ColonelForbin

Sweet!!! Yeah, I messed about a little with LVM and realized it was acting more like an input pad, wasn't changing things tonally much; very different function that when using it with HD500 in LVM. For some reason LVM defeats the FX loop on the DT25 in LVM, if I am remembering correctly.. Way cool you are messing with Helix and DT25 like this! I am going to read that post you wrote; next time I am at the jam spot where my DT25 has been staying will give this another try. Thanks!!! Cheers!

Dude. You make me want to get a Variax again! And regret selling my JTV59... DOH!

I had a Firehawk1500 for a while, used it with Helix. Sounded awesome! But ended up too heavy for me to move it around much. Been using L2t and L3m pairs, L3 at home, L2 at practice spot. Lately been putting the L2t's on speaker stands, and using a DT25 for my guitar monitor when we jam. Just did that last night actually! While none of that is what you really are looking for, I second the previous post about getting a pair of L2m or L2t. They can be carried with one hand each. The L3 are wayyyy heavier. The L2 also sound good in mono; run stereo XLR to the PA and use the L6link to the L2. Though, DT25 is good for that too- blank all the DT models and set up the power config using MIDi with DtEdit. It's definitely not FRFR but that's actually good in terms of sounding more like an amp on stage. You can yet used or sale DT25's for pretty affordable $$ these days. Anyway, I don't do anything special with patches; mostly use Glenn's presets and just got the Fremen pack. Line6link to the DT25, XLR to the PA/mixer. All of those patches sound great to the DT25 like that! I haven't gotten around to using MIDI to control the DT with Helix, but it's ridiculously easy and they probably made a template for it. Basically, Helix sounds good through any of those speakers; so in terms of getting your stage tones for your band, and for you to hear yourself independent of your in-ears, a simple solutions would be, you could try running 1/4" from Helix to the fx return / poweramp in on a 1x12 tube amp combo! (or two if you want stereo) Fender hot rod or whatever you might already have on hand? Primarily not be heavy-duty in weight! I just kept messing up my back trying to lift the FH1500; though the sound was killer. I would like to check out that Mission Gemini you mentioned; I think that a notable difference between the Mission and the Firehawk1500- the FH1500 has one 12" center speaker; the Mission (stereo) model has two 12" speakers? I don't know how much you will really perceive the stereo imaging of either of those monitors with a full band around it? I had the FH1500 Helix pair cranked up with drums, bass and a 40w Fender tweed. When we were all playing, my sound tended to be a factor of louder/ not quite loud enough. Whereas with Helix to DT25, I can't even turn the DT up to 5; 3 or 4 is wayyy loud. When you bypass the DT preamps, it just cranks the Helix patch through whatever topo, class A / A/B, and pentode or triode setting you choose. Way cool. The combo is light; around the same weight as an L2t or L2m. The DT25 head is even lighter; you could use whatever cab you want then! Anyway, sorry for the tangent from the thread! Hope you find something loud and awesome that sounds stellar and weighs little. Cheers!

you could use the AUX in and assign it to USB8; compare that to USB7, see if it makes any difference in tone or recording level

Yeah, what they said! I'm use Helix as my main soundcard now, it's excellent to be able to record the full stereo tone to USB 1/2 while also capturing the dry guitar input on USB7. You can also snag some other extra inputs, using USB8 as either dedicated AUX or MIC in; depends on what you have going. I was using the mic in to capture a guitar amp DI on one patch, and used AUX in recently to route a mono drum machine input.

Put a noise gate first and then put another noise gate between the amp and cab, make sure the guitar input pad is on so you have headroom. Also, explore the use of frequency crossover, maybe use a bass amp and cab model for the low frequency? You could also just use two amp models and dial them in based on which frequency they are better at emphasizzling. :) Could even be a matter of cab choice. Though I bet the bass amp, like SVT beast with the low end crossover of your guitar would sound huge! Then get a nice mid focused rock or hi gain amp; start with your favorite amp cab model combination and go from there. Mesa bass model ( cali bass) + Mesa guitar amp model? SVT + Marshall? Anyway, I just noticed that crossover split option and started reading up on it, have not tested it yet. Page 31 in current manual: Split > Crossover Settings Knob Parameter Description 1.) Frequency: Any signal above this frequency is sent to Path A (upper); any signal below this frequency is sent to Path B (lower). 2.) Reverse: When on, reverses the path assignments (any signal above the crossover frequency is sent to Path B, any signal below the crossover frequency is sent to Path A)

Thanks again, worked perfectly! I figured out that action button move the split down, way cool. Used the AUX in for the mono BeatBuddy output, which allows me to assign AUX to USB 8 while also sending path 2B to L6link. Cheers!

