MIDI CC, ExpPedal & AuxSwitches in Space and Other Factors

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    • #107716

      So I'm looking over the Space UM and I notice that the Aux Switches can now transmit MIDI CC data (Space UM p41). Correct me if I'm wrong, but they don't in the other Factors, right? The ExpPedal always has, though, right?

      I also notice that the ExpPedal can now receive MIDI CC data (Space UM p39). Again, this is something that the other Factors can't do, correct? While the AuxSwitches can't be setup to receive CC data directly, all of the functions that can be assigned to the AuxSwitches can, so that's really the same thing, which also applies to the other Factors.

      Finally, I notice that the AuxSwitches can be assigned to the ExpPedal (Space UM p37). Again, this is something new, right?

      If the above is true (I still have to wait 3 more days until I can try this myself), you've been reading my mind… this is great! Basically, I can have an AuxSwitch that toggles between the Heel and Toe positions of the ExpPedal (adding 2 variations to every preset) AND I can have the ExpPedal connected to another Factor control the ExpPedal on the Space (saving pedalboard real estate). That's huge!

      My question is this… are there any plans on implementing the above functionality across the board in the Factor line? That would seem to be a fairly easy thing to do and would really increase the value of all of the pedals, further expanding their capabilities as MIDI controllers.

      Just dreaming here, but picture this… all 4 Factors, each with a 3-button AuxSw and an ExpPedal… that's 12 switches and 4 pedals that all transmit CC data to… well, anything (Eclipse, H8000, ?)… not to mention program change data, which is also transmitted… who needs a MIDI controller?? (not that there'd be much room left for one)

    • #121718

      I'm at a bit of a loss here, as I couldn't  locate the Space user manual for comparison.  As much as I can determine from your post, though, the aux switch and expression pedal routings to each other (and the MIDI transmission capabilities) are available in the Pitchfactor.  [RCV CTL] has a PDL selection, and [XMT CC] both has PDL, TIP, RNG, and T+P options.  These are very powerful combinations, to be sure.

      With any more than two pedals daisy-chained together, I'm not sure how you'd get around the exclusive XMT -or- Thru setting in the MIDI [OUTPUT] selection, without adding a MIDI Thru box of some kind.  Space has broken some other ET stompbox conventions, so I'll be curious to see its complete implementation.

      As for eliminating MIDI controllers … I'll play the devil's advocate here.  The keyboardists among us might take exception to that.  Wink  And some floor setups favor a more 'centralized' approach, with switches transmitting multiple program changes.  Or perhaps the master MIDI clock resides with the drummer or another performer's sequencer.  And if someone were to own a Moog MP-201, or even a discontinued Lexicon MPX-1, they could take advantage of of the MIDI Xmit to actually add 'new features / algorithms'  to Eventide stompboxes.

      As much as I'd like to consolidate the gear down to a minimum, there's always something that makes it just a little better.  Again, no Space manual here, but I'm very interested to see what it brings to the table.  Apologies in advance if I've misinterpreting something here.

    • #121722

      Tim where did you get the manual  for SPACE?  As you might remember from another post Sweetwater told me I would not see my SPACE until May.  Well I think you brought me some luck or something because mine will be here in 3 days too (Thanks).  

      I control my Pitchfactor with a expression pedal plugged into my Modfactor.  I also tested an aux switch on Modfactor to control a knob on my Pitchfactor and it works.  I was thinking I would use one of the aux switches on my Timefactor ( MIDI would be between Mod and Pitch and a separate MIDI signal between Time and SPACE)  to control the HOT Button on SPACE.  The reason for this is a thought I would leave SPACE on my rack and not on the floor.


    • #121723

      Hey, Brock! The Space manual is under the support section, stompboxes, Space… I think they just put it up in the last day or two.


      And yeah, I was just thinking from a guitarist's point of view. Actually, I'd still want a MIDI controller to send program change. That way, I could use the MIDI program maps to setup "scenes" (for lack of a better term). I could still access individual programs on the fly on each pedal and use the controller to switch everything at once.

      As for the PF, I must've missed it in that one. I forget which pedal I was looking at, think it was the TF – I know it's not in the TF manual, but I don't remember it being on the pedal, either, although it could've been the MF I was remembering. And it could have changed with V3, as I applied that upgrade the last time I was reconfiguring my pedalboard.

