How fast was the response back in the days when Roland did have a momentary function for bass inversion?

I would have thought that with the note ‘jumps’ if you change from inversion on to off (like you get if you input a chord fractionally late and the current chord starts then instantly jumps to the new chord) would make a very short duration press into inverted and back rather unmusical. One would have thought that if you need an inversion or slash chord, you would need to hold the pedal down for the duration of the chord?

So the issue of switch ‘bounce’ is rather moot, isn’t it? I’m not talking about a switch that engages bass inversion on on press and back to normal on the second… I’m talking about a system that is normally regular chords and only goes to inversions on the pedal down, and immediately back on release… but this isn’t something you’d quickly hit and release like a sustain. And I don’t think it is a function of the switch itself that is the reason for a certain window of recognition for the function, but more an OS thing. It doesn’t make musical sense for ultra rapid changes of bass inv. on/off, and it would certainly tax the style engine.

It sounds like this can be achieved simply ganging two cheap pedals of opposite polarity together and using two different inputs…. You might get some unpredictable results if you press and release very quickly, but I don’t see how you wouldn’t no matter what system was used.

As to the Part Mute functions, I believe only the D-Beam can achieve these…. It has always frustrated me that Roland (and every other manufacturer, if the truth be told) seem to decide that a full selection of functions for ALL possible control inputs is too complicated for us poor dumb arranger players!

But the Part on/off is a binary function, not really a momentary, so it lends itself well to the D-beam. Build a little hood to shade it like you would to read the main displays outdoors, you should be good to go…