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I'm not sure what you really want, so you might need to give us further details, including the whole signal chain you have in mind. But I think you're looking at a solution for a very unique problem, so it would appear like a custom solution is in order. So probably no ready available layouts about.

Is it the black that smears? At my old work place the printer sometimes had problems with the color black, creating those smears you mentioned. I never found a good solution to that. Plain setting, thick paper setting, it really was a crap shoot. Only thing that seemed to work was making sure there was as little black as possible in the image that I wanted to print. And pray to the Omnissiah that it would come out right. When I got different paper the problem seemed to stop. Don't know which brand it was, eBay stuff basically.

At my new workplace I can no longer use the printer to print decal paper. But since I'm working on a university the university print shop is basically around the corner and for €0,33 a pop their printer works flawlessly. Even though they always look at me like I present them with an outside context problem when I come to them for a new printout.

Long story short, no easy answers. It depends on the paper, how good the printer is and how good you are in using it.

I'm sure there's japanese schoolgirl fetishist buskers who find this pedal extremely useful.

No such thing because EVERYONE likes Japanese schoolgirls.

I don't. You filthy otaku!

[soooo]

Next progression is amps 

For me its guitars. Also, amps are soooo 20th century.

I hate compressors too. I've built 2 and saw no purpose. Should be called line noise increasers. But I won't get roped in again.

Like minded people!!! Yay!!! 

I'm not sure what started it for me, my first BYOC kit, or my first Monte Allums mod. I guessing the latter as I once bought a SD-1 on the Dutch version of Craigslist and it came with a MA mod, still in the bag. The SD-808 mod. I was so insecure I let a buddy of mine do the soldering. That seemed doable so when I first encountered BYOC I jumped onto that. I was in a Radiohead tribute band at the time so I had to have some of Jonny's gear, and BYOC had a kit for the DOD 440. I tried a few other things, the EA trem, the first version of the Large Beaver, boy, what a let down that was. That was legendary Big Muff? To the reject bin! And now I've built dozens of Muffs. Go figure!

I just love to build things. I used to be into scale models. Aircraft, ships, but mostly armor. I built so many 1/35 tanks during the Iraq invasion I'm amazed I didn't starve from lack of food. I guess I just transfered my love of building stuff to pedals. I love to plan ahead to what I'm going to build. I can visualize my perfect pedal board and what I would love to have on it, even though that forever keeps changing. I see something shiny, I make a BOM for it on my to do spreadsheet, that never seems to get smaller, only bigger. No matter how much I build.

I can't say there's a progression in what I build, i'ts always whatever is in vogue with me. Its often brand related, so Catalinbreads for a period, Wamplers for a while, then BJFE/MP, EHX. Dirtwise I have grown to appreciate fuzz. At first I didn't like fuzz pedals, preferring distortion and OD boxes, and probably still do  for the majority of my sound. But I have come to appreciate fuzz for its wild side. And the Big Muff. My big quest to built every version of this circuit known in existence.

I think these are usually called 'preamps'. 

Seriously though, if you want to do this, go ahead, seems doable. If it were me I would go for a dual gang for volume control on both the passive and the OD circuit and I would use a 3PDT toggle switch to switch between passive and active. And wire it as such:
1. passive send   4. passive return  7. nothing
2. input from pickup selector  5. output to output jack  6. ground connection
7. to OD board   6. from OD volume pot   9. ground sent to OD board.

The reason for this is so I would hook up the ground connection from the jack to lug 6 of the switch. I would connect the passive volume pot to lug 6 as well so as to complete the classic ground connection as is in almost any guitar. By connecting the ground of the OD circuit to lug 9 I would make sure the circuit only becomes active when in use. Otherwise with a simple DPDT bypass switch or the push pull pot the circuit would still be active and draw power when bypassed as long as the guitar is plugged in. Thus conserving battery life. I've done this in one of my own guitar which has an internal fuzz circuit.

Also, use easily accessible trimpots any control on the board which is not directly accessible on the outside.

Can't the Hamlet+ do this with the Tap Tempo?

I don't know what the Hamlet+ can do exactly, other then tap tempo. Maybe if it has a option for a dotted 8th?

I still hold the TC Flashback as an example as to what a fully fledged DIY should be capable off in order to replace it on my board. Both in size and capability. Who knows, there are some clever boffins here. Time will tell.

This is the way I have always done it, it will get you close but you still have to tweak by ear.

If you have a drum machine or metronome, you can use it to help too.  You'll need to do some math for bpm, as above, to figure out how many bpm a dotted eighth note gets.  Set it so the metronome clicks every dotted eighth, play a note on the click and adjust your time so the repeat lines up with the next click.

Your drummer can probably help too.   1 e and a, 2 e and a,  etc.

