PitchFactor

This is your blend knob: how much of the pitch effect you hear versus your plain guitar. All the way left is just your normal tone; all the way right is only the shifted/processed sound.

tip: If you've enabled Killdry (for use in an effects loop), this dry side is removed entirely and the knob's dry range stops mattering. For most amp-front setups, keep some dry in the mix so harmonies sit under your real note.

Balances the two harmony voices. Full left favors voice A, full right favors voice B, center is even. Lets you decide which harmony is louder.

tip: In Diatonic, this balance happens before the feedback delays, so you can push it fully to one side and the other voice's echoes keep repeating undisturbed — a trick for building a mini looper effect.

The main pitch control for the first harmony voice. In harmony effects it picks the interval (a fifth up, an octave down, etc.). In other effects it might set fine detune, a filter, or a whole sequence — the display always tells you the current value.

tip: In H910/H949, set Pitch A (or B) to unison (1.00) and use that voice as a clean feedback path to faithfully recreate the vintage single-shifter Harmonizer sound.

The pitch control for the second harmony voice. Combine it with Pitch A to build two-note harmonies. In MicroPitch it nudges the pitch slightly flat for a chorus-like thickening.

tip: In Quadravox, turning Pitch A or Pitch B fully counterclockwise mutes that voice — handy for thinning a four-voice harmony down to three or two on the fly.

Delays the first voice so it echoes or trails behind your original note. Depending on the effect this same knob may instead control how fast a pitch sweep moves, how resonant a filter is, or which rhythm pattern plays — the display shows you.

tip: Turn on Tempo (press the Encoder) so delays lock to your tapped tempo instead of raw milliseconds — much easier to keep echoes musical live.

Delays the second voice. Set A and B to different times for ping-pong or cascading echoes. As with Delay A, some effects repurpose this knob for spacing, sweep speed, or resonance.

tip: In Quadravox, when the on-screen delay letters bunch together with no gaps, all four voices share the same delay time; spread them out for a staggered, harp-like cascade.

The command dial. Turn it to pick which of the ten effects is loaded. Tap it to switch the tempo clock on or off. Hold it to save your sound. Combined with the right footswitch it opens the deep system menus. It's the single most-used control for setup and navigation.

tip: To save you must press and HOLD — a quick tap won't save. The save slot number flashes as a warning that you're about to overwrite whatever lives there.

A do-it-all knob whose job changes with the effect — the label 'Depth/Key' hints at its two most common uses. For the scale-smart effects it sets what key you're playing in; for modulating effects it sets how wide the wobble is; for reverby effects it sets how much room you hear. Always glance at the display to see what it's doing right now.

tip: In HarModulator, a positive Depth value makes both voices wobble in sync; a negative value makes them wobble against each other for a wider, more chaotic sound.

Partner to the Depth/Key knob. For harmony effects it picks the scale (major, minor, and more exotic ones) so the harmonies stay in tune with your song. For modulating effects it sets how fast the wobble is. For reverb effects it sets how long the tail rings out.

tip: For Diatonic/Quadravox to harmonize correctly, both this Scale knob and the Depth/Key knob must match your song — or just use the Learn footswitch to set the key by ear.

A wildcard knob for the effect's fourth voice or special ingredient. Often it's feedback (how much the sound repeats and builds), but it can also add fuzz, pick a synth waveform, choose a modulation shape, or add a third harmony voice. The display names it every time you turn it.

tip: In HarModulator, turn Xnob fully clockwise to select ENVELOPE — now the loudness of your playing drives the pitch wobble, so hard picks warp more than soft ones.

The companion wildcard to Xnob, usually handling the second voice's feedback or a tone/filter tweak. In MicroPitch it's a simple brightness control; in Octaver it blends how much dirty fuzz versus clean octave you hear.

tip: In MicroPitch, set Ynob to 12 o'clock for no tone coloring, then nudge it slightly counterclockwise to warm up harsh single-coil pickups.

Your main on/off stomp. Tap it to turn the effect on or off. In Bank Mode it calls up your first saved preset. Hold it down to access hidden per-preset settings like output volume and swell.

tip: Hold it 2 seconds and turn the Encoder to set a preset's output level from -20dB to +6dB — great for matching volume when one effect is quieter or louder than another. Remember to save afterward.

The expressive/performance switch. What it does changes per effect — teach the pedal your key, jump an octave, freeze a repeat, or sweep the pitch with your foot. In Bank Mode it's simply your second preset.

tip: For Diatonic/Quadravox, hold this switch while playing the root note of your song and PitchFactor instantly learns the key so harmonies stay in tune — faster than dialing in Key and Scale by hand.