      Mostly what's going on here is just thinking aloud while I wait for my latest toy… Space! But if they come out with a MIDI controller that can replace a keyboardist, sign me up!! 😉 Just kidding… you know how many guitarists it takes to screw in a light bulb… 😉

      Seriously, though, you're right about this being a very powerful system, even more so with a rack processor or two. There are so many ways to control and manipulate this stuff in real time, just a completely different mindset from plugging a Strat into a wah and an amp. Honestly, I've always been slightly envious of keyboardists' ability to manipulate sounds and it's great to get into the same ballpark without racks full of equipment. Even the rack I used back in the day didn't have 1/10th the flexibility.

    • #121724

      Thanks for the link, Tim.  This is what I'd been waiting for.  I'm not sure that I have a need for another 'verb in the live rig, but this unit is obviously not just another reverb.  Some of the more complex algorithms here have really caught my eye.  Often, a subtle reverb will get lost in the room at a gig, and the larger synthetic spaces become exaggerated.  Space looks like it could become part of the 'composition' itself, though.

      BTW:  I'll always be a guitarist, first and foremost, but I play enough instruments to force a wider perspective.  Ever since I started, I've been playing keyboards like a guitar, and trying to make my guitar into a synthesizer.  MIDI guitar tracking still leaves something to be desired.  But a handful of sophisticated stompboxes (Eventides; AdrenaLinn III; Pigtronix, and the like), some rack processors, and a controller to tie it all together come a lot closer to the modular system of my dreams.

      Congratulations on the new purchase, and be sure to let us know how it all works together in your setup.  I suspect that you'll be giving Space (and especially that Hot Switch) a thorough workout.

    • #132945

      Hey, Anthony! Glad to hear you're getting your Space soon, too… I was wondering about that. I think our orders must've been within a few hours of each other. I've been doing business with Sweetwater for about 4 years now and they've always been great to deal with.

      The reason I'm excited about the ability for the ExpPedal to receive CC data is because what the ExpPedal controls is per patch, but controlling a knob or knobs with an AuxSwitch is global, right? Or am I missing something there, too? I know that the ExpPedal transmits CC data, but last time I looked, I couldn't designate that as the receiver, but that was on either the TF or MF and may have been V2.4. I'd look again, but I pulled my pedalboard apart last night with the intent of rebuilding it with Space.

      With your idea of using the AuxSwitch of one pedal to control another, yeah I do that, too. For me, I'd rather have the PF's Flex, TF's Repeat, and MF's Brake on one set of switches, Tap, Tuner, and Bank Down on another, then the TF's Looper controls on the third. That logical grouping makes sense to me in my rig, but I love having the flexibility to do it that way or any other way anyone else wants to do it.

      Another thing that interested me in the manual is the Hot switch on the Space. It sounds, to me, like it's setup per patch just like the ExpPedal is… any combination of any knobs over any range. It's just the Hot switch is Max-Min, not continuously variable like the ExpPedal is. It can be toggled on-off (quick press) or momentary (press'n'hold, then release), which is a really cool idea. I'm looking forward to trying it out and think it would make a great addition to the other Factors, too (like making the MF's Brake or PF's Flex more programmable than they are presently). Of course, that's all controllable via MIDI CC, too.

    • #121726

      So yeah, I did miss that you can already do this in the PF. I'd like to see it in the TF and MF, too. In a larger sense, I'd like to see all four Factors handle MIDI CC data assignments in similar fashion, as well as the new Hot switch or similar functionality added to the Flex, Brake, and Repeat switches. Of course, spillover, too (missing in the MF's Undulator).

      I'll be curious to see the new active/up/down bank mode, too. I've gotten pretty used to ?:1,/?:2/ Up, but I may like the new system better and it might be a nice option to be able to configure all the pedals in either method if ET adds that to a future update.

      So, Brock got me thinking about CV controllers some more… that Moog MP-201 looks like it has definite game-changer capabillity…

      I think it would be nice if the MF was capable of transmitting its LFOs over MIDI CC. Then we could use any of those "shapes" (I'm particularly interested in Random, SMP/HLD, ENV, and ADSR), especially if it could be in combination with the 2nd LFO (either as 2 CCs or combined into 1 CC). I know the other Factors have LFOs, too, but the MF seems the logical place for this, since it's LFOs are more complex than the others'. Then, we could use it to control pitches (PF), or modulate any delay (TF), or any reverb (S), among literally hundreds of other combinations (using the LFO to modulate the ExpPedal, which in turn can be linked to any or all of the knobs' parameters).

