Wish Configure switch color/dim & override via block channel.

kywabunga

Inspired
I think it would be really powerful to be able to program a switch's ring color and bright/dim/off value for each state. I've heard similar noises offered by other folks, but most are given under narrow circumstances and frequently have little to no suggestion as to their practical implementation, so I decided to offer mine.

Naturally, setting a switch's color and bright/dim/off state would be found within a switch's TAP settings in FC/Onboard Config (and similarly, in the Per-Preset menu), but to take the functionality even further, it would be awesome if users could also have blocks override a switch's color defaults and assign settings for each Channel A-D. This would be even more powerful if blocks were tied into a Per-Preset Color Override system (identical to how Per-Preset Switches are implemented), which would allowing a user to program a block's color preferences once and apply them easily to blocks in other presets. Here's how I imagine this fitting into the current software, in ascending priority:

1. Onboard Switch Config (color/bright/dim/off)
2. Per-Preset Switches
3. Block Channel Switch Color (link a block to a switch and program color/intensity settings in the current preset, per each channel A-D)
4. Block Per-Preset Color Override (assign pre-programmed color, intensity, and switch linkage settings to any block, per-preset)

Practical Applications:

1. A switch toggling Drive 1 could be globally configured via the standard Onboard Config to indicate a color and dim/bright setting for its on and off states (i.e. ON - green/bright, OFF - red/dim), but a preset requiring only a single drive block to achieve the desired tones could use Drive 1's Channel Switch Color function to set a color and dim setting for each sound: clean - boost - overdrive - lead.

2. A performer using a switch as a scene toggle between rhythm and lead sounds would use the existing Onboard menu to set different colors to clearly indicate which tone they were on without having to read the unit, determine wether the indicator ring was dim or bright at the time (which can be difficult with certain colors, in certain environments, or by some types of eyeballs), try to hear their rig through a live setting, etc. A change in color seems like a far more practical indicator here than most, if not all other references.

3. Guitarists could program default colors for their clean, crunch, distortion, and lead tones, regardless if a preset requires the use of Scenes, Channels, or Scene Controllers to achieve those sounds. The preferences could then easily be applied to any switch in any preset using Block Per-Preset Color Overrides.

4. A user could implement a "Color-by-Preset" function by applying identical settings to all channels of the Input Block (or say, a Volume Block at 0dB), and then assign different colors to the presets simply by choosing the appropriate Channel A though D. A user could even "default" these color choices by creating a Per-Preset Override and applying it wherever desired.

5. Guitarists who find the bright ring setting visually distracting could use the Onboard Config to set all switches as "dim" and "off" for their on/off states, and then use the bright setting as type of "rude solo" indicator.

Just a few functional examples, but I believe that having this sort of control over a switch's color and dim settings would be an incredibly powerful addition to the FM3's switching architecture. Tons of possibilities with this sort of implementation, and in general I think the flexibility would allow performers of all sorts to easily devise their own system of helpful visual aids.

The FM3 rocks great job ok thanks bai! :)
 
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