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Only thing I have not tried with the N8 is pulsar and nijuu. everything else is hiccup free and loads from the sav everytime. SMMM is great.

why not an N8? Nothing against the powerpak, but they are sold out till ?

don't know but I have a similar thing with a stock pocket, do you use  the same cart every time you turn it on? For me it happens when ever I switch carts.

I personally have never had issues using a 64m EMS cart and a gameboy player, that sounds strange. Have you tried an older version or possibly tried re-flashing?

I like nanoloop alot, being in the same boat as you guys, the differences can stymie at first. Simple stuff like button functions throw you off till you get the hang of it. I liken composing between nanoloop and lsdj to feng shui and art deco. With lsdj you get used to endless chains and phrase. With nanoloop you have sixteen squares.I don't even bother using the song editor. Each save slot I treat as it's own mini groove, with it's own vibe. In that short time it helps for all the voices to be unique and spaced out(or overlapped). It lead to a lot more creative envelope work, slurring, and the x8, x4, x2 helps. Not to mention the arpeggios, and delay. Try arpeggios with less notes as well. x8 + arps with an organ envelope will give you a mini phrase of sorts. In an interview with Oliver at TCTD, he was asked  by LB –" NL seems really well suited for live use. Did you design it with this in mind?"
OW –"Yes, absolutely. It was designed around the endlessly playing loop and not the finished track. The structure of the file menu is also optimized for mixing patterns live, but the core is the sequencer where you shift around notes and improvise, like in a game."
Keeping that point in mind also helps, thumbing through patterns seeing which ones work together harmonically and tempo wise. Drop stuff in and out. Which is pretty challenging, yet fun. Expect happy accidents. That is how I deal with it on 1.6. Oh and don't neglect panning. lsdj and nanoloop are great you just can't really attack one the way you would the other. In time the techniques of one will actually bleed into the other. Finally Lazerbeat's tutorials are well done and incredibly helpful.

middle of march, beginning? From who? Are you/seller stateside or across the pond? Two weeks in the same country up to a month if different. Depending on supply.

A little off topic but, oddly enough the Z80 processor at the core of the dmg has been used in many instruments including famous ones. here is the list of DMG cousins in music:
MIDI sequencers such as E-mu 4060 Polyphonic Keyboard and Sequencer, Zyklus MPS, and Roland MSQ700 were built around the Z80,[citation needed]
MIDI controllers and switches such as Waldorf Midi-Bay MB-15 and others.[citation needed]
Several polyphonic analog synthesizers used it for keyboard-scanning (also wheels, knobs, displays...) and D/A or PWM control of analog levels; in newer designs, sometimes sequencing and/or MIDI-communication. The Z80 was also often involved in the sound generation itself; implementing LFOs, envelope generators and so on. Known examples include:
Sequential Circuits Prophet 5, Prophet 10,[65] Prophet 600, Six-Trak, Multitrak, MAX, and Split-8
MemoryMoog six-voice synthesizer[66]
Oberheim OB-8 eight-voice synthesizer with MIDI
Roland Jupiter-8 eight-voice synthesizer
Digital sampling synthesizers such as the Emulator I, Emulator II, and Akai S700 12-bit Sampler,
as well as drum machines like the E-mu SP-12, E-mu SP-1200, E-mu Drumulator, and the Sequential Circuits Drumtraks, used Z80 processors.
Many Lexicon reverberators (PCM70, LXP15, LXP1, MPX100) used one or more Z80s for user interface and LFO generation where dedicated hardware provided DSP functions.
The ADA MP-1. A MIDI controlled, vacuum tube, guitar pre-amplifier.

Wonder if anybody has scoured the code of any of these devices for anything that could be applied towards synth building?