      I also think it would be nice if the PF transmitted MIDI Note data, too. This may be getting too close to GuitarSynth Land, but I doubt that the PF is extracting nearly the amount of data that a dedicated MIDI Pickup does. However, the ability to control an analog mono synth would be really cool. I agree, Brock, that MIDI guitar tracking still leaves something to be desired. I remember playing with one of the first Roland Guitar Synths back in '87 (I believe), and it wasn't awful, but that was 24 years ago and I'd have thought it'd have improved, well, more than it has (not knocking Roland here, referring to MIDI guitar tracking in general).

      Brock, have you tried the Moog CP-251? That looked pretty interesting, too, although it lacks the uilt-in footcontrols of the MP-201. Then I had a strange idea… what about a Mood Etherwave Plus? Since those also transmit MIDI CC data… you could control the harmony mix or pitch, or change the speed & depth of a flanger, or work both the time and feedback knobs to get the TF to self-oscillate, all just by waving your hands in front of a couple of antennas. Oh, and if that got boring, I could do my best Jimmy Page imitation!! 😉 Or play the Theme to Star Trek… LOL! Seriously, using a Theremin as a CC transmitter sounds like it might have some intriguing possibilities.

      It really is a completely different mindset than what guitarists usually operate in, although it sounds like you've got a "bit" of experience with it (much more than I) and I'm sure my old keyboardist would be right at home. After all, all of these things are just tools that are supposed to inspire musicality and creativity. I haven't had a lack of either since I impemented my first Eventide about a year ago, and the possibility of using them in this manner just ramps it up even more.

      Thanks to both you guys for your input here! I'm sure I'll be thinking about this for awhile and I'm curious where that train of thought will lead.

    • #121728

      I'm attempting to keep my reply brief here, Tim, but this is a topic that I'm extremely passionate about.  It would be an outstanding addition to have the 'Factors transmit their internal controllers over MIDI.  As for the ROI for Eventide … I'm not certain that the demand for such features would balance out the R&D costs involved.  Anyone else interested here?

      I hadn't considered the Moog CP-251 … until now.  It doesn't have MIDI output, but the (recent?) addition of CV attenuators now has me intrigued.  If one could limit the CV ranges to 0-3V, there are possibilities with hooking it up to a 'Factor expression pedal input (see UM).  I'd be wary of this until I found out a little more about the 'Factor circuitry (potential damage with higher voltages; current limiting).  I share some of the same concerns with the MP-201. That's a heathy chunk of change for a control pedal.  While the LFOs transmit over MIDI, and they're fairly configurable, I would pick it up if I was sure that I could make use of the envelopes as well (CV output only).

      I'm currently using the Lexicon MPX-1 in my rack; probably more often as a MIDI generator than the onboard effects themselves.  For a peek at the power & potential, check out Section 8 – MPX Internal Controllers (p. 103) of the online manual.  Two LFOs, two envelope followers, two ADSRs, an arpeggiator (sending notes/CCs), triggered A/B "glide", random, sample & hold, and a host of other controls that transmit, process, "munge", and merge MIDI (including all CC messages).

      That rackmount device adds 'features' to my 'Factor, ADR III, Whammy IV, etc. that wouldn't be possible otherwise; all synchronized by the MIDI clock.  I'm trying to work in a hardware sequencer (transmitting sequences of CC values in sync).   That brings the studio to the road.  Right now, I'm working with some very old Roland and Korg sequencers.  Newer hardware sequencers (those capable of storing CC sequences) are either prohibitively expensive, laden with features I don't need, cheaply constructed, or nonexistent.  I just might have to follow through on building one someday (that's 'bulletproof').

      For what it's worth, I'm in the process of working out the CC values for ALL of the PitchFactor's parameters and settings, and I hope to publish the .pdfs and MIDI files on this forum when it's been completed & tested.  I need a complete reference guide for what I do with the pedal, and perhaps that would be useful to others, too.  Ideally, I could adapt the information for the other 'Factor pedals.

      I'm not so sure about lugging around a theremin just yet, but I have looked into D Beam-type devices, or an onboard guitar device (based on the Doepfer / Wheel Electronics modules).  I would need something easily accessible, yet small enough device to 'stay out of the way'.  Speaking of which … I also use the Behringer (!) FCB-1010 to send program changes to five devices, and discrete levels of CCs to the PitchFactor.  It might've been the best $150.00 US that I've ever spent.

      It's huge (which is both an advantage and a disadvantage).  The price is right, the build quality is unexpectedly good, and the manual is horrible (as is the programming method).  But the features are deep, and there is a freebie editor that helps to lessen the pain. One-touch access to 10 presets at a time, the multiple program changes, plus two expression pedals, and an ability to mimic the high/low limits of an aux switch on consecutive foot presses.

