Fade in a delay

D

Dave Merrill

Axe-Master
What's the simplest way to have a delay fade in when I un-bypass it?

I don't want to have a pedal for delay input level, which of course would let you control how it comes in. I want just my normal FC switch for effect bypass, with the delay set to Mute Effect In like usual.

One possibility I haven't tried is to put the delay in parallel, with a vol/pan block before it on that parallel path, leave the delay always on, and switch the vol/pan block on instead, set to fade in. I don't know if that's actually possible, but before I explore that, I wondered if there's a simple way within the delay block itself

Thoughts?
 
A switch on the input gain is the easiest way to solve this is you'd like trails to be retained. Should also work regardless of whether you run in parallel or series.

Set the controller on Input Gain to a Control Switch. Use the Attack value to control how fast the fade-in takes place. You can use the Release value to fade it out as well, or keep it super low. You probably want to keep the damping type at Exponential.

Use the Mid and Slope value on the controller to tweak the curve if you'd like.

Assign the controller switch to a switch on your FC in the preset (or globally).

You could even set auto-engage to On and have it bypass the delay block on low value if you want it to be off off when the input gain is 0%.

1713101217064.png
 
Dave Merrill said:
How is this strategy affected by changing scenes and changing presets?
Click to expand...
The control switch settings can be configured per-scene in the controllers page. You get to decide what happens.

Across preset changes, if you're replicating this on the delay block(s), you decide what happens in the control switch settings. If you're not replicating this across presets, it's hard to say. You'll need to experiment.
 
iaresee said:
You probably want to keep the damping type at Exponential.
Click to expand...
I'd recommend linear damping here. Unless a parameter needs to race through a different portion of the modifier range in each direction, exponential tends to be worse IMO. With linear the midpoint of the curve is reached halfway through the damping time (which is then the actual total travel time) in both directions and it's just easier to work with that.

Also this might be something where controlling mix or post-delay volume is preferable. It depends on whether you want to 'print' an input gain ramp to the delay line and hear it on feedback-based repeats (top example below) or not:

delayramps.png
 
Thanks folks. My want is simple, just to step on a delay and not hear a hard cut in in the middle of a note. I'll play with it.
 
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