FRIZZ 1.0.1: documentation

A documentation update to FRIZZ 1.0. The firmware is unchanged: FRIZZ.bin is byte for byte v1.0.0's, md5 22529c552373492bd2a64841c07c29f2 (built from v1.0.1 with GCC 10.3). If you already run 1.0, there's nothing to install.

• The quick start shows how the sound flows as a diagram: what the looper records, where your input and the loop meet, and what the effects act on.
• The manual's diagrams show their labels at the size they were drawn for, so the input diagram's last label is no longer cut off. On a phone they now stay readable and scroll sideways.
• The built-in mic hears CHOMPI's own keys and knobs. With the mic monitored through the effects, a delay or reverb rings out their clicks. The input chapter now says so, and how to get clean takes.

New to FRIZZ? Start with the v1.0.0 release notes and the manual. Every change: CHANGELOG.md.

FRIZZ 1.0: loop it, then mangle it live

FRIZZ turns your CHOMPI into a stereo looper and performance effects box. Catch a loop, hold a white key to throw one of 13 effects over it, and change the whole sound in time with scenes that morph, crossfade or drop on the bar line, locked to your drum machine or DAW. FRIZZ is free and open source, and 1.0 is the version to start with: from here on, the controls, the MIDI map and your saved scenes stay as they are.

FRIZZ.bin · md5 22529c552373492bd2a64841c07c29f2 · built from v1.0.0 with GCC 10.3 (the same build as v1.0.0-beta.4)

Try it without giving anything up

• Next to TAPE and TEMPO. With the multi-firmware launcher, FRIZZ sits on a key of its own beside TAPE, TEMPO and WAVE, and you pick one at power-on. The CHOMPI setup page installs it from the browser.
• Or on its own. Copy FRIZZ.bin to the card. It doesn't touch the bootloader, and you go back to the stock firmware the same way.
• Your samples stay. FRIZZ keeps its scenes and settings in a FRIZZ folder of its own and leaves everything else on the card alone.

Step by step: Install. The quick start gets you playing in a few minutes.

What you can do with it

Play effects like an instrument.

• Thirteen effects sit on the white keys, from the freezer and pitch shifter to the tape stop, delay and reverb. Each one is on for as long as you hold its key, or latched with SHIFT.
• Four knobs shape the effect you touched last, and a press turns them to a second page with Mix, Band and Level.
• The chaos key drops your effects out and back in on random steps of the beat, and jumps around the loop. Chance decides when, never how it sounds.

Change the whole sound in time.

• Four scenes hold every effect's knobs and latches.
• Recall one at once, morph to it over a few bars, crossfade to it by hand on the transport knob (the Octatrack's crossfader, on your CHOMPI), or drop it hard on the next bar line, after a build-up if you like.

Bend the loop. The transport knob plays the loop in semitones from double speed down to a standstill and on into reverse, so the loop turns into a melody or a tape dying.

Lock it to the rest of your setup.

• FRIZZ follows a MIDI clock over TRS or USB, or sends its own, with Start and Stop so a drum machine follows your loop.
• In a DAW, every effect has its own MIDI channel with the same CCs.
• AUX can play dry past the effects while you mangle its loop, and the built-in mic works as an input.

Starts in a second. FRIZZ is ready to play about a second after you switch it on.

Coming from v0.11

1.0 moves some controls for good, so they won't move again.

• Keys:
  • The scene keys are two dark keys further right, with save, copy and delete on the upper F#, G# and A#.
  • The resonator, slicer, wow & flutter and tape stop moved one white key right for the new phaser.
• Settings page: it's grouped by topic. The lower octave is MIDI in, the upper MIDI out and the input: F# the source, G# its monitoring, A# through the effects or past them.
• Knobs: stereo moved to page 2, and so did the delay's and reverb's level.
• Levels:
  • The master compressor no longer adds makeup gain, so set Makeup on its page 2 if yours sounds quieter.
  • The folder and crusher may come back louder.
• MIDI: the MIDI map is new. The CHANGELOG has a table from old to new.
• Your scenes: they carry over. v0.11 doesn't know 1.0's scene layout, so copy the FRIZZ folder first if you might go back.

Everything that changed since v0.11, entry by entry: CHANGELOG.md.

FRIZZ v1.0.0 beta 4

The release candidate for FRIZZ 1.0. Built from main at f234128 (tag v1.0.0-beta.4) with GCC 10.3; FRIZZ.bin md5 22529c552373492bd2a64841c07c29f2. If it holds, v1.0.0 will be this same commit and these same bytes. What's left to try is the last item in #55 (under #244). Report feedback there or in an issue, naming v1.0.0-beta.4.

