Intellectual property isn't an excuse for a manufacturer to not explain a feature. It's the exact opposite - providing security in rights to use and expose, teach and empower the purchasers, because it's... securely owned, licensed and sold. This is precisely the reason for intellectual features and property in products being both property and licensable.

There's one reason, pertinent to IP, that might cause a manufacturer to be secretive about inner workings: infringing someone else's intellectual property.

Instead of giving a man a fish, try to teach him to fish.

Instead of giving a man a fish, give him a fishing rod. 🙂
You can donate Montage instead of a fishing rod. 😀

Maybe I don’t understand the essence of the question, but I don’t think ADSR is something incomprehensible.
Attack, Decay, Release. Although there are different samples, the sound cannot be completely controlled at will.

Although I am annoyed by something else...
Part Param P.LFO Speed, P.LFO Depth 1... Element E.LFO Speed etc sometimes it have not reaction.
It's not obvious how it works and where to look.
Well, okay, it doesn't matter

I have question
When I see two knobs with the same task, what is it? It's rubbish?
Did it in a hurry and forgot or does it always make sense?
Now I look at Mega Accostic Bass:
AssignKnob1 = InsA EQ 2 Gain [Destination 2]
AssignKnob1 = InsA EQ 2 Gain [Destination 4]
?

The same sometimes two identical Volums meet in a bunch of SuperKnob, but I don't understand it well.

The sound with AEG Decay1=70 - what Preset did you start with and was this the only alteration? I'd just like to see if I can improve the response any. Velocity can have an impact on the AEG but that can be turned off.

I myself managed the preset from scratch, as it were.
But the fact is that he played from the keyboard until I changed only one parameter (decay)
Well, okay, this is a delicate matter.

Wanna make a gypsy swing rhythm guitar.

Maybe I don’t understand the essence of the question, but I don’t think ADSR is something incomprehensible.
Attack, Decay, Release. Although there are different samples, the sound cannot be completely controlled at will.

Correct. That's how an ADSR works.

These are not them.

Montage/MODX use HADDR:: Hold, Attack, Decay1, Decay2, Release

They're a "behaviour" applied to the underlying values, by way of (seemingly) multiplication, across time, through curves at the keyframes. It's the Time part that they really struggle with, as it flexes based on all manner of things, and the calculations have been optimised for that flex, but somewhere in the optimisation, a conditional or three were missed from what might ordinarily be considered good and sensible response to keyframes (reaching the "time" points of ADD in the HADDR) and in terms of response to the release of the note.

There's even a confounding issue with holding the key into A to D1, but releasing before D1 is reached, and a little pique noticeable between Decay1 and Decay2 if there's a drop from A to D, and D1 and D2 are horizontal. You can use this to prove there's a curve being calculated, of sorts.

And the behaviour between the A to D, and between D to D, and even between D to R, is a little... how do I say this nicely... flunky, at best.

The more you try to use the HADDR like an ADSR, the more you'll realise it's flunky, and unintuitive, and uniquely odd.

The only reliable transitions are from key on to H, and H to A... but from the point of release if prior to Attack Time, or from the Attack Time moment onwards if you hold longer, things get flunky.

You'll be back around to these issues when you start trying to sharpen up and otherwise flex the pluck, bow and release characteristics of your sound designs.