49's CV Out with voltage dividing as the most accurate test bed.  That test will be next, but I'm having too much fun exploring the original simulation.

– I've since included footswitch control over the sequence's Play and Stop functions.  It's very promising for one-shot LFO's, and bursts of parameter sequences that don't necessarily loop (for example, chromatic and diatonic 'bends').  It's similar to Aux switch control over a parameter, but with up to 8 discrete programmable steps, and not locked globally.

Good point.  We've been discussing the 8 Step and ET Stompboxes in total lockstep.  The potential for isorhythms / polyrhythms opens up a whole world of variations.  I think this is a possible routing, but I see it happening in reverse order.

The 8 Step program has no MIDI Out; only CV / expression out.  So it's 'limited' to what can be programmed as an expression pedal destination.  But it does have MIDI In.  At the very least, that means MIDI Clock input.  And with 100 potential presets, it could match up nicely with the 100 preset configuration in the Stompboxes.  If it will receive Program Changes, the Stompbox (or MIDI controller) sends them, the 8 Step receives them, and each sequence could have a varying number of steps.

Your comment also brings up another good point:  A single Eventide stompbox could control the 8 Step Program in a 'loop'; effectively 'bootstrapping' its own expression pedal control.  The ET box transmits MIDI Clock, the 8 Step syncs to it, then returns synchronized sequences back to the ET box.  It would act like a single effect box; an extension of its own programming capabilities.

The 8 Step Program manual is now online. [357K .pdf]

I can't think of a question that hasn't been answered after reading that.

Nice surprises are everywhere in that document.  Loop, One Shot, and Step-Thru modes.  A Preset Cue function.  100 presets resident in-the-box (optional foot controller acts as a remote).  And one of the most extensive MIDI implementations that I've ever seen in a similar device, and at this price point.  See pp. 20-23 in the link above.

Every available function (except current MIDI Clock and MIDI Channel) can be addressed with Program Changes or MIDI CC messages.  Any slider position.  Encoder.  Preset save/load.  Increment/decrement.  Tempo division.  Sequence length, glide, direction, or depth percentage (even proportionally raising the depth of sliders under maximum depth).  All on-the-fly.

Certainly worth a look to anyone with some form of a MIDI controller.  Using MIDI control over the individual sliders, even someone having a single Eventide stompbox could use it as the 'programmer'.  Then use the 8 Step to play back ET parameter positions in sequences.  Plus, there's a 1:1 relationship between presets in each device. 

The sheer depth of this MIDI implementation may have tipped the scales for me.