      For example, I have a few 'banks'  of ten presets each that are intended to control various aspects of a single Pitchfactor preset.  Interesting topic, Tim, and one that can generate a lot of discussion (as you can well see).  Your move … Smile

    • #121737

      Brock, you've certainly given me a lot to think about… I'd actually already started reading the MPX-1 UM. While this is relatively newer territory for me, the possibilities have me pretty excited (just ask my wife), so please don't worry about keeping anything short on my account. Music has been my passion all my life, and I'm really enjoying the current topic of conversation.

      I, too, would be interested in hearing from anyone else who's interested in having the Factors transmit their LFOs, etc., over MIDI. There are so many things that could be done with that, even just between 2 or more Factors.

      I've been doing a lot of research into this, including the Moog controllers and the MPX-1. What I'm trying to figure out if whether it would add anything for me that adding an Eclipse wouldn't. The short answer is yes, it's got the arpeggiator and does transmit its internal controllers over MIDI, but other than the arpeggiator, I'm not sure that the Eclipse doesn't have enough internal controllers of its own, at least for what I'd be doing.

      This leads me to consider the alternatives… I've already got the 4 Factors (Space should be here tomorrow) and with a MIDI Merge box, I could get all of their external controllers (4 pedals, 12 switches) into the Eclipse. The Eclipse itself has 2 inputs for external controllers, so… if I added a Moog CP-251 and an Etherwave Plus, I'd have the LFO (2 waveforms) there sample/hold, and the 2 CV outs from the Theremin that could be mixed in. Maybe not quite as versatile as the internal controllers on the MPX-1, but maybe close enough for me.

      That leads me to think about all the things I could do with that, and I can imagine a lot of things. If I might ask, Brock, how are you using the controllers from your MPX-1? I'm sure that there are a lot of things I haven't thought of, so I'm curious about your application. I can see myself using a lot of things with filters and shifters, but this is kind of new territory for me, so I'd really appreciate any of your (or anyone else's) thoughts, sugdestions, or experiences.

      That leads me to the arpeggiator, or the part that the MPX-1 has that the above doesn't. I'm also wondering what a sequencer might do for me. I know exactly what you mean about new sequencers being either not road-worthy or having a lot of features that aren't necessary. I was wondering what your general opinion of some of the software packages that are available? I'm not sure I'd want to add a laptop to my rig, but then again, even used laptops (as in cheap) are powerful enough to run a MIDI sequencer and a few smartphone MIDI interfaces are starting to appear. And, software might be another alternative to adding external controllers.

      So that's got me thinking about the CC values of the PF parameters and settings that you're working on. That would be a *really* nice piece of information to have organized all together and not just pulled in pieces from what's in the UM. I'd be really interested in seeing that, actually not just the PF but for all the Factor pedals, so if you wouldn't mind, I might like to help you out with that at some point.

      What did you think of the other controller types you've tried? I've been looking at some of those, too, but am not sure that they'd be worth the effort it'd take to incorporate them. You're right, the Theremin not quite as portable (at least it's not as big or as heavy as a Leslie, though), but there's just something either really cool or really geeky about it that appeals to me. Seems to make my wife laugh, too… 😉

      I've looked at the Behringer FCB-1010, too, and I'm not terribly surprised that it's not as bad as one might believe at first. I'll leave the discussion about the ethics of that company to another forum, but as far as I can tell, it's nearest competition is the Roland FC-300, and if it works, great!! It's about 1/3 the price. The idea of being able to transmit a series of MIDI commands with one footswitch really does add a lot of functionality… like you were talking about, changing one preset around. I think that's one of the (kind of) "hidden" secrets to the Eventide products…

      It seems to me that a lot of guitarists tend to think in terms of stompboxes… they complain that the Eclipse only does one or two "effects" at once, when it seems to me that it's a completely different paradigm. The Eclipse or any of the Factors for that matter is just a computer. That computer loads a program and the more of the system's resources that program can use, the better can perform, instead of divying up the resources to 4 or 5 programs. Eventide usually refers to those programs as algorithms, but it's the same idea. One algorithm can provide a whole bunch of effects, and then it can be modified in real time to manipulate it in any way imaginable. That seems to me to be part of the idea behind Lexicon's use of a dedicated chip for reverb in the MPX-1, too, but it's amazing (or funny, or maybe just sad) how a lot of guitarists just scream when they don't have a "compressor," "eq," "distortion," "delay," etc., that they can turn off or on individually. (Please don't anyone take that personally, ok?) One algorithm can provide all that and a whole lot more, and using a series of MIDI commands unlocks all that potential. But, Brock, I know I'm not telling you anything you don't already know… mostly, that just brings me back to the beginning, or why I, or you, or anyone, would want to consider a rig like we've been discussing.

