FRIZZ v1.0.0 beta 2

The second test build of FRIZZ 1.0, not the release yet. Built from main at 6dd320e (tag v1.0.0-beta.2) with GCC 10.3; FRIZZ.bin md5 6d4b9b3a7a762ccf48f92b8a560bea49. What to try is the checklist in #55. Report feedback there or in an issue, naming v1.0.0-beta.2.

Heads-up for your scenes: beta.2 saves scenes in a new layout (the delay's and reverb's Level moved to page 2's knob 4, #172). v1.0.0-beta.1 reads such a scene file wrong: their Level and Ducking come out swapped, and a save on beta.1 then keeps it that way. Once beta.2 has run on your card, don't save scenes with beta.1, or put beta.2 on every key FRIZZ runs from. beta.2 reads beta.1's scenes as they were.

Controls that change since v1.0.0-beta.1:

• Scene changes are one gesture (#175): hold SHIFT and tap a scene key, once per bar. Then let go for a morph, press the transport knob for a drop on the bar line, turn it for the crossfader, or tap a second scene key for a build-up and drop. The same gesture again, or another scene, cancels it. A drop is no longer started with PLAY.
• The transport knob turns through a standstill into reverse (#174), with a hold zone around the stop. A DAW following FRIZZ's MIDI out stops there and goes on in step afterwards.
• The input's three keys on the settings page (#177): F# the source (AUX or the mic), G# the effects (through them or dry), A# live (on the master or not), kept per source. CC 84, 116 and 117 set them.
• The LEDs' brightness on knob 1 of the settings page (#176), 25–100 %: 5 % a detent, SHIFT + turn in quarters.
• The delay's and reverb's Level is on page 2's knob 4 (#172), in dB like every effect's (0 dB at three quarters); Ducking moved to page 1's knob 4.
• The freezer's roll by hand (#173): knob 3 divides the length while you hold the key.
• FRIZZ's own start-up (#195): a light-blue ripple from the CHOMPI key instead of the rainbow, and playable about a second after it starts instead of about six.

Fixed since v1.0.0-beta.1:

• The headphones are in phase with the input (#209), like the line out. Before, mixed with the dry signal, the lows cancelled.
• MIDI out: a new loop's Start goes with its first tick (#198), so the gear behind starts on beat 1 with the loop.
• The delay's echoes stay on the beat (#167), and further effect fixes from the 1.0 audit (#167, #168): the shifter's grain jumps, the crusher, the resonator, the damping.
• MIDI in (#166): a SysEx cut short no longer deafens it. Tap tempo goes by when you pressed LOOP (#169).

Tested by machine for this build:

• REAPER synced in both directions, with real music: the loop sits within ±1.5 ms of the song over 2 minutes, and restarts and jumps land within 2 ms.
• The MIDI suite passes.
• No garbled USB name in 16 of 16 starts.
• CPU: with a loop and every effect, about 72 % mean and 81 % at worst, the same as beta.1.

Install as a test build: with the multi-firmware launcher, copy FRIZZ.bin into the card's FIRMWARE folder under the key you want, for example FIRMWARE/13_FRIZZ-BETA.bin. The setup page offers releases only. Without the launcher, replace FRIZZ.bin in the card's top folder (INSTALL.md). To go back, use v1.0.0-beta.1's FRIZZ.bin (mind the scenes, above).

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Added

• A hard drop to a scene on a bar line (#153, #175), after the Neuzeit Instruments
  Drop's drop mode: hold SHIFT, tap a scene key, press the transport knob, let go. The scene
  lands all at once on the downbeat, as a recall would there: what it turns on starts on the
  line (the freezer grabs, the slicer attacks, the tape stops), what it turns off has faded out
  by then. More taps of the scene key put it a bar later. SHIFT + scene key A, then scene key
  B: a build-up, the morph to A, and B dropping on the line where it ends. Its key blinks red
  on the beat while it waits. Over MIDI, CC 83 drops to scene 0-4 (CC 9 sets the bars). See
  MANUAL.md, "Timed scene changes".

• The built-in microphone as an input (#113), as on TAPE and TEMPO: with no cable in AUX,
  FRIZZ hears CHOMPI's mic, and records it into the looper like AUX. Plugging a cable into AUX
  switches to AUX, pulling it out back to the mic; at power-on the jack decides. The mic starts
  not live on the master (#152, #177): a speaker would feed it back. Record it and play the
  loop, hear it on the headphones' input-only feed (VOLUME's page 3), or switch it live on the
  settings page (below). It's mono, 5 times the
  input gain and through a highpass at about 150 Hz, as on TAPE (without TAPE's narrow
  notches, #127), and the mono setting doesn't touch it. See MANUAL.md, "Input: AUX or the
  mic".

• AUX dry (#152): AUX can go past the effects and the master compressor, straight to
  VOLUME and the safety limiter, so a drum machine or a finished song plays as it is while you
  play the loop through the effects. The mix knob still sets the balance (its input share is
  the dry AUX), and the mix's automatism stays: a recording finishes on the loop alone, an
  erase goes back to the input alone. See MANUAL.md, "Input: AUX or the mic".

