It s a smart effect/pedal that works as the simple octaver but going active only when you play the 3 lower strings of the guitar.
Super octaver
- allegretto
- Closed
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how would a processor of any kind, being fed a signal from standard pickups (non-hexaphonic) know the difference between an open g string and a g being played on the d-string, 5th fret for example?
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Good question, Don. Maybe someone should ask Boss? http://www.bossus.com/gear/productdetails.php?ProductId=608
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"Poly Octave effect adjustable to play within a specific note range"
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"Poly Octave effect adjustable to play within a specific note range"
right.
and to clarify for the OP:
and note range does not mean/include string information.besides, the real issue with octave effects is exactly the opposite: they sound great in the higher register, giving power and depth to you melody lines, but they are a mess on the low notes.
This is why CK implemented the Low Cut parameter in the Analog Octaver stomp. It leaves the high notes alone but reduces power to the low notes. -
The flexibility would still be nice - you could set one to only octave everything from low E to the F# on the D string, and then just double/chorus everything above that, giving a 12-string effect.
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There's no way to assign string-related data functions through monophonic PUs.
Don: the reason I've never been a (great) fan of octavers is that I don't find very musical higher octaves on higher notes: they rarely sound convincing, even when in the background.
And, when using traditional guitar equipment, I also found that lower octaves on the low E string sound poor and bad (of course, the Profiler with an FRFR cab is a different pair of shoes).
It might be more interesting (from my POV) if an effect gave 1 octave up when I play lower notes and 1 octave down when I play higher ones. This would make for a more consistent (and musical, IMO) "wall of sound", specially in conjunction with other fx, making freqs remain in the guitar domain. As for me, I'd be happy to have such a possibility using one slot only.
Do you find this interesting?
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Like Don said, they sound great when you play high, and use a lower octave effect to add power below the notes you are playing.
I do the same thing with intelligent harmony effect lines - I usually play the higher part, and have the effect play the lower part.
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There's no way to assign string-related data functions through monophonic PUs.
Don: the reason I've never been a (great) fan of octavers is that I don't find very musical higher octaves on higher notes: they rarely sound convincing, even when in the background.
And, when using traditional guitar equipment, I also found that lower octaves on the low E string sound poor and bad (of course, the Profiler with an FRFR cab is a different pair of shoes).
It might be more interesting (from my POV) if an effect gave 1 octave up when I play lower notes and 1 octave down when I play higher ones. This would make for a more consistent (and musical, IMO) "wall of sound", specially in conjunction with other fx, making freqs remain in the guitar domain. As for me, I'd be happy to have such a possibility using one slot only.
Do you find this interesting?the traditional Octaver (our Analog Octaver stomp) has it's charme due to the way it sounds.
if you want a more realistic sounding octave, use the pitch shifter stomps and their formant shift parameter.i do find the idea of the simultaneous octave up and octave down shifts with some kind of crossovers intriguing, in fact I already build rigs with the same basic idea (minus the crossovers). I'll make a recording of a short melody in three octave and then fade the lower and higher octaves accordingly to hear if it indeed is something worth to pursue.
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Well, actually I was thinking of no crossover at all: in my concept, the CPU analyses the fundamental and determines whether the octave has to be generated up or down depending on a user setting.
paults: of course if you just play in the lower or higher range this makes less sense...
Nevertheless, with my concept it might be interesting to set the "border" note high enough, so to have different octaves anyway depending on whether you're actually playing high or very high notes -
Might as well include a Ducking parameter, too. With the current PITCH effects, It is great to be able to control the on/off of the harmony when soloing, by how hard I hit the strings.
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To clarify, my not-quite-12-string suggestion above was in line with Don's idea - KPA analyzes the fundamental, and if it's anything up to the F# note on the D string it generates an octave up, otherwise it gives you a detuned signal. The only issue I can see is if someone were to bend up past that F#... maybe the effect would fade in like with ducking.
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Might as well include a Ducking parameter, too. With the current PITCH effects, It is great to be able to control the on/off of the harmony when soloing, by how hard I hit the strings.
A big YES! to that. -
A big YES! to that.
+1
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the idea of the crossover frequencies could be really implemented ..
but not only in octaver, also in other effects: a species of ducking but not for the dynamics, but by frequency