Changed since v1.0.0-beta.3:

• The settings page's upper G# and A# are swapped (#243): the input's keys now read source → monitoring → effects. F# picks the source (AUX green, the mic magenta), G# its monitoring (whether you hear it on the outputs: lit on, dim off; the looper records it either way), A# through the effects (green) or past them (white). A# is dark while the source isn't monitored, and pressed then it blinks red 3 times. With the mic, monitoring comes first and sits next to the source. Your card's settings carry over, as they're saved by function, and MIDI CC 116/117 are unchanged.
• "Live" is called "monitoring" in the manual, the quick start and remote.py, as in a DAW's input monitoring.

Tested by machine for this build:

• On the twin: all.sh green; the new case for the key order fails on beta.3 and passes here; the sound is bit-identical to beta.3 in every scenario.
• On the device: all segments of the bench are within ±1.1 points of beta.3's (everything 81.8/72.2 % max/mean); the input, mic, AUX-dry, volume, settings and FX scenarios played with their LED checks green, worst load 59.7 %.
• The reverb latched on and off quickly (#245): no click on the twin or the device and no load peak (52 % at most); a crackle heard with the mic is most likely the mic picking up the keys' own clicks, which the reverb rings out. To check by ear in #55.

The full list since v0.11 is in CHANGELOG.md.

FRIZZ v1.0.0 beta 3

The third test build of FRIZZ 1.0, not the release yet. Built from main at 8bd16c8 (tag v1.0.0-beta.3) with GCC 10.3; FRIZZ.bin md5 0a5e13324bf712eceff3a8c208199c75. What to try is the checklist in #55, grouped by setup in its test plan. Report feedback there or in an issue, naming v1.0.0-beta.3.

Fixed since v1.0.0-beta.2:

• The pitch shifter no longer gets stuck (#221): after a jump from a shift down to a shift up (e.g. −7 → +7, by hand, MIDI or a scene), it could stop shifting and play the input at its own pitch, on one side or both. This was new in beta.2.
• The shifter at stereo 0 is mono-safe on the CHOMPI (#223): the two sides now take the same splices, so summed to mono (or on one speaker) it no longer sounds hollow or phasey. If stereo was turned up and back to 0, the sides lock again at the next punch-in (#226).
• FRIZZ's USB name no longer comes up garbled ("Љ", #88): now and then, a computer saw the CHOMPI under a wrong name, and the DAW or the tools couldn't find it. The cause was in the USB stack; 0 of 34 starts garbled since, where a provoked case failed 12 of 12 before.

Documentation: the manual is reordered, with a panel drawing and signal-flow diagrams, one chapter per effect and a page of key combinations. It reaches the website with the 1.0 release.

Tested by machine for this build:

• The shifter: measured on the device, both sides shift at every step, and L/R correlate at 1.0000 at stereo 0.
• The MIDI suite and REAPER pass, the latter synced both ways with real music.
• CPU: the same as beta.2. With a loop and every effect, about 72 % mean and 82 % at worst.

Heads-up for your scenes (as in beta.2): v1.0.0-beta.1 reads the scene files of beta.2 and beta.3 wrong. The delay's and reverb's Level and Ducking come out swapped. Don't save scenes with beta.1 once a newer beta has run on your card.

Install as a test build: with the multi-firmware launcher, copy FRIZZ.bin into the card's FIRMWARE folder under the key you want, e.g. FIRMWARE/13_FRIZZ-BETA.bin. Without the launcher, replace FRIZZ.bin in the card's top folder (INSTALL.md).

---

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
  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 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 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 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 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 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 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 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 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 d...

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).

---

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...

FRIZZ beta (now: v1.0.0-beta.4)

The newest test build, at a fixed link: now v1.0.0-beta.4 (the release candidate for 1.0), FRIZZ.bin md5 22529c552373492bd2a64841c07c29f2. Its notes and what to try are on its own page.

FRIZZ v1.0.0 beta 1

The first test build of FRIZZ 1.0, not the release yet. Built from main at 294894b (tag v1.0.0-beta.1) with GCC 10.3; FRIZZ.bin md5 bed35812d0194f30a1e2345dd2e8ed7a. What to try is the checklist in #55. Report feedback there or in an issue, naming v1.0.0-beta.1.

From here on, features are frozen for 1.0: the betas get fixes and documentation only. With 1.0, the controls, the MIDI map and the scene files are meant to stay as they are. New features come in 1.1 and later.