• The input's three keys: source, effects, live (#177). On the settings page's upper
  octave, left to right as the signal goes: F# picks the source, AUX (green) or the mic
  (magenta), until the next cable goes in or out of AUX; G# sends the source through the
  effects (green) or dry past them (white); A# puts it live on the outputs (lit) or not (dim).
  G# and A# are each source's own and saved: the jack or F# brings up the other's. So the mic
  can go live, through the effects or dry (mind the feedback near a speaker), and AUX can be
  not live, recorded without being heard on the master. Out of the box AUX is live through
  the effects, the mic through the effects but not live. G# is dark while the source isn't
  live; pressed then, it blinks red 3 times and changes nothing. The looper always records the
  source as it is. Over MIDI, CC 84 picks the source (0-63 AUX, 64-127 the mic), CC 116 sets its
  effects (64 and up dry), CC 117 it live (64 and up on), without saving them, and MIDI
  feedback sends all three. A beta.1 card's AUX dry is AUX's G#. See MANUAL.md, "Input: AUX or
  the mic".

• The LEDs' brightness on knob 1, 25-100 % (#176): on the settings page knob 1 sets it, 5 %
  a detent; SHIFT + turn steps 25, 50, 75, 100 %; SHIFT + press is 100 %. Its LED is white and
  dims with the others. A card's 50, 75 or 100 % stays as it was. See MANUAL.md, "LED
  brightness".

• An input gain for each input, saved (#152): AUX and the mic each have their own input
  gain (VOLUME's page 2), kept on the card; switching the input picks its gain. VOLUME works on
  the settings page too: page 1 the output, page 2 the input gain, a press the other page; its
  LED shows the page for 2 s, then the battery again.

• An input meter (#152): VOLUME's page 2 LED shows the input as the looper records it, dim
  to green to yellow, red where the loop would clip (its limiter takes it, see Fixed); for a
  second after a turn it shows the gain, blue to red, as before.

• A scene crossfader by hand (#66), after the Octatrack's: SHIFT + a scene key, and
  while you still hold SHIFT, turn the transport knob: the morph is in your hand, the scene
  you're in on the left, the one you picked on the right, back and forth as often as you
  like (24 detents from end to end), with or without a loop. Let go all the way right and
  you're in the new scene; all the way left and you're back where you were; in between it
  stays there, as stopping a morph leaves it. The two scene keys light in their mix, the
  transport LEDs show where it is. Over MIDI, CC 80 does the same for any running morph.
  See MANUAL.md, "Crossfading by hand".

• A phaser on the 7th white key, next to the flanger (#68), after the SP-404MK2's and the
  Elektron Tonverk's: six allpass stages in a row with feedback, sweeping three notches
  through the sound, inside the resonator's loop, so with the resonator on the sweep moves
  through its ringing. Knob 1 is its rate, in two halves: turned
  left of the centre it runs free, .02 to 50 Hz (its LED in the phaser's colours, violet to
  orange); right of the centre it follows the effects' tempo, 1/16 at the centre, then 1/8,
  1/4, 1/2, a bar, 2 bars and 4 bars at the top (its LED green to yellow), a step every 3
  detents, and with SHIFT a step every detent. Knob 2 is feedback (the resonance), knob 3
  depth (at 0 the phaser is dry; turning it up brings the notches in and widens the sweep, up
  to 2.5 octaves either way), knob 4 the centre the sweep moves around (100 Hz to 6.4 kHz,
  800 Hz in the middle). Page 2: Mix, stereo (the right channel's sweep up to half a cycle
  behind), Band and Level. Its key is violet. Over MIDI it's channel 7, its latch CC 108 on
  the global channel. Scene files from before it load with the phaser off, on its defaults.
  See MANUAL.md, "Phaser".

• The chaos key on the 14th white key (#65), after the Red Panda Tensor's RAND and the
  Chase Bliss Blooper's Scrambler: an effect slot like any other (hold, latch, scenes) that
  makes no sound of its own. Knob 1 lets the effects you've latched drop out and come back on
  random steps (their keys dim while they're out); knob 2 plays random steps of the loop from
  elsewhere in it, while the loop itself runs on; knob 3 sets the grid, 1/16 to a bar, on the
  effects' tempo; knob 4 turns it from every step rolled anew to one bar repeating as a
  pattern. Chance decides only when your effects act, never how they sound. Over MIDI it's
  channel 14, its latch CC 115 on the global channel. See MANUAL.md, "Chaos key".