For what it's worth, I *think* this is what they are referencing in page 17 & 18 of the manual? 2 into 1 Move the Split block down to path B. The Split block shifts left and a duplicate Input block is created: This new Input block can be assigned to a completely different input. This routing can be used for mixing a guitar and vocal, or the models and magnetic pickups in a connected Variax guitar, each with their own processing blocks. True Parallel Move both the Split and the Merge blocks down to path B. Duplicate Input and Output blocks are created: In this routing, a guitar and vocal could be processed independently, each with its own input, stereo path, processing blocks, and outputs. Alternatively, two different band members could be processed independently.

Yeah, I should just maybe search the forum before asking last years question! lol, I *think* this is the answer? Thanks Jaeger28! http://line6.com/support/topic/16292-adding-input-2b/ jaeger28 Posted 22 October 2015 - 01:36 AM Select the split node. Press action. Use the joystick to detach and create a separate input. Same with return and output.

Is it possible to have two different inputs for path 2? I'd like to feed path 2A from path 1A/B, and feed path 2B from the AUX input, or from one of the FX returns, like return #3.

How does Line6 Link behave with Helix when linked to three speakers? In particular, if I was to link up two L3m and one DT25, what order should they be in, so the two L3m are in 'stereo' getting left and right, with the DT25 preferrably getting a L/R mono sum. I was thinking DT would need to go last - I know that's backwards from how it worked with the HD500, but I don't know so I'm askin'! I would think it does something like the M20d? one speaker = L/R mono sum two speakers = stereo three speakers = speaker 1 (L), speaker 2 ®, speaker 3 (L/R mono sum)

I should have been more specific; I have the BeatBuddy 'mini' or whatever it's called; just seems to have single mono out. I was going to ask the question, on Helix how do I make a 2B path that has AUX as the input and Digital/AES as the output? Because then I can assign AUX to USB 8 and still hardware monitor it, while also recording it direct. I guess I had a different understanding from reality of how the Helix can assign in and out to audio outs while also sending signal to USB out. At the moment, it doesn't for example let you assign return#3 to USB8 (or to be more specific, I don't know how to do that! it *might* be possible, and I'd love to be wrong!) Not sure what this would involve in terms of firmware, but It would be nice to be able to assign any input to any USB output independent of any other output assignment. Similar to how the dry guitar is set to USB 7 and the dry mic input to USB 8 - I would like a screen where you can just assign any input to any of the USB ouputs. I realize there are likely some limits on the fact it probably sees them as 'pairs', so in reality I am assigning return #3 to USB 3/4. Would be nice to be able to split them out as mono assignments, IE, return#3 = USB3 and so forth. I think I will try your 2B idea tonight after work! It seems like that I got part way there with the split dragging the return #3 to the 2B path, but it is still feeding from the end of the main 2A input path, coming from path 1. I think I am in need of knowing how to make an entirely discrete path 2B for the BeatBuddy, then should be good to go without using the DI. Sounds like I need to RTFM!!!!!!!!!!!! (again) thanks! :)

Ok; here's my work around, got it going for now - would still like to make this happen with just Helix if possible? I just grabbed a passive direct box. Sent the Beat Buddy 1/4" to the DI, then 1/4" from the DI to the Helix return #3. Also sent the XLR from the DI to the Helix mic in. Had to turn up the mic input gain to about +12; (not monitoring the mic input signal to the L6 link) Here's why that works. I took a regular Helix patch, and added return #3 at the end of the signal chain, and dragged it down to a split, then dragged the output down to it's own out, and made that digital AES, since that is the output I am using. Made sure USB 8 is still assigned to the dry mic signal, and recorded that into Pro Tools using USB 8, while monitoring the Beat Buddy to the speaker system on that last split output path. Kinda cool, lets me turn up or down the drum machine pedal send to the L6Link (to the speakers) out without doing anything to the recording level. Might even set up an expression pedal to control some sort of min/max to make the BeatBuddy drums more fluid in the monitor mix since the record send is tapped off prior to that point with the DI going to mic input. Idea was to avoid doing any kind of software monitoring, latency and all that horrible stuff! This way everything going to the speaker has the same latency, and minimal from pick attack to sound. Routing the monitoring through Pro Tools adds just a little lag; just enough to make you crazy. Overall, this is what I'd like to do. Route return 3 to the line6 link output and to USB 3, but not to 'multi' so it doesn't get sent to USB 1/2. I'd like to be able to assign any input to the 'dedicated' USB 7 or 8. Is that an option for any of the other USB outs? Seems like I am missing some really simple step here!! Like, assign return 3 to USB 3?... I think this might be another RTFM moment.. :) Until then, using the DI box. Thanks! Jam on.