Controls that change since v0.12-beta.2:

• The scene keys moved two dark keys to the right (#67): the blank scene and slots 1-2 are on the lower F#, G# and A#, slots 3-4 on the upper C# and D#. The lower C# and D# are free (kept for sub-pages after 1.0). A controller mapped to the dark keys' notes needs remapping; program changes and scene files are unchanged.
• Save, copy and delete, reordered (#67): upper F# save (green), G# copy (blue), A# delete (red).
• The input, on the settings page's upper A# (#152), steps through three states: AUX through the effects (green), AUX dry (white: past the effects and the compressor, for a drum machine or a mastered song), and the mic (magenta). The mic is never live on the master any more (feedback). You hear it on the headphones' input feed; record it and play the loop. Each input has its own input gain, saved, and VOLUME's page 2 shows the input's level. VOLUME works on the settings page too.

New since v0.12-beta.2:

• A hard drop to a scene on the next bar line (#153): hold SHIFT, tap a scene key, press PLAY. After the Neuzeit Instruments Drop.
• A hot input no longer distorts in the loop (#152): a soft limit before the loop.
• CC 83 drops to a scene; CC 84 picks the input.
• Fixed: the Song Position went out twice over USB (#157).
• CPU: the same as v0.12-beta.2. With a loop and every effect on, about 75 % mean and 80 % at worst.

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/04_FRIZZ.bin. The setup page offers releases only. Without the launcher, replace FRIZZ.bin in the card's top folder (INSTALL.md). Your FRIZZ folder (scenes, settings) stays and loads. To go back, use v0.11's FRIZZ.bin.

Heads-up for MIDI users coming from v0.11: the CC numbers changed. The old → new table is under Changed.

---

Added

• A hard drop to a scene on the next bar line (#153), after the Neuzeit Instruments
  Drop's drop mode: hold SHIFT, tap a scene key, press PLAY. 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, before or after PLAY, put it a bar later. During a morph to one scene, SHIFT +
  another scene key + PLAY lets the morph glide on to the line and drops to the other scene
  there: build up, then drop. Its key blinks red on the beat while it waits; PLAY doesn't play
  or pause. Over MIDI, CC 83 drops to scene 0-4 (CC 9 sets the bars). See MANUAL.md,
  "Dropping to a scene".
• 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 is
  never live on the master (#152): a speaker would feed it back. Record it and play the loop;
  hear it live on the headphones' input-only feed (VOLUME's page 3). 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. On the settings page, A# of the upper octave steps
  through the inputs: AUX through the effects (green), AUX dry (white), the mic (magenta),
  until the next cable goes in or out of AUX, which picks AUX in the variant chosen last, or
  the mic. Which AUX you chose is saved; AUX or the mic isn't. MIDI CC 84 picks one too (0-42,
  43-84, 85-127), without saving it, and MIDI feedback sends it. See MANUAL.md, "Input: AUX or
  the mic".
• 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 SHIFT + PLAY leaves a morph. 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 (knob 4 their ducking) 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 and knob 4 Ducking. 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. Th...

FRIZZ v0.12 beta 2

A test build, not a release: controls may still change. Built from main at 70a3e6d (tag v0.12-beta.2) with GCC 10.3; FRIZZ.bin md5 d2a1dbc5e842fc4517a2fcc046088aa5. What to try is the checklist in #55, grouped by topic. Report feedback there or in an issue, naming v0.12-beta.2.

New since v0.12-beta.1:

• The built-in mic as an input (#113): with no cable in AUX, or picked on the settings page.
• Page 2 reordered (#117): each effect's own setting on knob 4, stereo on page 2's knob 2. Turning the page blinks instead of pulsing, and page 2 has VU meters. MANUAL lists every parameter per effect (#119).
• The clock factor works on every tempo (#116): tapped and internal too, not only MIDI clock.
• Morphs fade the freezer, shifter and slicer with their page 2 Mix (#118).
• Much less CPU under heavy combinations (#136, #137, #142): the effects run a block at a time and the shifter's peaks are spread out. With a loop and every effect on, the load drops from about 95 % to 74 % (mean) and the worst block from 106 % to 79 %, so crackling sets in much later.
• Fixes:
  • the shifter's first moment no longer slips through unshifted (#140);
  • selecting a latched effect keeps it latched (#115);
  • no click when a recall resets the flanger's stereo (#130);
  • the low-battery countdown shows VOLUME red (#43);
  • Song Position on a clock-recorded loop.

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/04_FRIZZ.bin. The setup page offers releases only. Without the launcher, replace FRIZZ.bin in the card's top folder (INSTALL.md). Your FRIZZ folder (scenes, settings) stays and loads; scenes saved with v0.12-beta.1 or older are moved to the new page 2 layout on loading. To go back, use v0.11's FRIZZ.bin.