• A second page for the FX knobs: press any of knobs 1-4 and all four turn over to the
  selected effect's page 2, and its number blinks on their LEDs, twice (#117); press again for
  page 1, which blinks once, as VOLUME's pages do. On page 2, knob 4's LED is a VU meter of the
  effect's output, in VOLUME's colours and as bright as its Level, so you see the page whenever
  the effect sounds; on the delay and reverb it shows their return. Every effect but the chaos
  key has one. Pressing or selecting another effect, or the compressor, brings page 1 back;
  pressing the key of the one already on the knobs (an effect's or the compressor's) keeps page
  2. Scenes, recalls and morphs carry page 2 along; scene files from v0.11 load with page 2 on
  its defaults. Over MIDI, page 2 is CC 18-21 on the effect's channel. See MANUAL.md, "Page 2".

• Mix, Band and Level on every effect's page 2, on the same knobs everywhere (#40):
  knob 1 Mix (the dry sound against the effect's: parallel distortion, harmonies under the
  shifter), knob 3 Band (the effect only on the lows or only on the highs, the rest passing
  dry; on the delay and reverb a low or high cut on what goes in) and knob 4 Level (the
  effect's output, off to +12 dB). The flanger has Band and Level; on the delay and reverb,
  knob 1 is Freeze. At the defaults every effect sounds as before. See
  MANUAL.md, "Page 2".

• Each effect's own setting on knob 4, stereo on page 2's knob 2 (#40, #117), after the
  SP-404MK2 and the Elektron Tonverk: knob 4 is what you play, the freezer's gate (a
  stutter), the shifter's grain, the flanger's polarity, the resonator's env mod, the slicer's
  shuffle, wow & flutter's age (dropouts); the folder's symmetry, the crusher's XOR and the
  filter's LFO division stay there. Stereo, which you set and leave, moved from knob 4 to page
  2's knob 2, and the folder (the right channel driven harder), the crusher (its right rate
  lower) and the filter (its right LFO lagging) have it too now. The tape stop (its darken),
  the delay (its damping: left thinner, right darker repeats) and the reverb (its pre-delay,
  up to 250 ms) have their own setting on page 2's knob 2; the resonator its own Band and
  Level too. Saved scenes are moved along, and so is MIDI: CC 17 is knob 4, CC 19 page 2's
  knob 2.

• Freeze and ducking on the delay and reverb (page 2's knob 1, page 1's knob 4): freeze
  holds the echoes or the room, by degrees; ducking turns them down while you play.

• Depth on the tape stop's knob 4: from a full stop (as before) to slowing down to half
  speed.

• A page 2 for the master compressor: Mix, a sidechain highpass (off, or 20 to 500 Hz,
  so the bass doesn't pump the rest) and Makeup (0 to +24 dB), on the knobs an effect has
  its Mix, Band and Level on (#38).

• A setting the card can't take shows on the settings page (#81): when a change there
  (channel, transport following, mono, clock factor, clock source, MIDI out, brightness, the
  input's) can't be written, because there's no card or a full one, the key you changed blinks
  red 3 times, and again with each of the 3 retries. Before, only the compressor's key on the
  play page blinked.

• The safety limiter shows: the compressor's key turns red while it limits the outputs,
  so you know when to turn something down.

• Clock source on the settings page (A# of the lower octave): Auto (the default, as
  before: whichever input ticks first), TRS, USB, or internal (no MIDI clock: the loop, taps
  or the last tempo, and tap tempo works while a clock runs). On TRS or USB, MIDI Start, Stop,
  Continue and Song Position count only from that input too. Saved on the card; firmware/remote.py source sets it.
  See MANUAL.md, "Clock source".

• The beat on the settings page: the clock factor's key (G# of the lower octave) is lit
  for the first half of every beat of the tempo the effects follow, with the factor applied,
  and dim for the second.

• MIDI out on the settings page (C# of the upper octave): off (the default), TRS, or TRS
  and USB. FRIZZ sends its clock, always running while it's on, at the tempo it thinks in: the
  loop's, a MIDI clock coming in (passed on with the clock factor), or the last tempo. A new
  loop sends Start, a pause Stop, PLAY Song Position and Continue, so a drum machine follows
  the loop; without a loop, a DAW's Start and Stop are passed on. Nothing goes back where a
  clock comes from. Saved on the card; firmware/remote.py out sets it. See MANUAL.md, "MIDI
  out" (#60).

• MIDI channels per effect (#97): channels 1-15 are the white keys 1-15 (14 the chaos
  key, 15 the master compressor), the same CCs on each: 14-17 page 1's knobs, 18-21 page 2's,
  22 the latch. In a DAW, one MIDI track per effect with the same automation lanes. They count
  over USB always, and over TRS unless the settings page's new D# (lower octave) switches them
  off for a shared TRS chain. The global channel (16 at first) has the rest. See MANUAL.md,
  "Channels" and "Controllers".

• On the global channel (#97): CC 14-22 reach the effect in focus, the one the knobs edit,
  and CC 23 picks it (1-15, by key); CC 82 taps the tempo; CC 90 sets the loop's speed
  outright, in semitones (64 as recorded); CC 102-115 latch the effects by key.

