Sorry guys, but I have strong opinions on this topic.
I have yet to hear cool and convincing examples of a pitch shifter with a long delay. The few examples that we heard where pretty academic to me. You should ask for a delay on every effect, why the pitch shifter? Well, I know, because it is on every pitch shifter of the competition.
Every pitch shifter from any competitor took that idea out of the typical use of the original Eventide going right back to the 70s. One of the most frequent uses of the original Harmonizer was to take two Eventides and delay one of the two. That was done on countless 80s vocal tracks. Listen for every vocal-track Chris Lord-Alge has ever mixed. The original H910 had a delay already built in that was used for above mentioned effects. But probably most important was the feedback parameter on the delay on the H910. The descending snare on "young americans" by Bowie (produced by Tony Visconti) is a very famous example for effects created with pitch shift->delay and feedback into the input of the shifter.
Hell, Brian Eno made a whole career out ot feeding back delayed pitch shifted signals. It's all over U2's Joshua Tree - although Eno was feeding it with his DX7 most of the time In fact it doesn't matter what you feed into it, even a guitar fed into a shifter with delay and feedback will sound like Eno. And seeing how frequently people ask on audio-forums how those "Eno"-effects are actually done, I really can't see those things are outdated or an arbitrary mock of some journalists.
I mean who are we arguing with engineers ranging from Visconti to Lord-Alge, from Clearmountain to Pensado about the use of a delay in a pitch shifter? They used it and they created sounds with it that can't be done otherwise. Guitarists took this effect they've learned about in the studios while their singer was recorded and used it on guitar. I mean Jon Anderson was test user of the first prototype and it's by no means a coincidence that a slightly delayed pitchshifter was used on the solo of "owner of a lony heart" by Yes.
Having a constant short delay on a pitch shifter does not make it less artificial, no matter what is stated or written somwhere. In my perception this is an approach to make it even sound more unnatural. Two guitarists never have a constant offset when they play together. Good guitarists have a changing delay, but so small that it is not perceivable. Does this make a dual solo sound artificial? Not at all.
It's not about "artifial" or "natural" it's about getting THAT sound. There is even an IR of the above mentioned setup of an Eventide in Altiverb so I guess there is a constant demand for it.
As for the "natural or not"-argument: Feeding the signal from the sync-head of a tape to the sync-head of another tape and mix the output of the two repro-heads together isn't exactely going to produce a "natural" double-track impression either. But after all that John-Lennon-guy thought it was the shizzle and after having moved to NY had Geoff Emmerick flown in to set it up exactely like Abbey Road as he didn't like the "improved" method they were using in american studios.
So if something makes technical sense or has "better" alternatives is completely irrelevant for its musical use. Otherwise we wouldn't bother with things like tape-delay anymore. Heck, we wouldn't even be using tube amps anymore as that is an ancient technology overcome by "better" alternatives since decades.
Hell that whole electric guitar business is nothing like "natural". Leo Fender wanted an natural acoustic guitar sound - just louder. Imagine his disappointment when Jimi Hendrix came around
I will not add 4 to 6 parameters to the pitch shifter, where I cannot see that it will add a musical benefit.
The parameters would be: delay (ms), delay in musical notes, feedback.
Doubled for both pitch shifter voices. Many parameters, while I am trying to keep the profiler simple and effective.
It's exactely those parameters that are missing from the current implementation in the KPA to do the things I described above. I really can't understand why you don't just put them in.
Are we really supposed to buy an Eventide only for this effect when it's actually no problem to put those parameters in the KPA`s pitch shifter?