duncann

https://www.youtube.com/watch?v=8x98KFcMJeo

Using reatune in Reaper, as the units are unidentified on the hd500(x), every 0.1 in either direction is approximately 10 cents. Not sure about the HD400, but I would imagine the actual pitch glide effect on the hd400 is the same as on the hd500(x). Here's a link to a webpage with a bunch of calculators dealing with semitones, frequencies, cents, etc.: http://www.sengpielaudio.com/calculator-centsratio.htm

What you said. The closest together you can get is +0.1 or -0.1. You could try and convert it by knowing that it goes 2 octaves above, +12, +24, and 2 octaves down, -12, -24. If you're using it for a chorus, just set it to + or -0.1, it sounds really good. Also, put it in either path A or B after the amp. And if you want a nice wide stereo field, make sure the mixer is panned greater than 0% left and right. Maybe one drawback is it does create a phasing/comb filter effect that can be heard by itself, but might disappear inside a mix.

Sometimes, questioning what you, the user, are doing wrong, and admitting to yourself that you're actually the problem, is one of the hardest things to do. Bravo. Good lesson for everyone about nearly everything: Quit lying to yourselves.

Also, whichever FX is first in the chain is the one that will determine the state of the light. So in your case, you would want the screamer as the second FX.

There is going to be an audible interruption when changing patches. Not much you can do about that except timing it as best you can, or writing the music to accommodate for it.

Looks like someone captured a possum in their backyard, tortured it to the point of vomiting, cut its abdomen open, and proceed to plop the contents on a plate.

That fluid piano is fascinating. Opens up a lot of creative possibilities. Looks a little cumbersome to actually use it though, not to mention difficult to learn. I could see some sort of foot controlled electronics for controlling the sliders to help keep both hands free for the keys. Never heard of a well tuned piano before. I really liked the way it sounds. It certainly gives a unique character. It seems to add a considerable amount of richness and mysteriousness to that particular piece.

It would be interesting to see someone incorporate the genre of music that instrument is made for into another genre, say more of a rock guitar instrumental with popularity in mind. Would most people perceive it to be out of tune and something just not right with it? Maybe it would be something that requires the listener to actually work at the listening. It's also interesting that some people, like Steve Vai, actually go in the opposite direction with the frets, and have them made in a way that provides a more stable intonation across the entire fretboard.

Maybe you might have said the same thing the very first time you picked up, or even looked at, a 'normal' guitar. I don't know if that's the case for myself; I was too young to remember something like that. But I would guess it was something along the lines of simply-wanting-to-play-it-because-it's-cool, nothing more. But with that many frets, why not just play a fretless? Which to me, is probably more intimidating. Kind of feel sorry for the luthier too.

Wow. That's pretty interesting. What approximate frequencies does the rolloff start at? And even the blue comp treb does this?

Serious question. So the subtle, tube-like warmth added by this effect is the sole result of compression?

I find the tube compressor quite useful especially for bass patches.

That's it exactly. If you want the same tone on the delayed parts, set bass and treble to 100%.

Are you sure you're not getting confused about the way the performance view is displaying the icons? Two rows of four columns; which kind of implies each FS should control one of the functions displayed, in the order they are displayed. But notice the inverted text underneath the looper icon. I take that to mean that only FS1 - FS3 on the top row does something, and FS5 - FS8 does what's displayed on the bottom row. But FS4 does nothing, and I don't think it was ever intended to do something. Plus there's no label on FS4 except for FS4 above the switch. Or are you saying that even though FS4 doesn't control anything with the looper, it should still have a different, assignable function when the looper mode is engaged?

Adjusting the mix should be what you want. How is the signal chain setup? With the digital delay, you could also try adjusting the bass and treble. It defaults at 50% for each, which means it takes whatever signal is going in, and cuts the bass and treble by half. What bass and treble means in terms of frequencies, I don't know.

Ok. Sorry for my non-understanding of how the looper works. Learned something new. But I still can't find anything in the manual about FS4 and any relation to the looper. Have you tried using CC 61 to stop the looper, and then use CC 99 to toggle the looper mode?

Here's a rich text format file I found on these forums a while ago: mono_stereo.rtf

I doubt it's the saddles. The guitar, with edge tremolo, is fairly new, and even when new, I had problems with breaking strings. I have another guitar with an edge tremolo, same thing on that one ... so that leaves my technique as the likely culprit, which would include overuse of the tremolo, sigh. An interesting thing, I bought a bunch of the D'Addario 5 pack singles, high E and B. These break much more quickly than an E or B from a complete set.

I don't see anything about FS4 in the advanced manual relating to the looper. The foot-switch labeled LOOPER should turn it on/off manually though. Oh, I just noticed that the display, when the looper is turned on, gives the impression that FS4 is used to turn the looper on/off. It does not. Use the button to the right of FS4. Sorry I can't help with the rest as I've never used the looper.

For better clarity, you could also try assigning input 2 source to something not used, like variax or aux.

I can relate to the technology being a distraction, and sometimes maybe even an excuse, from just playing the guitar. Kind of a drastic measure, though, getting rid of all that stuff? I hope you don't regret it later on.

Very similar situations for years playing and age. I tried the lotion, or in my case healing ointment (neosporin) with a band-aid when not playing. It helped a little. But with the cold and dry environment - thankfully now over - it just wasn't enough. As a couple of others have said, I need to get a humidifier if I don't want it to happen next winter. But maybe next winter won't have such unusual cold-spell lengths. I mostly wondered how people that live in environments that are permanently dry deal with that.

According to the manual, CC 99 turns the looper on/off. To turn it off, the value has to be 0-63. To turn it on, the value has to be 64-127.

How does it hold up under constant abuse though? It doesn't seem like it can be any tougher than human skin.