Trying to record jams with Helix and BeatBuddy, but have them each on their own tracks in ProTools. Helix part is easy; USB7 for dry guitar, USB 1/2 for Helix tones. How can I route the Beat Buddy into Helix, so it gets monitored to the Helix hardware audio outputs, but not sent to USB 1/2, instead send (mono) to USB 3 or something? Currently using L6Link out of Helix to L3m, but that can be whatever if it makes this work! Messing with send/return blocks, trying different splits and such, haven't got it figured out yet. Thanks!

Yeah; I am behind the curve on figuring stuff out, or at least, getting to the point where any level of familiarity sets in to the extent that I notice anything that is 'missing', or not (yet) there. I realize they have some moving targets with some of the models that are being ironed out; quirks and such that are more a product of how options are programmed rather than any serious bug. I think once the base code matures then they can focus up more on content, and it seems they are moving in that direction! I just get too distracted playing and forget to dig into all the crazy deep options! I am going to build some patches from scratch, rethinking construction / design / etc with the Snapshots front and center to that process. I've retro-fitted some existing patches with snapshots, but you are working backwards from other design choices; for example turning on or off a 'lead boost' switch, that in itself does several things can be advantageous, or a limit - depending on how much free-range per-effect control. If you are ok with one button that does several things, and that button being grouped with other changes, then the layering becomes quite interesting - but the control of the effects can get a little quirky. If you have a single effect set to a multi-effect footswitch, then also set that single effect to it's own footswitch, it pulls it out of the multi-grouping, as I would guess it should based on the programming. Hence, working backwards from a patch that was done pre-snapshots can be challenging. I bought several of the Glenn DeLaune patches; I've tried to work Snapshots into those, and had some mixed results, mostly really good since the starting point of the patch is already awesome! in general, it's an excellent 'crash course' on how to make Snapshots work for you. -The easiest analogy I can make, is the patch is your pedalboard, and amp, and speaker and microphone, in whichever combination you come up with. -The Snapshots are all the various options you might 'dial in' on that rig to get a particular tone. Snapshots are tones within a certain available pallette of fx and amp controls. And there is no way you want to redial all those analog pedals after you've dialed in a perfect tone! So much little tweaking, each adjustment impacting things down the chain and the overall 'tone'; not to mention moving cabinets and microphone placement. It's the ultimate amp switcher; you can easily toss around what would be very heavy and possibly delicate; at the very least tempermental, 'real world' gear, in this virtual playground. Any other modelers out there let you switch between THREE amp models in a single patch, routing them per Snapshot into various IR or cabs? How about a FOUR channel amp patch>? Yeah, no - just Helix actually! So, Kudos Line6! ~Helix is a Walk Off Grand Slam~ Now, where it gets deep is how then you can do more than just stomp on or off individual effects, or combinations of effects - which is certainly cool - but the ability to adjust parameters without turning effects or amps on/off goes way beyond that. You could use just the amp gain to achieve four snapshots of -clean -funk -crunch -lead just by tweaking the amp EQ, gain, and such - before you even dive into effects! I like how Glenn was using a variety of additional clean boost, delay, reverb, and general enhancement to the tone for his 'lead boost' switches; I think that being able to contain a stand-alone multi parameter toggle like that inside of a snapshot is what is super awesome! You get to keep your lead boost no matter which snapshot you are on; you don't always just want distorted or overdriven 'lead' - it represents a wide variety of tonal options, just 'louder' and more awesome sounding, to pop above the mix no matter whether clean, crunch, funk, blues, rock, soul, bluegrass - it's so stellar I don't even know how to wrap my brain around all the things it can do. For now I've been doing the four snapshots on bottom row, four effects / stomps (often 'lead boost' style grouped effects), with bank up/down for the far left. I set up anything else I might need 'stomp' control over on the secondary stomp mode; but for the most part get 90% of the way there with just the four snapshots as four different 'base' tones, with the four stomps on top row as the most likely 'need to toggle that' switches; though also a great place to do things like clean boost, lead boost, etc. though also good to keep it simple, with chorus, flanger, delay, reverb. I tend to build the gain levels and overdrive/fuzz on/offs into the Snapshots, but also like to give individual OD and dist/fuzz and sometimes the compressor effects their own footswitches on the stomp mode page. that's where it gets tricky; some are your 'primary' delay/chorus/reverb, etc. which you can toggle on/off in any of the snapshots. Then there can be this second layer of additional boost, delays, chorus, reverb, eq, and whatnot that only gets toggle on or off as a grouping of something like 'lead boost', that would be applicable to any of the four snapshots. IE, you might want a clean channel lead boost vs maybe a crunch 'clean' boost, that doesn't introduce new effects, but perhaps tightens up amp eq, or jacks up the channel volume a little; subtle like the tides, rise and fall across the snapshots! I don't like them to go from quiet to loud, it gets hard to go from raging lead back to a nice swirling clean tone when the volume also drops going clean, so I spend a fair bit of time trying to dial in those levels between snapshots, then use stuff like 'clean boost' or 'lead boost' across the board on all four, as a toggle on/off once inside the Snapshot, rather than as a result of switching to the snapshot. Which then begs the question; so do you tell Helix to ignore the individual stomp on/off status when switching between snapshots, or preserve it? IE, you are on clean channel with lead boost on. if it ignores setting, then you change to another snapshot, it will turn the lead boost off. Or if you tell it to preserve the stomp changes, it will leave on any given effect or group of effects from one snap to the next... Both have their advantages and disadvantages, depending on what YOU are trying to do. It sounds cheesy - but this thing has wayyyy too many ways to go about achieving any given goal; there are many paths, intertwined - just pick one! (Twist-A-Plot meets Choose-Your-Adventure!) I find making myself like the 'horse with blinders' is a good approach; just get in the groove and go! Try not to look around too much and don't get spooked, just keep it cool, keep moving forward, clip-clop, clip-clop. And ZZZZZZZZoooom there goes flying by a brand new Solar Vibes powered Tesla Helix Mark IV :) p.s. Now I don't want to be remiss; I can't go mentioning 'walk off grand slam' without some cool distractifying content, so thanks YouTube!

