Woodinblack

Indeed - that is the sort of timings that seems reasonable and in the ballpark of 'that isn't going to cause me any problems'.

Almost certainly could be a cache issue on that - we have a problem when we do an update that the buttons and menus don't work as the templates are replaced, and our stylesheets interfere - the cached elements have to be dumped and recreated (and I always forget to do that and panic!). I don't know if you can clear your cache for just basschat elements on your phone, but if you can, do that.

Big change now, if you see problems, please call them out

Indeed - sample all the buttons, adc etc every milisecond, and then when you have decided that the switch is not bouncing (and it doesn't need to be anything like 20ms) report any state changes. The worst latency you would have would be the time you have given for the button stabilisation + a max of just less than 1ms.

Unless you are an eskimo. But then in you are, what else is there to talk about?

Not sure why you would be taking 20ms for a detection event on a button, I would be very worried about my code if it was taking more than 100us to scan all the buttons, although I haven't done any timings on this.

Indeed - there is no time advantage doing a hardware debounce, you still need to wait for a stable state however it is done.

Huge reply snipped as this isn't a design meeting, its your project and I have finished work for the rest of the month!! For me, i wouldn't consider most of those things decoupled, just 'operating system tasks' (the button state, screen state, midi monitoring and expression pedal) which I would all be doing just on a schedule with a few queues as a low level thing. The HTTPD stuff, obviously whole different ball game and that certainly needs its own world - as far as i see that is where 90% of the complication will be. But as you say you have a whole operating system now so you can just do them as a series of different objects and abstract it away and that is probably the easiest way to do it. It is however checking how much worry you have to put into buttons and switches (and also expression pedals) to debounce as sometimes it is far less of an issue than you think, especially these days. Going to be fun though, and also good to have some milestones along the way.

Certainly looks like you have looked into it a lot (a lot more than I would ever get round to doing!) - do you always want to wait for the button up? I know if I was only using a switch as a toggle I would want it to toggle on the leading edge (also tap tempo). Another thought having done my early programming on keyboards that really had a debounce problem (Acorn atom keyboards were terrible), do modern footswtiches have much of a bounce? I know old ones didn't as they had a lever that flicked over - one smallish rc input on the board on it and you had no bounce at all from a digital point of view. Good for not using an interrupt for a button (I wouldn't use a timer either, I would just be constantly monitoring, what more is a footpedal going to be doing?), that would make it a bit more complicated.

I was going to ask why you were selling them when you are raving about them above but saw your other post, which is the same reason I will be selling mine when I come back. They are fantastic things, but if you don't use them they are a lot of money to be kicking around.

Not that it is my argument, but neither do the hundreds of other guitarists, singers, keyboard players or drummers that get joked about here.

My green spector is very heavy (its one of the all maple ones) and initially it did put me off, but it seems that unlike other basses of the same weight I had I found it not so bad because of the distribution or something. The length was also a little unusual for me, but I still kept going back to it for the sound and the way it cut through on the skinny strings that a lot of other basses didn't seem to. I ended up using it more than the RST, which is 7llb, largely because of the neck profile I think.

I try and just use the frets to connect to the strings so the wood covering the neck makes very little difference

Dont get me wrong, if someone says 'there is an audition tonight' and you don't have any chance to practice or rehurse and it is something you think you can do, I would still go along with the caviat that I would tell them upfront that i had no time to prepare, but in general unless it is something really odd that i have never heard before, I should be able to wing it mostly, I would just rather not have to

If you want just an effects pedal that you can rely on to do stuff using the normal sort of effects, you would be better off with the boss - it will retain its value, it will work flawlessly at all times, it will be hiss and noise free. If you want to experiment and play around with options and have some non standard effects or other noise generators, the mod is the one to go for. My mod has been perfectly reliable (although I have only gigged it once and group practiced with it twice) but you can get it into states of not producing any noise as you have set it up badly - my mod was not producing any noise at the practice, turns out my standard snapshot I had fiddled around with and removed the path to the amp! Other snapshots were fine. As for future proof, when getting a unit rely on it being what you buy - never assume it will be any better. Line 6 are good at updates, when it comes to things like the helix, not sure about older stuff. I have had quite a few boss things that never had updates. The Mod, yes, the chance of mod being around in the future is less likely (they have gone down the tubes once), although you are not tied to Mod for updates as the software can come from other people. But again, that involces work on your part.

Easy one - I went to andertons and put in 5 string basses under £300 and there were only 5, so I would get the Ibanez TMB35, seeing as I already have one and I have already gigged it.

I would actually be pretty annoyed about that

Aint no mountain, Groove is in the heart, I wish, Roundabout (yes), Josie. And probably a load more

I don't get it - I am not a guy who needs the money, but if I am going to show up at an audition and I have to learn 4 songs you can be sure I will have learned those 4 songs. And probably checked them out on line and learned a couple of the others too. Because if I didn't want it, I wouldn't be going, which means I obviously do want it, so I am going to make sure that I have every chance that I can have.

Apart from on a mustang, I have never liked flats on anything. I have tried a few. I guess with the mustang I was just going for a vintage sound anyway

Tell you what though, the demo reminded its a good idea to record something on the dwarf, and put it in a loop so you can refine your effects. And a great effect is taking the output of the audio to CSV to control the pitch of a harmonizer. Totally unmusical, but still a great effect - and reminds me of one of the things that you get with the dwarf that you got in the early days of synths - unliike, say the helix, where everything is thought out and musical, this lets you do stupid stuff!

haven't tried the demo, but the device has no clicks when enabling / disabling, unless there is a huge level change

128 or 256 samples not bits, all samples are 16 bit