Heads-up for MIDI users coming from v0.11: the CC numbers changed. The old → new table is under Changed.

---

Added

• 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. On the
  settings page, A# of the upper octave picks the other input by hand (green: AUX, magenta:
  the mic) until the next cable goes in or out; it isn't saved. The input gain, the headphone
  feed and the effects take the mic as they take AUX; 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".

• 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 SHIFT + PLAY leaves a morph. 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 (knob 4 their ducking) 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 and knob 4 Ducking. 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 knobs 1 and 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)
  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 a...

FRIZZ v0.12 beta 1

A test build, not a release: controls may still change. Built from main at 052e325 (tag v0.12-beta.1) with GCC 10.3; FRIZZ.bin md5 f3e7c24d791aaac2afbf98313917292d. What to try is the checklist in #55, grouped by topic. Report feedback there or in an issue, naming v0.12-beta.1.

New in short:

• A phaser on the 7th white key, inside the resonator's loop. The resonator, slicer, wow & flutter and tape stop move one key right.
• The chaos key on the 14th key.
• A new MIDI map: one channel per white key (1-15) with the same CCs on each, a global channel (default 16), plain CCs only, Start/Song Position follow, and MIDI feedback to controllers.
• The settings page regrouped by theme.
• The beat on the PLAY LED.
• Many fixes. The full list is below.

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/04_FRIZZ.bin. The setup page offers releases only. Without the launcher, replace FRIZZ.bin in the card's top folder (INSTALL.md). Your FRIZZ folder (scenes, settings) stays and loads. To go back, use v0.11's FRIZZ.bin.

Heads-up for MIDI users: the CC numbers changed. The old → new table is under Changed.

Added

• 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 SHIFT + PLAY leaves a morph. 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 stereo (the right channel's sweep up to half a cycle
  behind). Page 2: Mix, the centre the sweep moves around (100 Hz to 6.4 kHz, 800 Hz in the
  middle), 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, with their LEDs pulsing; press again for page 1. 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 and knob 4 Ducking. At the defaults every effect sounds as before. See
  MANUAL.md, "Page 2".

• Each effect's own setting on page 2's knob 2 (#40), after the SP-404MK2 and the
  Elektron Tonverk: the freezer's gate (a stutter), the shifter's grain, the flanger's
  polarity, the resonator's env mod (its own Band and Level too), the slicer's shuffle, wow
  & flutter's age (dropouts), the tape stop's darken, the delay's damping (left thinner,
  right darker repeats) and the reverb's pre-delay (up to 250 ms).

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

• Stereo on page 1's knob 4 of the folder, crusher and filter, so knob 4 is stereo on
  every insert but the tape stop (its depth): the folder drives the right channel harder,
  the crusher's right rate runs lower, the filter's right LFO lags. Their old knob 4 (symmetry, XOR, LFO division) moved
  to page 2's knob 2; saved scenes are moved along.

• 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)
  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...

FRIZZ v0.11

FRIZZ v0.11: a settings page on the mode switch, MIDI control over TRS and USB, bug reports you can send in, a steadier MIDI clock, and many fixes.

Install: delete every .bin from the card's top folder, copy FRIZZ.bin there, switch on (a slow rainbow means it's flashing). Your scenes and master settings in FRIZZ/ carry over. The mode switch now matters: down is the play page, up the settings page. If the keys don't play after updating, flip it down. The mono input moved to the settings page, and VOLUME has three pages now.

Added

• MIDI control over TRS or USB, on channel 16 (set in FRIZZ/frizz_master.txt or with
  firmware/remote.py): notes from 48 up play the keys as a keyboard, with CHOMPI, PLAY,
  LOOP and the knob presses below; CCs latch the effects (20-31), set every effect's knobs
  (70-117, in 14 bits over NRPN), the compressor, the gains, the mix and mono (52-60), turn
  the knobs relatively (14-19) and morph to a scene (61-63); program changes 0-4 are the scene
  keys. MIDI Start and Stop can play and pause the loop (off at first). See MANUAL.md, "MIDI".
• Remote control over USB: FRIZZ's SysEx presses keys, turns knobs, and answers the
  state, the LEDs, the processing load and the scenes; firmware/remote.py uses it, and plays
  the virtual CHOMPI's scenarios on the device.
• Settings page on the mode switch: up, the keys set the MIDI channel (the white keys,
  the last one switching between 15 and 16, or every channel), MIDI transport following, the mono input, a clock factor (follow a
  MIDI clock at half, as sent, or double its tempo) and the LEDs' brightness (100, 75 or
  50 %), each saved on the card; VOLUME's LED shows the battery's level throughout. The loop,
  the effects and MIDI play on while it's up; switch down to play. See MANUAL.md, "Settings page".
• Bug reports: SHIFT + press the transport knob writes what you did since switching on
  (every key, knob, the mode switch, MIDI clock and the MIDI it acted on, with the card's scenes as they were at
  power-on) to /FRIZZ/bug-1.txt (then bug-2.txt, ...). Send it with a bug report: the
  virtual CHOMPI plays it back and shows what happened. The transport LEDs blink white while
  it's written, then 3 times white when it's on the card, red when it isn't.