• The beat on PLAY (#110): the play page's PLAY LED shows the beat the effects follow, as
  the settings page's G# does: dim white for the first half of each beat without a loop or
  while recording, a short flash on each beat while a loop plays (stronger on each bar's 1),
  and pulsing over the dim position while it's paused. LOOP's red blinks stay as they were.
  See MANUAL.md, "Looper".

• MIDI feedback (#104): with the settings page's new upper D# on, what you change on the
  panel goes out as the CCs that would set it, wherever MIDI out goes. An effect's knobs and
  latch go on its channel, and for the effect in focus on the global channel too. The latches
  by key, the focus, the compressor, the gains and the loop's speed go out, and the crossfader
  while you hold it. A recalled scene sends what it changed, a morph where it lands. Nothing
  that came in by MIDI goes back, a value goes at most every 10 ms, and the clock keeps its
  timing. Off at first. See MANUAL.md, "MIDI feedback".

• The loop follows a DAW's Start and Song Position (#97), with transport following on: a
  loop recorded to the clock goes back to its start on Start and plays from the next tick, and
  Song Position while stopped moves it there (by its length in 16ths), so it stays lined up
  with the song; Continue plays on from the next tick. A free loop plays on as before. With
  MIDI out on, the jump back sends Start, so the gear behind starts over with it. See
  MANUAL.md, "Start and Stop".

Changed

• FRIZZ's own start-up, and a faster one (#195): instead of the glow and the rainbow, a
  light-blue ripple spreads from the CHOMPI key across the panel, like a stone dropped into
  water, and runs out in half a second; then the play page, sound and keys at once. FRIZZ is
  ready to play about a second after it starts, where the sound came after about 1.75 s and
  the keys after about 6 s, and it answers a computer over USB 0.75 s sooner. Keys pressed or
  held while it starts still do nothing.

• The scene gestures are one gesture (#175), changed since v1.0.0-beta.1: SHIFT + a scene
  key, tapped once per bar, then with SHIFT still held: nothing (let go) is a morph, a press
  of the transport knob a drop, a turn the crossfader, a second scene key a build-up + drop.
  The bars count from letting go of SHIFT, for a drop too (in beta.1 from PLAY). Whatever
  comes first holds for the SHIFT hold; the crossfader takes over only after 2 detents one way,
  150 ms without a press. One sequence at a time: SHIFT + a blinking scene key in a later hold
  stops it where it is (it was SHIFT + PLAY), SHIFT + another scene key stops it and starts a
  new one from there (it was refused), and a later hold no longer adds bars. PLAY is out of
  the scene gestures: SHIFT + PLAY plays and pauses. MIDI follows: CC 3 or CC 83 during a
  sequence stops it and starts the new one (CC 83 no longer joins a CC 3 morph as its drop),
  CC 81 stops it. A control change the user let in before 1.0 as an exception to the feature
  freeze. See MANUAL.md, "Timed scene changes".

• The transport knob turns on through a standstill into reverse (#174), as TAPE's does:
  below 1/16× a hold zone of about 4 detents, where the tape glides to a stop (0×) and the
  loop fades out with it; turned on, it plays in reverse from −1/16× up to −2×, and the same
  way back. SHIFT + turn (the ladder) is unchanged, and from a standstill goes to 1/16× the
  way you turn. At a standstill the effects' beat runs on as while paused, at 50 BPM, so a
  scene morph still lands on its bar line; turned out of it, the beat snaps back onto the
  loop. Both transport LEDs are red there. MIDI out treats it as a pause: Stop going in, Song
  Position and Continue coming out. A control change the user let in before 1.0 as an
  exception to the feature freeze. See MANUAL.md, "Looper".

• The delay's echoes stay on the beat (#167): its stereo spread (the left echoes 20 ms
  late, the right 10 ms, from TEMPO) went round the feedback too, so every repeat came that
  much later than the one before: at 1/4 and 120 BPM the 5th left echo was 100 ms off the beat.
  Now every echo is just the spread late, and the repeats stay on the beats as MANUAL.md
  always said. The delay sounds tighter, its long tails no longer smear.

• The scene keys moved two dark keys to the right (#67): the blank scene is now on F# of
  the lower octave, scenes 1-4 on the lower G# and A# and the upper C# and D#. The lower C#
  and D# do nothing on the play page for now; they're kept free for pages to come. Your
  scenes stay as they were: the same slots on the card, the same program changes (0-4) and
  CCs. Save, copy and delete are reordered and recoloured: the upper F# saves (green), G#
  copies (blue), A# deletes (red), where A# saved (blue), G# copied (green) and F# deleted
  (amber), as on TAPE and TEMPO. Notes follow the keys: a controller or DAW mapped to the
  scene keys' notes now finds them on 54 (the blank scene), 56, 58, 61 and 63, save on 66 and
  delete on 70 (copy stays on 68). See MANUAL.md, "FX scenes".

