Development is ongoing; currently, the changes made as part of this task are being reviewed to try and catch any bugs and issues in the code.
I’ll add your name to the list of people interested in this feature.
I am also interested in this feature
Thanks! I’ll add your name to the list.
+1 for this feature!
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I’ve just searched for this exact feature so could I be added to the list too please!
Sure thing! I’ll add you to the list.
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I’m pleased to announce that, as of a few minutes ago, FMOD Studio 2.03.00 is available from our downloads page, and includes the new “seek modulator” that can be attached to any modulatable property in FMOD Studio.
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Hey Joseph,
Im super pleased to see this update on FMOD Studio 2.03.00,
However i’ve noticed that the seek modulation is lerpping between the two vaules in a linear scale, is there any way to make the seek lerp logarithmic?
as it is a much more smoother and realistic way how sound is perceived.
Im trying to use the seek modulation to transition between different ambience layers but it just doesnt sound as good as if i did it using a tranistion timeline.
Yes and no.
As of the time of writing (January of 2025), there is no way to change the lerp method used by a seek modulator.
However, you may be able to achieve the behaviour you want by combining a seek modulator with automation. For example, if you automate the property whose value changes you want to smooth on a local parameter, and then attach a seek modulator to the value of that local parameter instead of attaching it directly to the property you wish to modulate, you will have created a seek modulator that seeks at different rates depending on the value to which the property has been set. For another example, if you automate the speed property of a seek modulator, you will be able to control and change the speed at which that modulator causes the modulated property to change in real time by setting the value of the automating parameter.
Hopefully at least one of these examples allows you to achieve the behaviour that you want. If not, please let us know what your requirements are; we may be able to suggest a way in which you might achieve them.
Thanks for the help, Joseph!
I tried what you mentioned above, but it doesn’t seem to work the way I intended. Maybe you can help me find a better approach?
I’m trying to recreate a basic Wwise switch that handles four different ambient beds. The goal is to have the audio crossfade smoothly between these ambient beds over a period of time when switching between them.
I’m currently attempting this using a labeled parameter for the four ambient beds, but I can’t seem to find a way to achieve smooth crossfades using either the labeled or discrete parameter sheets. The only method I’ve found that works is placing the beds on the timeline and using transition timelines and magnet regions, but this feels like a bit of a hacky workaround.
Is there a better workflow for switching between sounds using labeled or discrete parameters?
That’s not a hack-y workaround. Creating custom transitions that play out over time in a specific way is exactly what transition timelines are for. It’s why they’re called “transition timelines.”
If you’re using a labelled or discrete parameter to switch between multiple instruments, you may have some success using AHDSR modulators on the volumes of the instruments instead of seek modulators. You’ll just need to set the attack and release periods of all the instruments to be of equal length.
Thank you again for your help, Joseph!
I tried your example, but unfortunately, using AHDSR’s also modulates the beginning and end of the event, along with the transitions between ambient layers. This isn’t ideal, as I’m specifically looking to crossfade between parameter values without affecting the start or end of the event.
If possible, could the fmod team consider adding custom crossfade transitions for discrete or labeled parameters, or perhaps implementing logarithmic lerping for the seek modulator as a future feature? This would be a great benefit for sound designers and FMOD Studio. 
AHDSR modulators only affect the beginning and the event of the event if you place them on event-level properties such as track volumes. If you want them to affect the beginning and ends of instruments, you should instead put them on instrument-level properties such as the instruments’ volume properties.
I do suspect that the best option for your game, however, would be to use transition timelines, as we discussed earlier in this thread.
I will add your suggestion to our feature and improvement tracker for further consideration by our developers.
I just want to double-check that I’m not doing this incorrectly because I’m getting different results from your suggestions—sorry about that!
From my testing, AHDSR modulators seem to affect the beginning of an event, even when modulating instrument-level properties like an instrument’s volume. This happens because starting the event triggers the starting instrument’s AHDSR attack modulator. There doesn’t seem to be a way to avoid this—is this correct?