Changed

• The mode switch now matters: down is the play page, up the settings page. If the keys
  don't play after updating, flip it down.
• The mono input moved from VOLUME's page 3 to the settings page (F# of the lower octave), and
  the battery check from holding VOLUME to the settings page's VOLUME LED. VOLUME has three
  pages now: output, input, headphones.
• The crusher, the filter and the resonator take far less processing time while they're
  off, which leaves more room for the effects that are on.
• Turning the master compressor's knobs takes far less processing time while they glide,
  so it no longer adds to crackles on busy scenes.
• The reverb and the delay take less processing time while they play: the reverb's slow
  modulation no longer computes two cosines a sample, the delay no longer divides by the
  tempo every sample. The delay sounds the same; the reverb's modulation is within a
  thousandth of what it was.
• A flash on a key that's already lit nearly white (a select on a loud effect or on the
  compressor working hard, a tap on LOOP near the loop's end) goes dark instead of white, so
  it's seen.
• LOOP's blink while a quantized recording closes or an erase waits for the loop's end is
  slower, the same as a picked scene slot's, so it doesn't look like a refusal's 3 quick blinks.
• Switching on is a little quicker: FRIZZ clears only the part of its sample memory it
  uses (43 of 64 MB), not all of it.

Fixed

• A quantized loop is now as long as its bars to a fraction of a millisecond, so it stays with
  the MIDI clock much longer: from a DAW over USB it used to slip up to 50 ms a minute against
  it, now a few ms at most (a short loop at a fast tempo; longer loops far less). It measures
  the clock over the whole recording, up to where it closes, and averages out the ticks'
  jitter.
• Holding an FX key and tapping CHOMPI twice in a save, copy or delete mode confirmed the
  scene and dropped the latch; it now latches and doesn't confirm, as with one tap.
• The delay's pitch-up events (random knob left of centre) read from the wrong place after
  switching on, until the division knob or the tempo first changed.
• The freezer clicked when pressed again right after a release: the repeats now play on until
  the next 16th and hand over to the new capture.
• The flanger clicked when its stereo knob went back to 0, as a scene recall or morph does.
• A card FRIZZ couldn't read at power-on lost its saved scenes and master settings to the
  first save that got through. A card not read at power-on is now never written until the
  next power-on: saves flash red, and the card's files stay as they are.
• A failed write of the compressor's settings or the mono switch is tried again 3 times,
  as the manual says (it was twice, and not at all for a mono change after earlier failures).
• LEDs at full brightness no longer flicker dark: a value a hair above full wrapped to off
  (the transport's colours at full speed, the boot animation).
• Holding an FX key, then SHIFT with a control that does nothing (the transport, or a knob the
  effect doesn't use) no longer cancels the latch or a pending confirm.
• The effects' tempo from a MIDI clock whose ticks come in pairs (two at once, or a late one
  catching up just before the next, as a busy computer can send them) was off by up to 5 %
  and flapped. A pair now counts as two ticks of the right length.
• A quantized loop recorded against a MIDI clock that delivers ticks late and then catches up
  (as a busy computer can) came out up to 56 samples short for 1 bar, so it drifted up to
  26 ms a minute against the clock. The late ticks no longer count for its length: it's as
  close to its bars as with any other clock.
• A bug report that couldn't be written (the card full) left its file open on the card; it's
  now closed, so the card stays sound and the next report is written.
• A restart over MIDI (FRIZZ's own SysEx, which flash.py, card.py and remote.py send to
  get back to the multi-firmware launcher) right after a setting changed lost the setting; it
  now goes to the card first (waiting a second at most).
• The battery colour didn't follow the charging cable: it stayed green while charging and
  stayed white for 20 minutes after a full charge was unplugged. VOLUME's LED on the settings
  page is now white while the cable is in, and shows the battery within seconds of pulling it.
• A single MIDI clock tick that came a little late (a few ms, a sender's hiccup) moved the
  effects' tempo for a moment: 10 ms late at 120 BPM showed 114. A late tick and the next one
  now count together, so the tempo holds.