- This topic is empty.
April 5, 2010 at 10:44 pm #107013achaputModerator
Many Frequently Asked Questions are answered in this series of instructional videos:
April 6, 2010 at 3:06 am #120253kwboschMember
Excellent videos Eventide. Those were very helpfull.
April 9, 2010 at 3:25 am #120267rgrainerMember
The manuals and pdf updates are okay, but cumbersome, however with these videos, it makes it all so much easier to understand. They are very helpful and thank you for taking the time to create them.
April 27, 2010 at 7:21 pm #120334mauriciobahiaParticipant
Hi, how about a Youtube Channel to distribute these videos? Does Eventide has one?
April 29, 2010 at 5:22 pm #120354achaputModerator
Hi, how about a Youtube Channel to distribute these videos? Does Eventide has one?
As a matter of fact, yes!
May 9, 2010 at 3:15 am #120400BKK-OZParticipant
+1 on the thanx, much appreciated.
Of course, more videos would be appreciated more…
April 25, 2011 at 1:14 pm #122002HarMember
Last night had my Space and PitchFactor tempo-sync'd together via MIDI clock as described in your videos for a live ambient guitar performance and it worked PERFECTLY! Thanks so much for the info on how to do that. 🙂
One thing I loved that I didn't expect – though in retrospect I guess I should've LOL – was how the PF would change BPM on the fly to lock up to the Space when I changed presets on Space (which I have set as the clock master)….for some reason I thought I had to always enter the BPM via tap-tempo first on Space for each preset before the PF would sync up, but was very happy to discover otherwise. 🙂
April 25, 2011 at 5:34 pm #122007timothyhillMember
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.
April 25, 2011 at 11:06 pm #133310zikamuricpeMember
…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.
Hey timothyhill, would you explain what's the story behind Fabonacci numers? Thnx!
April 26, 2011 at 8:18 pm #133316timothyhillMember
Well, I'll give it a shot. First, though, I was originally inspired to do research on the Fibonacci Sequnce by several posts on this forum by Burger666. Here's a link to one of them.
Basically, the Fibonacci Sequence is a series of numbers where the next number is the product of the previous two. Starting with 0, 1, 1, 2, 3, 5, 8, 13, 21, and so forth. The significance of this is that of any pair, dividing the larger number by the smaller number results in a number that approaoches the Golden Ratio with increasing accuracy. This ratio is apparently very pleasing to the senses as it appears in nature (nautilus shells, etc) and has been used since the ancient Greeks in architecture (Parthenon), art, and music, by people such as Pythagorus (math), Kepler (astronomy), and da Vinci (everything), to name a few. It is also used today in advanced search and optimization algorithms, financial analysis and prediction, and audio engineering, among others.
The reason I'm interested in this is because, to my ear, using delay times based on the Fibonacci Sequence result in delays that seem to fit regardless of tempo. Of course, that's just me and your ears may tell you something different. I simply find it as a good place to start.
There's a ton of information about both the Fibonacci Sequence and the Golden Ratio online, including, I'm sure, much better explanations than mine.
April 26, 2011 at 10:49 pm #133318zikamuricpeMember
Just saw the Wikipedia links and I have to say that your explanation is way closer to my musician's mind
Thanks a lot timothyhill, it is really an inspiring theory and inspiration is what this is all about, isn't it?
April 27, 2011 at 12:19 am #133320timothyhillMember
April 27, 2011 at 8:25 am #133322badmelonfarmerParticipant
I was suprised, but Fibonacci delays do seem to work.
When I first heard of them I thought it might be an April Fools or "Emperors New Clothes".
But they do seem to work well, I use them a fair bit.
It is cool that they work so well, irespective of tempo.
May 2, 2011 at 7:23 pm #133337timothyhillMember
I know this is slightly off the original topic of this thread, but I wanted to add this small bit about the Fibonacci Sequence. I'm not an anatomist, but from the research I've done on the Fibonacci Sequence and the Golden Ratio, I've found exmaples of these throughout the anatomy of the human face. The outer ear and the cochlea, for example and at least in their idealized forms, are examples of the Fibonacci Sequence.
So, this makes me wonder if the reason why Fibonacci-based delays seem to work regardless of tempo is because, instead of being synchronized to the tempo, they're actually synchronized proportionally to the human ear. Anyway, that's my far-out thought for the day. I have no idea if this is what's actually going on…
May 7, 2011 at 1:20 am #133358noelgrassyMember
That's a fascinating observation which has yet to receive any thoughts to the contrary. It seems
like just the sort of thing Ma Nature might see fit to imbue a hapless, upright pontificator with little
else to do sufficient battle with Earth's inhabitants and elements.
How did you arrive at your physical dimensions for the human ear bits? I need rubber nibs for my
Thank you for sharing these apparent attributes and their need for perhaps further research with a well plausible theory.
July 23, 2011 at 4:37 pm #122457NikosGuitarMember
I have something to suggest here…
Why not record videos like this Effectology episodes on the Electro-Harmonix site?
I think that it's really interesting for all of us who have all 4 Eventide stompboxes to create new "unique" sounds combining all of them together!
This will be both interesting for all of us plus it will be the best advertisement for Eventide…
With the help from the Eventide's engineering we will have great results and they may help us to recreate some tones from the amazing Rack products!
If the good people from Eventide wants to,they can put them at the "Eventide Factor Pedal Instructional Videos.
What do you think…?Show More...Show Less...
July 23, 2011 at 5:11 pm #122458badmelonfarmerParticipant
+1 a great idea!
July 26, 2011 at 4:10 pm #133654achaputModerator
It's in the works!