• Heavy effect combinations take less of the CPU (#136): the effects and the master
  compressor work through each block of 24 samples one effect at a time instead of all of
  them sample by sample. They sound the same as before, but many effects at once leave more
  room, so crackling under a heavy combination (#21) sets in later. Page 2 off its defaults
  (Mix, Band, Level) on many effects at once costs less too (#142).

• The pitch shifter's peaks take less of the CPU (#137): where a tap starts over, the
  shifter searches for the best match, which took almost a tenth of an audio block at once,
  twice at stereo 0. That search is now cheaper and spread over two blocks, so the busiest
  moments with the shifter on take about 4 to 12 percent less of the CPU, and crackling
  under a heavy combination sets in later still. The shifter sounds as before: each
  crossing of its two taps rests half a millisecond longer, and shifting up its voice comes
  a fraction of a millisecond later (up to 2 ms at the swoop's top).

• The freezer, shifter and slicer fade in a morph (#118), with their page 2 Mix, instead
  of switching on the bar line. One the new scene turns off glides to dry over the morph and
  goes off on the bar line, as the other effects do; the shifter or slicer the new scene
  turns on comes on when the glide starts, dry, and its Mix glides up to the scene's. The
  freezer coming on still grabs on the bar line: a grab in the middle of a bar sounds worse.
  The crossfader does the same by hand: the shifter and slicer fade in from the left end,
  the three fade out up to the right end, the freezer coming on switches in the middle as
  before. Stepped knobs of an effect on in both scenes (delay division, slicer pattern,
  shift …) still switch. See MANUAL.md, "Morphing to a scene".

• Stereo moved from knob 4 to page 2's knob 2 (#117) on the freezer, shifter, flanger,
  resonator, slicer and wow & flutter, where the phaser and the folder's, crusher's and
  filter's new stereo are too: knob 4 is the effect's own setting now, the one you play (see
  Added). Scenes saved before load with every value where its knob went; over MIDI, CC 17 on an
  effect's channel is that setting, CC 19 stereo.

• The clock factor works on every tempo (#116), not only on MIDI clock: the settings
  page's lower G# (as sent, double, half) now also doubles or halves the effects' tempo from
  a loop, from your taps and from the last tempo. Tap the tempo of a song on AUX (SHIFT +
  LOOP), then put the delay, the slicer and the rest at double or half of it. The loop
  itself stays as it is (its length, its beats, the bars it was recorded to), and a loop
  recorded to a clock at double has the effects where they were. Changed while a loop plays,
  the effects' beat 1 stays on the loop's start; a tapped beat stays on your taps. The beat
  on G# and PLAY and the clock MIDI out sends follow it, and the 50-300 BPM limit applies
  after it. At half, a loop of an odd number of beats holds a beat and a half a pass: the
  effects' beats run on evenly, and beat 1 lands on the loop's start every other pass. See
  MANUAL.md, "Clock factor".

• The MIDI map is new (#97): everything a DAW automates is a plain CC (DAWs automate NRPN
  poorly, Ableton Live not at all), effects have channels of their own, and nothing collides
  with what hosts and keyboards send by themselves. A setup made for v0.11 needs its numbers
  moved:

  What	v0.11 (channel 16)	Now
  An effect's knobs, page 1	CC 70-117 (70 + 4 × the effect + the knob − 1)	CC 14-17 on the effect's channel (its key: 1 freezer … 13 reverb)
  An effect's knobs, page 2 (new since v0.11)	—	CC 18-21 on its channel
  An effect's latch	CC 20-31	CC 22 on its channel, or CC 102-115 by key on channel 16
  The effect the knobs edit	—	CC 14-22 on channel 16, CC 23 picks it
  Master compressor	CC 52-55	CC 24-31 on channel 16 (28-31 its page 2), or CC 14-21 on channel 15
  Output gain, input gain, mix	CC 56, 57, 58	CC 85, 86, 87
  Headphone feed	CC 59, 0 the master	CC 89, as the knob: 127 the master
  Morph to a scene, its bars, stop	CC 62, 61, 63	CC 3, 9, 81
  Knobs 1-4, transport, VOLUME turned (relative)	CC 14-19	FRIZZ's SysEx (remote.py)
  Loop speed	CC 18, relative	CC 90, outright
  Mono input	CC 60	the settings page, FRIZZ's SysEx
  14 bits	NRPN, the CC's number as LSB	none (CC 46-53 kept free for later)

  Program changes, All Notes Off and FRIZZ's SysEx stay as they were, and the notes still
  press the keys from 48 up, so what moved to another key has another note now: the scene
  keys, save and delete, and the resonator to the tape stop (above). A bug report from v0.11
  replays its CCs by the new map.

• Switches act as they change (#97): a latch acts as its CC crosses 64, a morph (CC 3) as
  its value changes, stop and tap as they cross 64 upward. An automation lane sending the same
  value again no longer fires them again, nor takes back a latch you switched by hand.

• Nothing that comes in by CC is saved (#97): the compressor's CCs (and v0.11's mono CC)
  went to the card 2 s after they rested, so a DAW's automation wrote it again and again.
  After a restart the compressor is as you left it by hand, its knobs, the settings page or
  FRIZZ's SysEx.