Yeah, so due to a variety of random bad luck in July I hadn't played guitar in about a month; broke the hiatus last night. Jammed my left thumb beginning of July, and got bit by a dog on left forearm about 2 weeks ago. Anyway, to continue the cycle of pain I decided to do the 2.1 firmware update. All is well that ends well, but it failed on two direct attempts, one pre-downloaded the file attempt, until I got a total boot failure. Yay! At that point I hit ctrl-alt-esc, (windows 7) and loaded up the task manager and shut down every random process that I should have already shut down like they say to, but I forgot to check back ground process B.S., like iTunes helper, spotify loader, etc. For good measure since that PC is on a wireless internet connect, I stopped the streaming video I had going on the other PC, to ensure adequate bandwidth. And then the update worked. Breathed a big sigh of relief! Funny; it makes you wait for around 10 minutes while it rebuilds all your presets, then the instructions have you wipe all your presets, effectively undoing all that work/>? I am not complaining; I backed up the few presets I wanted to keep and did the global and preset reset thing again, and then spent the next five hours jamming out! I put my pair of M-Audio BX5 speakers on top of my pair of L3m speakers. Ran 1/4" to the M-Audios (could also use XLR) and used L6Link to the L3m. Nice blend of not-too-insanely loud for home, but with a little more fullness and oomph than just the two BX5's. My callouses are pretty much gone, so my fingers are like WTF was that? Snapshots is what that is!!! Love 'em. Still just scratching the surface, but have a pretty good idea about some things I want to try. It's hard to describe to anyone still using a 'traditional' pedalboard. Meaning; yes pedal switchers are great in that they can provide preset switching, and newer complex units like the Boss can also switch sequence. But that is where they end. Helix Snapshots is like a team of guys dedicated to changing your settings on each snapshot change; not just settings on your pedals - imagine reaching down and instantly changing or tweaking knobs on every stomp box on your board - instantly with no audio dropout... Now imagine another team of guys (or gals!) adjusting settings on your amp. FAR OUT!!!!! Even just for subtle things; you can crank the gain up in an amp model across four snapshots, while balancing levels, adjusting EQ to compensate, channel level, etc. SO powerful. What is the real mind blower, is they had that designed in advance of the Helix release, and were just biding their time until it was ready to drop that on us. Imagine what else they are sitting on, giggling about, thinking,"can't wait till we see their reactions to firmware 4.20!" ;) CHEERS LINE 6!!!!!!!!!!!

