Altering the speed of tape machines while recording was an early method to achieve pitch effects. But it couldn’t be used live on stage.Įnter pitch shift technology: Creating octaves up or down can be easily done with analog technology. However, analog octavers are not good with polyphonic input, like chords they work well with single note lines, generating monophonic output from them.ĭigital pitch shifters (marketed as “Harmonizers” by Eventide) came up mid 1970s.Īn octave up/down physically means exactly doubling/halving frequency, which was used in music since the 1960s. Early digital technology could pitch-shift polyphonic input at lower intervals, but would sound very messy at an octave up/down. Newer algorithms, like the EHX POG’s (introduced in 2005), do polyphonic octaves well. Guitar players often want octavers to substitute a bass player. This works well when playing single notes, but not with chords. Creating a monophonic bass line from polyphonic input is a job neither a monophonic nor a polyphonic octaver can do. You would need an algorithm that can detect and isolate the lowest note played, and octave it down. There are pedals that get close, like the Boss OC-3 which has a mode only processing notes below a defined cutoff frequency. Pitch and speed are physically the same both means frequency of events in time.īoss calls this “true polyphonic octave”, which is plainly wrong.
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