• The settings page's dark keys are grouped by topic (#97): the lower octave is MIDI in,
  C# every channel (as before), D# the effect channels over TRS (new), F# transport following
  (was D#), G# the clock factor (as before), A# the clock source (was the upper G#); the upper
  octave C# MIDI out (was the upper D#), F# the input's source and SHIFT + F# mono (was the
  lower F#), G# and A# the input's effects and live (#177), and the upper D# MIDI feedback
  (new). The LEDs' brightness (was the lower A#) is on knob 1 now (#176). See MANUAL.md,
  "Settings page".

• The resonator, slicer, wow & flutter and tape stop are one key to the right (#68): the
  8th, 9th, 10th and 11th white keys, making room for the phaser on the 7th, next to the
  flanger. MIDI notes press the keys, so the notes for them move with the keys, as do their
  MIDI channels (the new MIDI map, above).

• remote.py and FRIZZ's SysEx count the phaser as effect 12 and the chaos key as 13,
  so the compressor's knobs are asked for as 14, and a scene travels with 4 effects to a part
  instead of 3. A
  remote.py from before can't send or fetch scenes from this version; scene files saved by
  it load, with the chaos key off.

• The knob LEDs use white only for a neutral point: a knob with a centre (shift, cutoff,
  random, damping, grain, every Band) and Level (at 0 dB) are white there, blue below and
  orange above, on every effect. Other knobs go between the effect's two colours.

• Nothing sets a level by itself any more but the safety limiter. The folder is no longer
  matched to its input's level, and the crusher no longer held to it: driven, they get
  louder, the folder much louder on quiet sounds (at full drive a sound 30 dB down comes out
  about 27 dB louder), and page 2's Level sets how loud. Scenes with the folder or the
  crusher come back at a different level than they were saved at.

• The master compressor is a plain one (#38): its makeup is no longer automatic (it added
  up to +14 dB, to everything) but a knob on page 2, at 0 dB at first. Speed is split into
  Attack (knob 3) and Release (knob 4), and Mix moves to page 2's knob 1. Saved settings
  come back with Speed as both and Makeup at 0 dB, so a compressor you had turned up is
  quieter until you set its makeup. Over MIDI: CC 24-31 (the new MIDI map, above).

• Transport knob in semitones: while a loop plays, turning it changes the speed a
  semitone every 2 detents, from 2× down to 1/16×, then on through a standstill into reverse
  up to −2× (#174, above), and stops at both ends. SHIFT + turn jumps in fifths and octaves as
  turning did before (from between two of them, to the next one in the turn's direction).
  Over MIDI, CC 90 sets it outright, in semitones. See MANUAL.md, "Looper".

• Bug reports moved to the settings page: with the mode switch up, hold SHIFT (CHOMPI)
  and the VOLUME knob pressed for 2 seconds. SHIFT + press the transport knob on the play page
  does nothing now, so a report can't be written by accident while playing. See MANUAL.md,
  "Bug reports".

• FRIZZ starts up a quarter of a second faster: it no longer clears the loop's 32 MB of
  memory at power-on, which a loop never plays before it has recorded it.

• The delay's and reverb's Level is on page 2's knob 4, as every effect's (#172), on the
  same scale: off at the bottom, then -36 dB to +12 dB, and 0 dB at first, so the delay and
  reverb are heard from the first press of their key. Ducking moves to page 1's knob 4, where
  the level was. Knob 4's LED on page 2 still shows their return, now as bright as Level
  turns it. Saved scenes come back sounding as saved: their level moves to page 2 at the same
  loudness in dB (below -36 dB off), their ducking to page 1. Over MIDI, the CCs follow
  the knobs: on the delay's and reverb's channels (12 and 13) the level is now CC 21, as on
  every effect, and CC 17 is ducking; automation written for CC 17 turns ducking now.

• The freezer's roll is played by hand (#173): knob 3 divides the length, off, 1/2, 1/4,
  1/8 and 1/16 of it (no shorter than 1/64 bar), each step taking at the start of the next
  repeat so the repeats stay on the grid. It no longer halves the loop by itself after a
  number of repeats: the knob is the roll, and back to off is the whole length again in one
  move. A capture with the roll still on, say, 1/4 repeats a quarter of the length from the
  start. Saved scenes keep the roll's step on the knob.

Fixed

• The headphones in phase with the input (#209). CHOMPI's headphone out came out
  polarity-inverted against what went into AUX, and against the line out; on its own that's
  inaudible, but mixed with the dry signal (FRIZZ as a send effect beside the DAW's dry
  track, or the headphone out and the line out summed) the lows cancelled. Now the
  headphones and the line out are both in phase with AUX. The stock firmwares do the same as
  FRIZZ did; it comes from CHOMPI's analog stages, and FRIZZ turns the headphones back.