I think this one is more like a Big Muff; uses blacktops https://robertkeeley.com/product/Keeley+Blacktop+Vintage+Silicone+Fuzz

This one right here!!! KEELEY!!

Yes, that - plus, delay and reverb spillover - and no audio dropout as you would get changing presets. It's a patch inside a preset. Snapshot / photo analogy in earlier post was excellent. Previously the preset was the snapshot and the preset all in one. Now, it's something within the preset, and that's why it's soo cool.

Just occurred to me, and I don't have a variax anymore to test this, but it might be cool to assign Snapshot changes to your selector blade on a Variax? Possible? If you have a Standard, or JTV69, could you do the 5-way blade to toggle between five snapshots?;Be sweet, accessible from your guitar! Not sure it's feasible, I still don't have a firm handle on what does or does not work with Snapshots. Snappers. Snappy. Snap-tastic. Snap-a-liscous. Snap-a-relli. Snap-o'rama! Snap-errific. Snazzy Snapshots! Love 'em. great work fellas! :)

I was thinking that; there should be at least some option to 'force' whatever you have saved in any given snapshot, and not have it be subject to whether or not you manually turned on or off a delay, or in this case, a wah. Though it seems to be two variants of an issue: 1.) whether the snapshot preserves or discards the block on/off status when changing snapshots. IE,l wah is off in crunch snapshot, wah is manually on when you are playing on lead snapshot; switch to crunch snapshot, wah block turns off or wah block stays on, according to Helix setting. HOWEVER. It seems there is maybe not a setting to tell it what to do with that controller toe switch toggle, IE, 'resetting' it's understanding of the toe switch position as conforms to the snapshot being chosen. For example, if you are using the wah, it's both activated by the toe switch, but also the controller is changed. It's more than an effect on or off. Not sure it currently gives you the option to do that kind of controller over-ride per snapshot, but I can totally understand why you would want to! Especially with delay and reverb trails. Come out a screaming lead tone with the wah on pushing the high freqs into overdrive; drop out into a different snapshot which would ideally, 1.) turn off the wah, 2.) enable the controller for the volume pedal. It's almost like you need the toe switch to only toggle the on/off status of your volume and wah pedals, inverse from each other, but keep both on the same EXP controller assignment. IE, toe switch to NOT toggle between EXP 1 and EXP 2, instead having assigned both wah and volume to exp, and use toe switch to toggle on on and one off? There is probably some really obvious reason that won't work; I am not with my Helix, so I can only theorize!

I think you want to start at 50% volume on the L2 and slowly bring up Helix master volume. for my Helix, I have a pair of L2t and a DT25 at our practice spot, and pair of L3m at home. The L3m are overkill for home, I should probably switch them out for the L2 from the spot; at home, with Helix and L3m, I usually I have to turn them to less than 50% to not be too loud, but they are a good bit more bass heavy with the extra speaker. The L2 are nice; focused and punchy, and reasonably flat. I think likely more so that the L3, primarily due to the single speaker not skewing your perception of the bass. The L3 are a bit crazy loud! But I love the way they sound as floor monitors, that extra low end punch, with the floor monitor mode on the speaker, which cuts some bass, sounds nice with Helix. I also dig the pair of L2 as stereo floor monitors with Helix; though the L2 do well in a variety of configurations - on an amp stand, vertical behind you like a guitar amp, in front of you as floor monitor, or up on a speaker stand at ear level. They are not necessarily 'bright' per se, but might seem so playing the same material through the L2, next to a 12" powered speaker, or a 15". They do well to compliment a PA already using bigger speakers; that's how they're being used at our jam spot currently; up on speaker poles, as main/monitor fill. One near the drummer, the other on other side of the room. I run the Helix to a DT25, and also direct XLR to the PA, which gets monitored through the L2's, and any of the other 12 and 15 PA speakers they have going. Nice sounds through the DT25 as personal monitor; still good to be able to hear the PA version as well; balance of performance monitoring (DT25) and tone monitoring (L2 / PA speakers / monitors). The DT25 pretty easy to set up for Helix - just blank or bypass everything you can using DTedit. If you feel like it, set up the four voicing on channel B for topo I-II-III-IV, so you can toggle between then when linked with Helix. In the setup I described, I use Line6Link to send full everything to the DT25, having 'blanked' it - just injecting Helix tone to DT25 power amp basically. You can toggle between the Class A/ A-B and pentode / triode, and if configured properly in advance, between the four topologies. There are some interesting pairings of Helix amps and DT power settings; I haven't been ambitious enough to program Helix to make those changes, but I am thinking with the new snapshots on Helix, might be worth revisiting controlling DT with the Helix. Though in general, Helix sounds great as is, so I just try to make the DT sound reasonably close to how Helix sounds direct; I haven't gotten around to working the DT tubes into the actual Helix signal chain.

