Implemented Constant-rate modifier damping

Currently the modifier damping system slows down continuously approaching the target value.
Holy cow! How did I miss that?

My favorite trick is to morph from one tone to another using scene changes and damping; e.g. from a clean to a crunch tone. But I always struggle with having to customize the modifier curves in order to create a seamless crossfade between one signal chain and the other. I assumed that I was starting from something linear and having to adjust it to roughly approximate a logarithmic curve to make it sound like a linear-over-time decrease/increase in perceived volume. But whatever curve I created, it never seemed to respond in the way I expected.

Eventually I came up with some good-enough curve that satisfied me sonically, but made no sense to me in terms of its shape.

I'm guessing that this issue (the topic of this thread) is the reason why.
 
@Bakerman, perhaps best of both worlds would be having fixed time damping but also adding "exponential" or "inverse log" (1 - log (5,10,15,20,30)) curves to do the concave down shapes as well?

Yes, something like that. More damping options wouldn't cover everything that more curve-shaping ability allows, and vice versa.

Holy cow! How did I miss that?

My favorite trick is to morph from one tone to another using scene changes and damping; e.g. from a clean to a crunch tone. But I always struggle with having to customize the modifier curves in order to create a seamless crossfade between one signal chain and the other. I assumed that I was starting from something linear and having to adjust it to roughly approximate a logarithmic curve to make it sound like a linear-over-time decrease/increase in perceived volume. But whatever curve I created, it never seemed to respond in the way I expected.

Eventually I came up with some good-enough curve that satisfied me sonically, but made no sense to me in terms of its shape.

I'm guessing that this issue (the topic of this thread) is the reason why.

That might be the reason. You can adjust the curves so it sounds pretty good in one direction (bring MID toward START value, assuming start-end movement) but it makes it worse going the other way. There's no way to get a 50/50 blend of sounds halfway through the total fade time in both directions without extra steps like toggling to a different signal path with a second mixer (or different rows feeding one mixer) that has the better tweaked curves for that direction. It sounds even more obviously bad/wrong for pitch dive & return tricks.
 
Holy cow! How did I miss that?

My favorite trick is to morph from one tone to another using scene changes and damping; e.g. from a clean to a crunch tone. But I always struggle with having to customize the modifier curves in order to create a seamless crossfade between one signal chain and the other. I assumed that I was starting from something linear and having to adjust it to roughly approximate a logarithmic curve to make it sound like a linear-over-time decrease/increase in perceived volume. But whatever curve I created, it never seemed to respond in the way I expected.

Eventually I came up with some good-enough curve that satisfied me sonically, but made no sense to me in terms of its shape.

I'm guessing that this issue (the topic of this thread) is the reason why.
I control cross fading for parallel chains either by adding an exp pedal controlled mixer or right between the output volume of two blocks controlled by one exp pedal, you can adapt modifier curves to taste.
 
+1

I use a button on my controller as whammy, like the Digitech Ricochet. I would greatly appreciate greater control of the speed and slow down. Right now, it's really hard to get it to sound natural.
 
I'm still completely lost on all this; how does one use a damper? I'm just too basic of a player to get it, but I'd love to see a video of this being demonstrated. In any case, that's super cool that it got implemented. You just never know what suggestions are going to pass the muster around here lol!
 
It's the attack and release parameters in the modifier settings. They set the transition time between the MIN and MAX values. Attack sets the speed going up from MIN to MAX and release sets the speed going down from MAX to MIN. Default for both is 10 ms I think, so for example if you have a control switch assigned to change between two values, it doesn't just instantly jump from MIN to MAX. It fades between them over 10 ms. If you turn them up high you'll see the sweeping fade between the values. In the Axe II, it was a single parameter called Damping and both directions had the same speed.
 
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