      So, with that, I'll wrap this post up by thanking you again for your input! It really has given me a lot to think about… I just love this stuff!!

    • #132954

      Just wanted to add this, in case someone missed it. Brock alluded to this in an earlier post, but just to try to help keep anyone from blowing anything up… Most CV controllers put out 0-5V. The ExpPedal in on the Factor pedals can use a CV voltage, but only 0-3V. Before plugging anything in, make sure that you know what voltage (and/or current, as applicable to the situation) everything is expecting.

      I once saw a customer at a local music store plug the speaker out of a power amp into the guitar input of a preamp… it literally burst into flames! While 5V isn't likely do ignite anything, it is definitely enough to cause permanent damage and that can be a costly mistake.

    • #121739

      Hey, Tim, we have quite the running novel here.  I would think that the Eclipse would be the better investment if sound / effects quality was the primary consideration.  It's certainly versatile in routing, internal controllers, and sheer number/quality of effects.  I have no idea what may or may not be transmitted over MIDI, though.

      The Lexicon's audio effects are very good … for 15+ year old technology.  I wouldn't try to compare the pitch shifting to the Eclipse.  But the forethought on its MIDI implementation is astounding.  I don't think that I've seen anything like it; including most any keyboard controller.  As arpeggiators go, the one in the MPX-1 is fairly basic.  In software, something like Cakewalk's Sonar / Project5 arp would run rings around it; feature-wise.  But you can "extract" relative CC values from whatever notes are transmitted.  For example, I can send a MIDI note from the FCB-1010 switch, have it arpeggiated in the Lexicon, and have CC messages cascade harmonies in the PitchFactor.

      Another very configurable arpeggiator – actually, 4 arps that transmits MIDI – can be found in the Alesis Ion / Micron.  These aren't going to output any CC values (notes/velocity only), but I mention it as an example of one of the deeper arpeggiator designs.  For those interested, there's a .pdf manual at the Alesis site that describes the features in detail.

      As for the MPX-1 MIDI controller arsenal, I approach them like building blocks; just like the modular synthesizers that they sprung from.  These can be used to infuse the characteristic "shape" and dynamics over any parameter in the destination hardware.  Which is any control, in any stompbox/processor, that's capable of MIDI reception.  I start with a feature that I could use, and assemble those 'building blocks' to get there.

      Examples:  I want to have detuning sweep over a narrow range in PitchFactor's 910/949.  No internal modulation is available.  An external LFO sine wave varies Pitch A, with its reciprocal (same LFO) controls Pitch B.  If the same setup were applied to level or mix parameters, it would add ping-pong panning or tremolo to the algorithm.  Or perhaps it would be used to add vibrato to the PF's Harmodulator, while still retaining use its internal envelope.  Or use the internal sine waveform, and apply an external MIDI envelope over that.

      In the MPX-1, any  MIDI modulator can modify any other  MIDI modulator.  So, for example, an envelope or ADSR can fade in the depth of an LFO, which itself can be 'sampled" by the sample & hold module into discrete steps.  That can end up in a guitarists' "bend to vibrato", widening vibrato depth (triggered by playing dynamics), or in a randomized realism that humanizes a too-perfect LFO waveform.  I've used vibrato as a common example, but the sky's the limit.  I use triggered chromatic "pitchbends", harmonies that sweep between scale degrees, ultra-thick detuning or dynamically-controlled chorusing, envelope-controlled scale changes, etc.

      The S&H and Random modules can provide "sequences", of a sort.  Random steps at a given rate, or anything the sample & hold can process.  For example, a Ramp Up through S&H yields an upward staircase of synchronized steps ("chromatic bend").  It's somewhat limited.  But with a sequencer … that's completely programmable.  Think of the Pitchfactor's Harpeggiator on steroids, but with every level of every rhythm, every pitch pattern, and every effect being user-configurable at every discrete "step".  You'll definitely get more bang-for-the-buck out of a software sequencer.  I use several of them in a recording environment.  I haven't had the reliability I'd like from a laptop in a live venue, though.

