Yeah, that is really nice. I've found some really interesting "transition" effects that way, too, by changing the preset (or just the tempo) on the clock master and then hearing the effects on the slaves slew to the new tempo. Really nice. And if I don't want that, I can just turn the tempo off in the slave preset. I really love how the factors all work together as a system. Eventide did a *great* job with integration and that's probably the second biggest benefit (after the sound).
That makes me think of something else, too. I usually try to save the tempo in my presets either close to the song I had in mind (so live adjustments are small) or I use one of the Fabonacci numbers (usually 89, 144, 233, 377, or 610). Either of those methods have been working really well for me. I sometimes wonder if 377 explains why a lot of those old analog delays sounded so good; that was close to the max delay available.