• MIDI out: a new loop's Start goes with its first tick (#198), so the gear behind plays
  beat 1 with the loop. When the clock going out had just ticked as the loop started, that
  tick was taken for the loop's first, and the next came a tick (about 20 ms at 120 BPM)
  later, and the gear's beat 1 with it: now and then for a loop on FRIZZ's own clock, every
  time for a quantized loop on a clock passed on to gear that wasn't playing yet. Over USB the
  same.

• Tap tempo and LOOP's erase lock go by when you pressed LOOP (#169), not by when FRIZZ got
  round to it: a tap was up to 2 ms off, and while the card was being written (a scene saved)
  tens of ms, so the tapped tempo came out a little off. MIDI taps already were.

• The compressor key no longer flashes red after the settings page (#169) from limiting
  that happened while the page was up; it turns red only while the limiter still works.

• A bug report is no longer cut short by a save (#169): after a save that had failed, the
  next one (a scene, or the settings 2 s after a change) mounted the card again while a report
  was being written, and the report failed. That save now waits until the report is written.

• A SysEx cut short no longer deafens MIDI in (#166): one that broke off (its sender
  unplugged mid-message) swallowed every note, CC, program change and Song Position after it
  until the next SysEx ended, so a note held then hung. Now the next message ends it, as MIDI
  has it; the clock was never affected.

• MIDI out: a new loop's Start reaches every port whose gear didn't get one (#166): with
  a Start coming in on the TRS jack and passed on only over USB, a loop recorded then sent the
  jack's gear no Start, as if it already played. Now FRIZZ keeps track port by port.

• A bug report keeps CC 3 and CC 83 past the scenes (#166): sent between two morphs to the
  same scene, it lets the second go, but the report left it out, so its replay didn't morph.

• MIDI out over USB keeps the transport while FRIZZ writes the card (#166): a scene saved
  while the loop paused or played on could hold USB up long enough that its Stop, or its Song
  Position and Continue, were dropped with the ticks. Now ticks are dropped first.

• No click when the shifter's Grain jumps (#167): a scene recall, MIDI or a fast turn of
  Grain while the shifter plays could let one of its two voices play unshifted for up to
  20 ms, a click (worst with a long grain after a short one, shifting up). The new grain now
  comes in as the voices start over, within a few of their lives (a split second).

• The crusher's dive after a quick tap (#167): a tap shorter than the dive's 0.1 s fall,
  then a pause, and the next press started the dive from too high a rate, as if the first
  fall had been cut off where the tap ended. It now picks up where it would have got to.

• The resonator's env mod after a pause (#167): punched in again after it had gone quiet,
  with Env Mod up, it rang at the feedback the last loud passage had pushed it to for about
  0.1 s. It now starts from what it hears.

• No click in the echoes when the delay's damping comes on at once (#167): a scene recall
  or MIDI turning Damping from the centre to one side could click in the feedback, the filter
  starting from the sound it had when it was last on. It now starts from the echoes as they
  are.

• With the mix at the loop alone, none of the input is left (#168): a trace of it, about
  86 dB down, stayed on the master; the headphone feed likewise settles exactly on the master
  or the input now.

• A settings file with a word where a number belongs is kept, not read as 0 (#168): a
  garbled gain_aux silenced AUX and was saved back. Now frizz_master.txt is set aside as
  frizz_master.bak on the next save, and the settings start from their defaults.

• A hot input no longer distorts in the loop (#152). Live it sounded clean, but the loop is
  stored at 16 bits and clipped hard: at the default input gain from about 7 dB below the
  input's full scale (measured: 1 kHz at full scale, the loop 26 % distortion, live under 1 %). Now
  a limiter holds what the looper records just under full scale instead; below that the loop
  is what came in, as before. Both inputs, AUX and the mic.

• MIDI out over USB sent the Song Position twice (#157): after a pause, PLAY sent it two
  times over USB (once out of TRS, as it should), so a DAW following FRIZZ got it twice. Now
  once.

• The pitch shifter's first moment no longer slips through unshifted (#140): turning
  the shift up out of the centre the first time after power-on (or punching the shifter in
  with the shift already up), or turning it the other way than it last went while it was
  off or at the centre, could play a split second of the unshifted sound under the shifted
  voice, or a stuck one. The shifter now starts its two voices afresh in those cases;
  otherwise it carries on as before.

• The low-battery countdown shows VOLUME red (#43): in the 15 s before the CHOMPI
  switches itself off on an empty battery, VOLUME's LED flashes red while the others flash
  yellow, so the battery's red (MANUAL.md, Settings page) is seen exactly when it matters.
  Before, VOLUME flashed yellow with the rest and its red was never shown.

• No click when a scene recall takes the flanger's stereo back to 0 (#130): depending on
  how far its two sweeps had drifted apart, the right channel's sweep raced back onto the
  left one in a few milliseconds, a click. It now glides there as a short bend, in under a
  tenth of a second; stereo at rest sounds as before.