      In fact, I started out compiling handwritten notes on the PitchFactor's CC values, until I thought, "This is ridiculous.  I can compile and store all these values in a software sequencer, and get visual feedback along the way.  Once."  The task is daunting, though.  Some Pitchfactor parameters utilize all 128 CC values to trigger a discrete setting for ONE knob.  There may be three variations over that one knob x 128 values.  Great.  Nine more knobs to go, multiplied by ten algorithms.  So, I'll take any help that I can get; if only "beta testing" the results before I commit to MIDI files and .pdf charts.

      But the payoff is clear:  Anything found in [name your poison: AdrenaLinn III, Eclipse, Voiceworks, etc.] that has a comparable base effect in an Eventide stompbox can be simulated, or recreated completely, or warped into a unique, uncommon configuration.  User-definable "scales".  Slicer effects; user-configurable.  Adrenalinn's sequencing over filters, micro-delays, & levels.  Complete key / scale / chord overlay changes. Quadravox-Harmodulator combinations.  Waveforms & glides & stepped levels & sequence bursts all available to a single preset or mode in the targeted device.

      A reference chart allows single CC values to be put into pedalboards for repeatable results.  As MIDI files, single CC values can be combined in-the-box into sequences of CC values; each of which adjusts a parameter on an Eventide stompbox; hands-free.  After my initial hit-or-miss approach, I'm concentrating now on the Diatonic / Quadravox scales.  Some of that will transfer over to the more complete documentation later on.

      Believe it or not, I probably missed a few answers and a ton of techniques here.  This is an omission from my previous, lengthy reply.  In the 'aux switch controlling the expression pedal' area, we missed discussing a subtle (but powerful) distinction.  Were you to assign an aux switch directly to a parameter knob [KB0 > TIP], the high and low values are triggered by alternate foot presses.  Using [PDL > TIP] (at least in the PitchFactor, and with my switch setup), I get the maximum value on a switch press, and the minimum value upon release of the switch.  There are occasions (especially 'live') where a touch-and-release action is more desirable than alternating taps.

      As for the "why" of having a setup like this, it's simple.  I don't want to sound like anyone else.  I consider this to be creative expression, like any other aspect of music.  I've never been much of a "preset junkie".  Nothing against anyone who is; in fact, I've done some commercial preset collections for software synths and hardware.  The power is there in Eventide stompboxes and rack units, and I want to tap it.   Entry level only requires any single device that transmits MIDI CCs.   After that … fold in another 'building block' that fulfills a real need.

    • #121760

      Sorry it's been a little while since I've found the time to respond here. I've been busy with the Space… it's really an incredible piece of kit, just amazing! Thank you, Eventide, for making this one, it's everything I'd hoped it would be!!

      I also wanted to say thank you, again, Brock, for all your insights! I've really learned a lot from our discussion; it's helped me think of some entirely new ways to use my gear, very inspirational!

      I agree with you about the foresight shown in the MIDI implementation of the MPX-1. I'm not sure why other companies haven't done similar things. From a programmatic perspective, I don't believe it would be that difficult to implement. I mean, the data is already there, as is the transmisson mechanism, so it seems all that would remain is to link the two. Of course, I'm not a DSP programmer, so I don't really know…

      As for the Eclipse, from what I can gather, it doesn't transmit very much of its internal controller data via MIDI. It does seem to be very flexible, though, in being able to use MIDI CC data to manipulate all of the parameters of it's algorithms.

      And yeah, absolutely, the point of all of this is to not sound (or play) like anyone else… to try to get the sounds I hear in my head to come out of my speakers, to find inspiration for new ways to express myself.

    • #133813

      "So that's got me thinking about the CC values of the PF parameters and settings that you're working on. That would be a *really* nice piece of information to have organized all together and not just pulled in pieces from what's in the UM. I'd be really interested in seeing that, actually not just the PF but for all the Factor pedals, so if you wouldn't mind, I might like to help you out with that at some point."

      That would be HUGE!

      I'm contemplating a midi controller just to select effects, the user interface on the 'Factors drives me completely buggy. 

      Was playing a gig last night and had a really nice vintage delay setting on my TF that I was using on one song. Went to use it again and I must have stepped on the wrong button, but I could never get it back. I have to limit my efx to 2 or 3 so I can step through them sequentially, the names sometimes appear and disappear… Display is hard to read… Ugh. Really not well implemented.

      So, I am looking for some other way to do this and a midi controller seems the best way to be able to address my 3 'Factors and set them the way I want.

      Any progress on this information??!!



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