Hello, Jason. (If you're not Jason, login or create account.)
Many Frequently Asked Questions are answered in this series of instructional videos:
http://eventide.com/Home/Eventide/AudioDivision/Products/StompBoxes/StompboxTutorials.aspx
Excellent videos Eventide. Those were very helpfull.
Thank You,
Southern California's Five Seasons: Earthquake, Brushfire, Mudslide, Riot and Bankruptcy......
Thanks
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.
rgrainer
Hi, how about a Youtube Channel to distribute these videos? Does Eventide has one?
MauricioBahia: Hi, how about a Youtube Channel to distribute these videos? Does Eventide has one?
As a matter of fact, yes!
http://www.youtube.com/user/EventideStompboxes
+1 on the thanx, much appreciated.
Of course, more videos would be appreciated more...
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. :-)
--Harhttp://www.ambientguitarist.comhttp://www.cdbaby.com/Artist/Har
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.
timothyhill: ...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.
...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!
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.
http://forum.eventide.com/cs/forums/p/6880/30374.aspx
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.
http://en.wikipedia.org/wiki/Fibonacci_sequence
http://en.wikipedia.org/wiki/Golden_ratio
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?
Absolutely!
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.
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...
timothyhill,
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
digital calipers!
Thank you for sharing these apparent attributes and their need for perhaps further research with a well plausible theory.
Noel Grassy.