July 26, 2011 at 5:05 pm #133655badmelonfarmerParticipant
Really looking forward to hearing / seeing the results
August 3, 2011 at 12:17 pm #122505
August 14, 2011 at 10:16 am #133715NikosGuitarMember
please lead us with the awesome Eventide Stompboxes to the awesome tones of Allan Holdsworth,Robert Fripp,Adrian Belew…
September 7, 2011 at 2:08 am #133791rgrainerMember
The Fibonacci in Lateralus
more uses and examples of Fibonacci
December 6, 2011 at 4:09 pm #122904jb4674Member
I have a question and perhaps a suggestion…
I currently have a ModFactor and a Pitchfactor and I would like to set it so that I can change a patch on each (doesn't necessarily have to be the same bank number) on my midi foot controller (I have a Roland FC-300) and have them change banks.
For example, if I hit switch 1 on the foot controller, I'd like to have it change my ModFactor to bank 23:2 and the PitchFactor to 9:2.
Can this be done? If so, how do I go about doing it? What needs to be programmed/plugged in? Lastly, can you guys make a video of this?
December 6, 2011 at 5:36 pm #122905badmelonfarmerParticipant
Don't know the Roland controller, so can't give you specific details how to program it.
Yes, you can program the Factors by MIDI in the way that you want.
Basically you set each Factor to be a specific midi channel number … Say ModFactor ch 1 and PitchFactor Ch 2.
Then get your controller to send a program change on Ch 1 to change to the patch you want on the ModFactor and send the program change on ch2 for your PitchFactor.
The exact program change number is worked out as 1:1= 001 1:2=002 2:1=003 2:2=004 3:1=005 etc
December 6, 2011 at 8:39 pm #122906wedelichModeratorEventide Staff
If your controller only sends on one MIDI channel, you could also just use that one MIDI channel and assign the same program change # to the 2 different presets on the MF and PF.
March 15, 2012 at 12:44 am #134322eterprMember
Hi. I just received all Factors a week ago. I updated them all to latest version but i am new to midi. I have them all hooked up and I followed the instructional videos to sync them all on tempo and I could sync only the first 2 of them, but now I cant sync any of them. I reset all of them to factory presets and tried to do it again w/o success. Don't know whats wrong, why if I could sync 2 of them I could sync any of them now? I am pretty sure I followed all the steps as they say. please help.
March 15, 2012 at 3:03 pm #134323nickroseModeratorEventide Staff
If you want to sync a number of units to MIDIclock, there are a couple of things to check. See UM for explanations.
Firstly, the first unit must be set to OUTPUT=XMT and MIDICLK OUT = ON. This allows it to generate and transmit its MIDIclock tempo.
Subsequent units must be set to MIDICLK IN = ON (to receive MIDIclock) and OUTPUT = THRU (to pass the received MIDIclock through to the next one).
That should do it.
March 17, 2012 at 11:31 pm #134332eterprMember
Well a few attempts it finally worked. Now its time map my banks. Thanks Nick.
June 28, 2012 at 8:03 pm #123603tedroMember
can these be seen on a new ipad…either linked here or at youtube? nothing plays for me. 🙁
June 28, 2012 at 8:37 pm #134648badmelonfarmerParticipant
Vids work for me on my iOS devices.
Which one are you having problems with?
my factorlib vid worked with a click and I had cut and paste the first one into safari on my iPhone
August 20, 2012 at 5:34 am #134783tedroMember
the link in the OP takes me to a page that says choose a topic, but there are none to choose, only agraphic of three stomps (that isn't a link).
August 20, 2012 at 3:06 pm #134785ndeshpandeMember
I just checked the link, and yes there is a picture of the three Factors on the left side of the screen. On the right, there is a list from which you can choose from 11 video tutorials. Try using a different web browser and updating quicktime.
July 3, 2016 at 1:47 am #143741Mark-DensonMember
I have an Eventide H9 and I am set up to run stereo if I am in a siyuation that alows it but here is my problem…Whether I run stereo or mono all I get is a conglomoration of bad sound! It’s way too wet and the notes collide! Don’t know how else to explain it. I use the app or the boxes to make it as unwet as I can yet it’s still a mess of tones! They are vurtually unusable! I had some idiot at Guitar Center tell me that I could only run them through an effects loop. I only have an effects loop on one of my eleven amps and it plainly states in the manual that going through the front end is an acceptable practice
July 3, 2016 at 2:05 pm #143742gkellumParticipantMark-Denson wrote:
I have an Eventide H9 and I am set up to run stereo if I am in a siyuation that alows it but here is my problem…Whether I run stereo or mono all I get is a conglomoration of bad sound! It's way too wet and the notes collide! Don't know how else to explain it. I use the app or the boxes to make it as unwet as I can yet it's still a mess of tones! They are vurtually unusable! I had some idiot at Guitar Center tell me that I could only run them through an effects loop. I only have an effects loop on one of my eleven amps and it plainly states in the manual that going through the front end is an acceptable practice
I wasn't sure from reading your post whether your H9 has some incorrect system setting, whether there's a problem with the way your H9 is routed, or whether it's a matter of preset settings. It would be helpful if you could make a short video with a simple set-up with your guitar connected to an H9 connected to an amp which shows the problem you're talking about, and send it to firstname.lastname@example.org.
July 4, 2016 at 9:32 am #143746Mark-DensonMember
Thanks, I’ll get right on that when I can time in my life to breath.
July 4, 2016 at 12:25 pm #143747RainmakerMember
I really don’t have the capabilities to video what I am expiriencing but this may explain it better than my 1st post. I have two H9’s and clean… They sound incredible but when I apply some “Marshall” Grit to them it sounds like a bomb going off! I am 99.999% sure I have everything set up correctly… I even backed off my input gain but it still sounds like garbage with some added distortion/overdrive or just sheer Marshall volume.
Don’t know how to explain it….
- You must be logged in to reply to this topic.