PeterHamm

I use a footswitch to change gain/level parameters on every single patch I ever make. It's easy. I don't actually use snapshots for this, although you can. Here's how you do it with a footswitch. 1. Go to your amp block. 2. Press the three line "menu" button. 3. Press controller assign 4. Select the parameter you want to control. 5. Select the controller you want to control that parameter. For instance, "Footswitch 8" is the second on the bottom row. 6. select the min value and max value (leave the "type" on "latching"). 7. Repeat for the next parameter you want to control with that footswitch. 8. The easiest way to rename the parameter (if you don't want to be staring at "multiple (2)") is to use the editor. Click on "Controller Assign" and scroll to "custom label" and type in what you want. (I use "amp drive".) You can also change the color here. I like using Red or Orange for this. Quick tip. change the mid and bass parameters at the same time. Dirtier sounds, imho, work better with less presence and/or treble, less bass (a LOT less bass a lot of the time), and more mids. Let me know if that works for you.

you won't get that sound without an amp and a room. Guitar speakers move air to your ears very differently from a FRFR cabinet. It's always going to be that way. Physics. When you hear an amp sim through an FRFR, it isn't designed to compete with our sound like an amp in the room. It is, rather, designed to sound like the amp miked up in the NEXT room played through an FRFR.

If you use the note value instead of milliseconds option, there is only one master BPM tempo for your delays at any given time. Either the one set for the patch or the one that is global. you can't do one of one and one of the other. It's not logically possible in Helix. If you need odd delays use ms, not note values.

Not comparing identical files if the way that the extra information is truncated is different in Helix than in whatever computer program was used... Could be VERY different, and noticeable.

The 16-bit probably only sounded better because it wasn't being re-sampled or anything. Good test, though! Surprised you could hear a difference at all.

That's not really the strength of snap shots, as rzumwalt mentions above. Imagine this. You have a 4-verse song that needs: POG and delay in verse 1, Trem in vs 2, Trem and Delay in vs 3, and fuzz and EQ and POG in verse 4. You also need the amp to change settings and the delay to be a different mix level and feedback in vs 1 than in vs 3... and you need the Trem's speed to change between 1 and 2... You can do THAT with four snapshots. If you're just looking at turning FX on and off, you can do that without and, btw, in ADDITION to snapshots. This might explain it a little more. https://www.youtube.com/edit?o=U&video_id=4vjBa02dZQE

I'd love a screen shot of this resolution problem, because honestly... I'm not hearing it from anyone else... That said, if it functions and you can see the numbers and letters, it's probably not a huge issue... right...?

i'm afraid the only way to go with this is to cripple the design of a unit. For instance, Digitech has a product that loads the next preset into a different processor or some such. But if they made Helix that way we'd have half the blocks and only one path, and nobody would buy it. I feel ya, brother, but this isn't going to get markedly better.

Once you get it, here's what I know. It will be the easiest piece of modeling gear to learn to use ever. It was for me. You don't need a video. Get a blank patch, and the quick reference card that comes in the box, and build a simple patch from scratch. You will learn SO much more from that than anything else.

There's a "audio thru" function that might only happen when you engage a track to record. That's what I'm guessing is happening. You know that your Helix will work as an interface as well, and that might simplify your life a great deal. Only use the Scarlett when you need what it offers.

OMG somebody PIN THIS COMMENT on the top of every discussion about modelers on the internet.

If I understand you correctly... ...if you hook Helix up to the Scarlett and then to the monitors, I don't think you'll get any sound unless the computer is on and active. You can hook helix directly to the studio monitors for this.

I had a Variax, and it was SWEET! But since I'm always doing two-voice with an acoustic, it meant that I get the same functionality from a guitar with a piezo and a really good acoustic IR. That said, I'd love a Variax again someday...

Frankly, I agree with your sentiment. I find SOME things (like anything requiring typing) to be nice on the Editor, but one of the reasons I'm glad I have the rack is that I don't have to bend over to use the already perfect UI on the actual unit.

There are several you can use for just about any tone you can imagine that I rarely dial up. The tweed Bassman is terrific. The HiWatt. The Parks. But I keep going back to the Matchless, Litigator, and Dr. Z. Over and over again.

I do this all the time. In one patch. It's easy.

You can do an amazing amount of that kind of switching with snapshots and gain or volume pedal blocks. Give us a detailed description of what goes on and what goes off when you switch your paths and I'll bet I can replicate it in Helix and even add in up to 4 of your pedals (in mono) with the loops if need be.

Each path is stereo. You can go stereo the way I do it, too.

I'm sure it can be, but since it's there... ...use 1a, 1b, 2a and 2b for virtually all my patches and use 3 EXPs to dial in different acoustic, electric, and schmaltz-ey synth pad sounds independently.

you have four paths, why limit yourself.

You can easily do that with one patch. ALL my patches are two-voice, and always have a clean, gritty, and more gritty electric and an acoustic I can either switch to or layer on at any moment.

Think of it as a balance between art and science leaning WAY more heavily towards art.

Honestly, not sure that you sound like a Modeler guy to me. At the very least, if it were me in your situation, I think I'd consider Helix LT and a great FRFR... but buy the FRFR used in case I decide I really need a powered guitar cab.

There are two mono loops on LT, so you can keep your POG and C9 in their own loops. That said, you are totally filling all your I/O, so I think you really would be better off with Helix than LT. Otherwise, next time you want to add something or change the routing drastically, you're hosed.

The BEST way to handle this is to leave your output knob up full and change the output from the XLRs (which I'm guessing you're using) to MIC instead of LINE. Another great thing is to just go out the 1/4" to a DI that will give your sound guy a signal he is more used to working with, and it will sound the same, even with a humble Imp 2 direct box.