The navigator. Tap it in time with the music to set your tempo, or tap it in Bank Mode to climb through your preset banks. Hold it to switch between the two footswitch modes, and use it with the Encoder to reach the setup menus.

tip: After tapping the Right Footswitch to a new bank, you must then press the Left or Middle switch to actually load one of that bank's two presets — tapping alone only 'cues' the bank.

Your 'too loud' warning light. Occasional flickers are fine. If it glows steadily, your input is too hot.

tip: If it stays lit solidly, either lower the signal feeding the pedal or flip the rear Input Level switch to LINE. There's a soft-clipping circuit inside to keep overloads from sounding nasty.

A blinking metronome light. When it's flashing, your delays are syncing to a beat; when it's dark, delays run in raw milliseconds instead.

tip: Press the Encoder to toggle Tempo on/off — watch this light to confirm which mode you're in before a song.

Your dashboard. The little green light shows which effect is active, and the big glowing display tells you everything else — what knob you just turned, what preset you're on, tuning, and menu choices.

tip: In Bank Mode a small dot lights in the upper-right corner of the display whenever you've edited a preset — your cue to save before switching away or the changes vanish.

Tells the pedal how strong your incoming signal is. GUITAR for a guitar straight in; LINE for hotter signals from other pedals, an amp's effects loop, or a mixer.

tip: If the Peak LED lights solidly even with a guitar, switch to LINE. Note: mixing Guitar/Line settings differently on input vs. output breaks unity gain, which makes Relay bypass jump in volume — avoid that combination if using Relay bypass.

Matches the pedal's output to whatever it's feeding — AMP for a guitar amp, LINE for a mixer or effects-loop return.

tip: For an amp's effects loop (usually line level), set both Input and Output switches to LINE.

Where your guitar or the previous pedal plugs in. If you only use one input, use this one.

tip: Synthonizer only listens to Input 1 (Input 2 is disabled for that effect), so always use Input 1 with the synth.

The right-channel input, used only when you're running in stereo (for example, coming from a stereo pedal ahead of it).

tip: Leave it empty for normal mono guitar rigs — the pedal figures out your setup automatically from which jacks are plugged in.

The main output to your amp. For a simple rig, this is the only output you need.

tip: Output impedance is a low 500 ohms in DSP bypass, so this can happily drive long cables or line inputs without losing tone.

The right-channel output for stereo setups — run it to a second amp for a wide, immersive pitch effect.

tip: In Wet/Dry routing mode you can make one output all-dry and the other all-wet, letting you keep a clean amp and a shifted amp separate.

Plug in a rocker-style expression pedal here to sweep parameters with your foot in real time — great for volume swells, whammy-style pitch dives, or morphing between two whole sounds.

tip: To program it: set the heel-down sound, then push to toe and turn any knobs you want to move — only knobs you actually turn get assigned. To un-assign a knob, set the same value at both heel and toe. Save the preset to keep the mapping.

Lets you add up to three external footswitches for hands-free extras — a dedicated tap-tempo switch, a preset-bank stepper, or a switch that jumps a parameter between two values. Your onboard footswitches keep working too.

tip: You must use a stereo (TRS) 1/4-inch plug, and only momentary (not latching) switches work. Pressing the Tip and Ring switches at once triggers the Tip+Ring function.

Where the power supply plugs in. This pedal is hungry — it needs a lot of current.

tip: Use only the supplied supply. Its 1200mA draw is far higher than typical pedals, so many small 'one-spot' style supplies won't power it — check your power brick's rating.

Connect this to a computer to update the pedal's software, back up presets, or manage everything visually with Eventide's free H9 Control app.

tip: Use a proper USB 2.0 cable (not supplied). H9 Control (Mac/Windows) lets you organize presets and tweak system settings from your computer, though it can't buy new algorithms for PitchFactor.

The traditional MIDI input for controlling the pedal from a MIDI foot controller, keyboard, or sequencer — switch presets, sync tempo, or automate knobs.

tip: Set the receive channel in System Mode under [MIDI] > [RCV CH] (OFF, OMNI, or 1-16). MIDI program changes can even directly control the Bypass/Active state, not just load presets.

Sends MIDI out to control other gear — for example, changing presets on a second pedal at the same time — or passes MIDI along to the next device in your chain.

tip: Avoid THRU+C and MERGE modes with heavy MIDI traffic, as they can clog the data stream. Use plain THRU only if you don't need PitchFactor to send its own messages.