• Song Position on a loop recorded to a clock reads the sender's 16ths by the clock
  factor the loop was recorded at (#116): with the factor changed since, it moved the loop
  to the wrong place.

• Selecting a latched effect keeps it latched (#115): SHIFT + an FX key played as a
  quick roll, letting go of SHIFT just as the key went down, or the key landing a moment
  before SHIFT, could count as a plain press or as the latch gesture, and the effect dropped
  out or latched when you let go. SHIFT now counts as first when it goes down up to about
  15 ms after the key, or is let go up to about 15 ms before the key registers; a key that
  touches again just after you let go of it doesn't count as a new press either. The latch
  gesture (hold the key, then SHIFT) works as before; it just needs a little more than
  15 ms between them, as it always gets. The same goes for the compressor's key.

• What hosts and keyboards send by themselves turns no knob (#97): a DAW's pitch-bend
  range (RPN 0, then the null RPN) turned the slicer's knobs to 0 or the top, data increment
  and decrement (CC 96/97) moved the resonator, keyboards' CC 71 and 74 the freezer and the
  shifter, GM's CC 91 and 93 the flanger, and a 14-bit controller on the latches (CC 20-31)
  also wrote their LSBs, CC 52-63: the compressor, the gains, mono and the morph. None of
  these numbers is used now. Reset All Controllers (CC 121) does nothing.

• A note tapped faster than FRIZZ reads its keys (two in one USB packet) is a tap: notes
  are taken in the order they came. Before, a note on and off within half a millisecond was
  lost.

• A clock tick inside a SysEx counts (#18), and the SysEx around it still arrives whole:
  a DAW sending SysEx while its clock runs cost ticks, and the tempo with them.

• A Song Position after a program change is read whole: its second byte became a program
  change, recalling a scene.

• The CHOMPI key lights white while you hold it on the settings page (#81), as SHIFT on
  the play page and as the manual says, also through the 2 s SHIFT + VOLUME hold for a bug
  report. It stayed dark there.

• The effects' tempo holds still on a MIDI clock (#19): at fast tempos (around 174 and
  300 BPM) and between two whole BPM (say 120.4), it used to flip between neighbouring
  BPM many times a second, moving the delay time with it. It's now measured over the last
  few seconds; a jump in tempo is still followed at once.

• A loop runs at exactly its speed again after the speed has been changed: after a
  glide (back to 1× or to any other step) it used to stay a hair beside it, about 0.06 %,
  so a loop recorded to a MIDI clock drifted away from it by about half a millisecond a
  second, and the effects' tempo and MIDI out, which follow the loop, with it.

• A scene file FRIZZ can't read is kept as frizz_scenes.bak also when a save cut
  short by a power cut sits next to it: the boot used to finish that save by deleting the
  unreadable file.

• A CHOMPI tap no longer ends a morph that MIDI's crossfader (CC 80) holds. It used to
  freeze it where it was, so the CC had no effect after, or, at 0, take it back to the scene
  it started from. Now only your own crossfader (the transport knob with SHIFT held) ends
  where you let go of SHIFT; the CC's stays the CC's.

• VOLUME held through the boot animation no longer switches VOLUME's page when it's let
  go on the play page.

• A scene sent over SysEx into the active slot marks it as edited (its key pulses), as
  COPY onto it does, since what plays is no longer what the slot holds.

• MIDI out over USB no longer drops a tick that came while USB was still sending something
  else (an answer to a query, or MIDI feedback's CCs): it goes at the next chance, at most 5 ms
  late, instead of not at all (#104). Without a computer on USB (on a battery), nothing is
  tried there any more, where every tick held FRIZZ's other work up a moment (#84).

• MIDI out at double tempo keeps every tick of a clock whose ticks come in bunches (a DAW
  over USB sending two at once): one in four went missing, so the gear behind fell behind.

• MIDI out no longer sends a stale Start after power-on: a Start that came while FRIZZ
  was starting up went out once it was up, seconds late. A clock running then no longer
  sends a few ticks at once either.

• Band on the delay, reverb and resonator after a pause: with page 2's Band turned, an
  effect switched on again could start with a short thump from what the Band filter held
  when it last went off, which the delay then repeated. The filter now starts afresh.

• An effect's key LED when it comes on again no longer flashes up for a moment at the
  level it showed when the effect last went off.

• A long-held tape stop with Depth below the top: held for more than about 12 s (Depth
  at 0.8) to 22 s (at 0), the slowed tape suddenly played sound from 11 s before at full
  speed. It now jumps back to the live sound in a short crossfade and plays on slowed.

• A MIDI clock that sends its ticks two at a time (some DAWs over USB) no longer locks
  FRIZZ to half its tempo when it starts while FRIZZ is already running (#92).

• A scene file from a newer FRIZZ (or one whose layout line was edited into something
  that isn't a number) is no longer read as if it were this version's, with knobs in the
  wrong places, and then overwritten by the next save (#168). It's kept: the next save
  moves it to frizz_scenes.bak, as for any scene file FRIZZ can't read.