Used to work sometimes now doesn’t work hardly at all. There is a tiny reset button underneath on mine so I have to keep it loose on my rack if I want to try to use it. I like Behringer modules mostly but a few are just bad.

Got this for guitar -> MIDI conversion. It works so much better than the Fishman TriplePlay MIDI pickup, but the tracking is still iffy. I was hoping to simultaneously play the guitar thru the amp plus thru this to play the same notes on an analog synth, but in order to maximize the tracking accuracy, I have to dial in the guitar in a way that doesn't sound good thru the amp. I have active EMG pickups with an active tone pot and a VMC variable mid control. I have to use the neck pickup with the tone rolled off to 0 and use the VMC to cut the highest available frequency (1kHz) as much as it can. This makes for a dark & muddy guitar tone, but by cutting the high frequencies, the tracking is improved. Without cutting the high frequencies, or when using the bridge pickup, the high-mid & high frequency content confuses the PP1 converter and the notes jump all over the place. With the high frequencies cut, the converter can focus on the fundamental frequencies and play the right notes (mostly). It's monophonic, so no chords, just single note melodies. So, I won't be able to record the guitar + synth simultaneously, but I should be able to use the guitar to record synth parts, with some editing required to remove stray notes or correct wrong notes. I wish they made a standalone version of this. I'm not trying to get into building a Eurorack rig, but I had to buy a power module to be able to use the PP1. I made a box to hold them together, so it's more like a guitar pedal now. When I use the Gate and CV outputs to control the synth (instead of MIDI), I get notes an octave higher than I get with MIDI. I don't know why, and I don't have any other experience using CV, so I'm in the dark about this. But the 5-pin MIDI and USB MIDI outputs are sufficient for my needs. The built-in gate is too aggressive. I set the gain to be as high as possible without clipping, but if I turn the gate any higher than 1 of 10 on the knob, it's already cutting out half of the notes. So I send it a split of the guitar signal from after a gate pedal. The Low-Cut switch might be useful for other audio sources, but with guitar it just makes it track higher (wrong) notes instead of the fundamental. The Dry-Thru is great because I also need to send the dry signal to the interface/DAW for later reamping, and I don't like having to move plugs/cables around every time I switch between guitar & synth. It does pretty good with the pitch bend response, but I don't really use it. I couldn't believe how horribly the TriplePlay tracking was - I recorded a simple 3-note melody a few times and it tracked as many as 23 different notes! So that got returned. Guitar -> MIDI technology doesn't seem to be very evolved yet, so the PP1 may just be as good as it can get.

The Behringer PP1 will *sort of* do pitch extraction but CV out jumps all around before and after it locks on.I tamed it somewhat with some compression and filtering on the input and Doepfer's A-119 envelope follower and A-171-2 slew limiter to block out the squawky pitches on the beginning and ends of notes.A quantizer could help keep it on tune, but any pitch bending would go away.It might be an interesting module for pitch-adjacent randomness, but Behringer should have added another $20 worth of circuitry to make it musically useful as its name implies.And then there is the problem of those panel colors. The cheap red paint combined with tiny silver(?!) text makes it unreadable in most light. How did that get approved by marketing? Just awful.Behringer Perfect Pitch PP1 -- Pitch? Sort of, sometimes. Perfect? Never even close.

Works great- i bought two. My only complaint is that they could have included a modular-voltage-scaled envelope output (along with pitch and gate). But for the $$ this thing is great