I had a FH1500 for a while, but sold it to fund car repairs.. That being said, while I had it with my Helix, I tried a bunch of different variations on how to connect it, but never 100% explored how to do true wet/dry/wet via programming on the Helix, three cables, etc. When you do what you mentioned above, you get phase cancellation. You have to set up Helix to not send any wet effects to the FH1500 guitar in. The amount of phase cancellation depends on how much stereo effect is in the patch at any given time, but you definitely have a weird experience! I also tried the 1/4" send after the amp model; starts to work better. Apparently what you really need to do is set up a special patch in Helix with your wet effects only going to the FH1500 monitor in, in stereo - with the wet FX mix all set to 100% or something along those lines. As I understand it, when your wet fx are not set to 100% mix, that means some of the 'dry' amp model is also coming through; which is where you get the weirdness, in how it interacts with the same signal being sent to the stereo speaker system. The 1/4" mono send to a blank FH1500 patch gets placed just after the amp model before any wet FX. Another note; the center 12" speaker is primarily bass frequencies; the only speaker not used when connecting Helix to only the monitor inputs (stereo only) is the center horn. The 1/4" mono to a blank FH1500 patch gets sent just after the amp model before any wet FX. A good place to start with it with your Helix, is just in stereo. Set up the FH1500 app on your phone, and get it connected to the FH1500. This allows you control over the master volume, plus gives you easy access to the global EQ, and the bass cut speaker modes - free form, floor, and wall. These modes are useful for balancing the overall bass response depending on the volume level, and if you are streaming any other audio, etc. Louder as just Helix amp, cut some bass. Lower volume, or for jamming with backing tracks, cut less bass. I usually set it to floor, the middle amount of bass cut and go from there. It really does sound stellar with Helix! You will love it. Be aware of the weight when lifting it with one hand - I have some pre-existing back issues, and that thing was hard for me to move around! I dig the tilt back stand on it though, and on days when I was ambitious about lifting it, it also sounds really nice in 'free form' mode (no bass cut) up on an amp stand. But at 63lbs, I wasn't lifting it that often, hence the usefulness of the built in kickstand!

Oh yeah! upgrade ASAP! The new snapshots is definitely the Helix experience you want, and the new Mesa amp models are stellar! And the new delay. And the new tuner! But really, the new snapshots - it alters how you think about presets and patches so much, you don't need to mess with a non-snapshot version, just go for it in it's best form that is available! Just follow the instructions in this video, actually - since you don't already have Helix, much of the installation issues people have with pre-existing software - IE earlier versions of the Helix software, drivers, and Line6 updater software - shouldn't affect you. You also don't have existing patches, so you don't have to save your patches before updating the software. I used a Windows 7 or 8 machine, don't recall which, had no problems at all. Just did it yesterday actually! You will want to download the latest Helix software bundle, which has the drivers and the updated updater program. Install that first. You can also download the firmware file manually, but it worked fine for me to just let it do that within the update process. If you want to go directly to where Glenn starts the update process walk through, skip to 2:50.

I had a blast last night programming Snapshots into my various Glenn DeLaune patches! And for what it's worth, using the new "Line 6 2204 mod" amp model in his Slash/GNR patch is killer! I jammed out on 'snapshot' tweaked versions of his SRV, Santana, Aerosmith, Bonnamasa, Gary Moore and Slash patches for quite a while yesterday. So much more to explore! A little crucial note from the manual that I missed when I dived right in and skipped the manual bit.. "As long as a parameter is not assigned to any controller, its value is maintained across snapshots." Meaning that if you want to get the snapshots to adjust things like amp model settings, you have to do a special move; simply adjusting the gain level or eq or any other setting in an amp model or in any of the FX won't do anything other than change that value for all the snapshots. "To adjust a parameter WITHOUT it automatically updating per snapshot, just turn the knob like you normally would." "To adjust a parameter AND have it automatically update per snapshot, press and turn the knob."