I reckon its probably far, far FAR simpler just to get a commercially affordable delay with tap tempo. The TC Electronic Flashback or the Line 6 Echo Park come to mind. Don't get me wrong, I love building DIY delays, and they have good sounds, but most of them are basically one trick ponies. You want versatility, better to get a delay from the big boys. And lets face it, 99.99% of the audience will just not hear the difference between the cheapest ass delay made by Behringer versus the sweetest voiced analog delay. With mojo parts! Might as well save oneself the trouble.

Not sure if this will be helpful or confusing ... but, maybe you could figure out the BPM of your track and use the known range of your delay unit and these formulas to train your ear for dotted 1/8'th's?

Delay Times

1/4 note delay
1/8th note delay
1/16th note delay

e.g. 108 bpm @ 4/4 time: 1/4 note = 108 bpm

1/4 note delay:

60,000/108=  556 ms delay time

1/8th note delay:

60,000/(108*2)= 60.000/216 = 276 ms delay time

1/16th note delay:

1/4 note delay/4=139  ms delay time

or

60,000/(108*4)= 60.000/432 = 139 ms delay time


Dotted 1/8th note delay:

   1/4 note delay*0.75=417  ms delay time

   or

   1/16 note delay*3=417  ms delay time

   or

   1/8 note delay+1/16 note delay = 414 ms delay time

   or

   60,000/(108*1.33) = 60,000/143.6 = 417 ms delay time

I'm not sure if there's any point to calculating bpm's and ms' when dealing with a delay which has only a simple time knob. As has been said, unless it has tap tempo the only way to determine exact dotted eight delay with a DIY delay is by ear.

These are evil times we live in, when not even an air guitar is safe. 

Methinks that would work, the pads of the two diodes are linked after all. Usually though you solder one wire to one pad of a diode and the other wire to the other pad of the same diode.   

I don't really see this eliminating bands (although my guess is that you were kidding).  It's far too limited for that.

For now I'm kidding. But I'm also looking ahead to the future, because this is probably just the beginning. After all, the first chess playing computer was a toy as well. Nowadays however it can defeat a world champion. And its not like the general public demands that real music well be made and played by real people. DJ's who copy/paste and play records are treated like they are actual musicans/rock gods!

It does look like a really cool practice tool.  If it works as well as it does in the video, it could be really useful.

Aye, this is awesome shit. I definitely want one.

I thought this looked cool until I noticed there was no MIDI out to sync other MIDI enabled pedals. I think they missed the boat with leaving that out.  IMO

Cody

Who knows? Maybe they're already working on fully fledged rack or floorboard monster unit and this is just the preliminary toy with which they are testing the waters.

For me, anything subtle or designed to emulate an amp or amp gain are the definition of useless pedals. Compression, overdrive and distortion pedals make no sense to me unless you don't own an amp and are headphone jamming or direct recording. Most people who use pedals also have an amp, so what's with all the pedals that do a poorer job than the amp, and then send it to that amp? Begby FTW BTW!

I unfortunately do not agree with this at all. Just the ability to change the effect order on the fly alone is a perfect example what an amp can not do on its own. I have not owned an amp with a high gain channel in over 15 years just for the reason that I would never use it and would rely on pedals for my achieved sound.

Cody

I figured this would get some controversy. I use tons of pedals, and put them in any order, either before the gain (amp) or after (effects loop). And can switch their order on the fly. My comment was geared towards pedals that emulate the basic sounds of a tube amp, (compression,OD, and Distortion) and then are run INTO said tube amp. Which you would logically have if you are looking for "tube" sounds. Of course this doesn't apply to a PA, or clean ss amp users. My Tiny Terror naturally compresses, does Blues Driver, Tube Screamer, Brown Sound, and Rectifier sounds better than any of those transisterized pedals. I just can't think of a pedal in those categories that could improve on what a relatively cheap tube amp can do already.

I get your point if you have a good amp and are satisfied with it. Me, I don't give a rat's ass about perfect tube sound. I would rather have a few pedals that can emulate a few good amps, like a Marshall, and play that into my non-Marshall amp rather then haul those amps along. Hell, I'm not even hauling any amps along anymore. Nowadays my sound is dirt pedals into an AMT F1 preamp into EHX Magnum 44 poweramp pedals into a random cabinet. Or live straight into a mixing desk. Because I'm done hauling amps around.

But hey, I'm also the guy who thinks compressors are useless. 

I can hear Otaku guitar players worldwide creaming in their pants as I type this. And I'm currently two floors under ground. Marty Friedman would probably get a whole pedal board full of them. I wouldn't consider this pedal completely useless, it might make for a fun one trick pony. That is until Otaku guitar players world wide start abusing it to the same degree as hip ho[ and R&B singers are abusing the auto tune.

As for useless pedals, for me at least compressors are useless. Every time I try one I throw it off my board right away in disgust.

*calls rest of the band* You're all fired!

No more illiterate drummers who think they know better, cool bass players who get all the chicks or bandmembers who always get too late in rehearsal.

Seriously though, this is both cool and scary. Technology was already eliminating jobs in almost every area, now it can threaten musicians as well? They said that when robots would replace us all we would become artists instead. Now we can be replaced by a pedal as well?