How is everyone using Melodyne on rhythm guitar?

I've been using Melodyne Editor on some funk rhythm guitar tonight because I wanted to get it SOOPER TIGHT and everything. 
 
So my workflow has been thus (would be interested to know how everyone else works):
 
1) Start with the polyphonic algorithm and use the Correct Pitch macro to correct any tuning/intonation imperfections. It seems to work well right out of the box without any fiddling. 
 
2) Bounce to clip
 
3) Open Melodyne again in percussive mode, and work with the timing of the chords from here. Sometimes using the Quantize Time macro on the whole clip worked well, other times it didn't and I had to quantize on a note by note basis. I'm still struggling with the timing tool because I can't get it to work all the time and it confuses me when I quantize one note and the one next to it shifts. Guess I didn't read the manual hard enough 
 
I don't think I would quantize everything 100% on every guitar part I played, but it suits this track. I'm still confused by a lot of Melodyne but I must say I was very pleased with the results tonight. 

I did a Nile Rogers-type rhythm track recently and used AudioSnap which worked a treat.  I don't think I'd venture into Melodyne to do it.

I seemed to get better results doing the timing in percussive mode, don't know exactly why. But for the pitch correction, polyphonic was essential of course.

I've played around with the timing correction in Melodyne, and found it pretty good.
 
As with a lot of things with melodyne, I have found it is better if you spend a little time working on the detected pitches first.  Working on these, getting them right, and getting better at selecting/de-selecting these, has been the eye opener for me.
 
A little work beforehand makes this program almost miraculous.  Reading the manual and experimenting really helps.  The more you do it, the better/quicker you get.

Here's another excerpt from the Celemony site:

Changing the attack speed of notes

The attack speed tool is the second sub-tool of the timing tool.
When you select the attack speed tool, a white dot appears at the start of every note. If you now place the tool anywhere on a note and drag vertically, this dot will move up or down.

If you move it upwards, the attack phase of the note will be compressed and play back faster, but the rest of the note increasingly slowly. The note will therefore have a harder attack; its peak amplitude will be reached more swiftly.

If you move the point downwards, the opposite will occur. The beginning of the note will be stretched – even beyond its visible starting point – and will play back more slowly, the rest, however, increasingly rapidly. Theattack will therefore be softer. Note that the position of the musical start of the note indicated by the orange anchor is not affected by changes in attack speed. The ‘perceived’ start of the note is therefore independent of the attack time, and the same is true of the end of the note.

You can vary the attack speed of notes individually, in order to accentuate them. You can also, however, select and modify the attack speeds of multiple notes simultaneously and thereby alter the timbre of an entire phrase.
If you double-click on a note or one of a selection of notes with the attack speed tool, the corresponding parameter will return to its neutral (central) position. The same result can be achieved by choosing from the Edit menu Reset Specific Edits > Time > Reset Attack Speed.

Time handles and attack speed combined

You can combine the use of time handles with that of the attack speed tool. Altering the attack speed in this case will cause the time handles to move, functioning as a kind of timing master. You can therefore shape the evolution of the note to enhance the phrasing before adjusting the overall timing (so that the note starts faster or more slowly) with the attack speed tool.