HonestOpinion

You probably have Global Settings > Preferences > 'Snapshot Edits' set to "Discard". This means you have to do a save each time before you switch snapshots if you want your parameter values to be saved when you switch snapshots. If you set this to "Recall" you will only have to save once before you switch away from the snapshot. Also of course you must have the parameter you want to differ between snapshots assigned to a snapshot.

In addition to the latest firmware did you also download and install the latest 2.2 "Helix" application? It has the latest Editor, Updater, and driver. It almost sounds like you have the wrong version of the Editor. Make sure you check the Helix Editor version under the main menu 'Help' --> 'About Helix'. Sometimes it requires an uninstall of the old Editor for the new one to install properly. Of course, it could be something else entirely.

Not to be "that guy" but are you sure you weren't referring to turning hum and ripple all the way down. Sag generally has a sweet spot that you need to locate and I find that it is rarely all the way down. If you meant ripple and hum these can usually be turned all the way down or at least low.

I believe Peter was referring to the Global Settings --> Ins/Outs --> 'Mic In Gain' parameter, not the Studio Tube Pre block.

Great suggestion on the Pedal Edit mode. I still think that some kind of a specialized block or method for being able to do this in other modes would be very handy. I find Pedal Edit mode more useful for no hands preset design than for performance although it could be used as MusicLaw points out to increment/decrement the volume.

Are you on the latest firmware for your Variax? Not sure what is going on here because you seem to have everything set properly. A couple of things to try although even if they work they don't necessarily explain why you are encountering this problem: Sorry to include this point #1 because this stuff is dead obvious so you can probably ignore it but for the sake of being thorough... I know you clearly indicated in your post that you have 'Variax Settings' = 'Per Preset' selected but if you haven't already double checked it this is the most common cause for the Variax not switching models properly from the Helix. Also, just in case you have more than one preset for your "Police" sound make sure you are switching to the right one. Make sure your Variax cable is seated properly both on the Helix and the Variax and as Silverhead suggested try testing a standard Ethernet cable for the duration of your test. Again, my apologies for covering the obvious. Assign the 'Preset Variax Model' in the Input block to snapshots, it should show a pair of brackets around the setting. Now select a couple of different models in different snapshots, make sure you save, and test if the models switch properly when you change snapshots. View the input block while you are changing snapshots to make sure the models are changing properly on the Helix. Try changing the 'Preset Variax Lock Control' = "Pickup Select" on the Input block and see if that makes a difference. Try changing the position of the pickup switch and the model selector knob on the Variax. Maybe one of them is failing and interfering with the Helix when set in a certain position.

I like this functionality in principle. Maybe a new type of volume block or a new parameter on the existing volume block called something like 'Inc/Dec' or whatever where you put in the number of decibels to increment/decrement. The reason I suggest it as a block specific operation is you would not want to monopolize successive click operation on footswitches for only volume manipulation with a global option as there are many things you could potentially do on the Helix with successive footswitch clicks. Implementing this could prove to be a little trickier than it appears as the current behavior for switching would have to be taken into account, e.g. "What happens with "Multiple" footswitch assignments?". Perhaps you just disallow them when this kind of block is selected. Good idea, you should gin it up and post it on Ideascale.

The ideas about better IR management are all great and right on target. The points regarding a lock or indicator on IRs in use, using the IR name for lookup rather than slot position, and providing a namespace long enough to not truncate the names, particularly resonate. However, once I started using them extensively I found I still needed more slots than the 128 slots currently available just to fit my favorites in from a few sources. I think both better IR management and at least the option to have more slots available are the best solution for the most users. If the idea I posted which allows users to swap a Setlist for an IR list is feasible this would give users who want it the option to load additional IRs with zero impact to those who just prefer to have eight setlists. This idea advocates flexibility of how existing Helix resources are used (swap a setlist for an IR list) and does not necessarily require any additional memory be devoted to IRs. Of course, everything always seems so simple when you are not the one who has to do the development and are unaware of unanticipated requirements.

You can increase/decrease the volume easily with a footswitch (or the expression pedal) by a number of methods including assigning either a volume, EQ, Output, or the 'Ch Vol' or 'Master' parameter of an Amp block, or the level parameter of a wide assortment of other blocks, to either a footswitch or a snapshot. Very easy to do. You can't currently hit the switch successively for even more gain but you can have multiple switches or snapshots with different levels of gain. With up to eight snapshots on tap that is a lot of potential level options.

By working with the EQ, both the 10-band and the parametric, particularly using the parametric sweep method, I have been able to dial out a lot of the piezo sound and nasal qualities to get a fairly pleasing sound with the Variax acoustic models. Proper reverb settings and even dual reverb blocks can help to provide some of the complexity of sound bouncing around in an acoustic body. I pretty much only use the Variax acoustic models for songs that require a mid-tune switch from electric to acoustic or for the occasional tune that only requires acoustic finger-picking and is suited to the Variax's acoustic sound. I carry an acoustic guitar in addition to my electrics for anything that requires acoustic strumming. I also consider the Variax my emergency acoustic backup in the event that I have a problem with my acoustic guitar (don't want to carry two acoustics in addition to my electrics). Does anyone have some good tips for improving the sound of strumming using the acoustic models on the Variax(other than to play lightly)?

No worries, the more places that Open AIR link shows up the better. That is a great site worthy of publicizing. I agree, would be fantastic to see this capability in the Helix, would love to try some of those IRs captured in such unique spaces on the Helix in place of a reverb block not to speak of the potential for more detailed cabs. I am happy with the Helix and its ability to load cabs now but it is not hard to see that industry-wide IR development is far from done.

I love this site, it is actually the first one I posted when I started a thread for free IRs. http://line6.com/support/topic/17076-links-for-free-impulse-responses-ir-here/?p=125873 The problem is right now the Helix and probably most other modelers don't accept IRs large enough to be properly used for reverb although this site does have a few that are short enough. I definitely think the next generation is going to allow much larger file sizes for IRs. This would allow not only reverb IRs but more detailed and complex cab IRs as well. Maybe there would be a way to do it now with a firmware revision but it does not seem to be a high priority.

I would definitely like to see more IR slots! You can vote it up here: https://line6.ideascale.com/a/dtd/Add-additional-slots-for-IRs/892101-23508

Interesting post. I have to think this is where at least some IR creation is headed. I can easily see IRs in the future that are completely modeled and not a bit of them will be captured from real speakers and real mics. You will select the speaker type, mic type, axis, distance etc., and every bit of it will be virtual. Not sure how Line6 does their mic type and mic distance parameters but we may be part way there already.

Thanks for the tip! Definitely taking this into account.

Nice writeup on using the Global EQ, very useful details, thanks. This concept of using the Global EQ occurred to me as well but I decided that I still ultimately prefer having a physical knob I can reach down to quickly without having to invoke the global EQ first. I may adopt your approach however until a better solution presents itself. I suppose you always have the option of having the Amp or the Output block dialed up as the default screen in each preset/snapshot such that you can quickly reach down and adjust the "Ch Vol" or Output level quickly but sometimes you would have to work this in tandem with whatever (FOH or monitor) is assigned to the large Volume knob. Not quite as easy as being able to adjust a single dedicated knob with a choice between one assigned to the FOH and one to monitors without having to worry about what screen you are on.

I mentioned in my post that MusicLaw's idea "might work fine", maybe it won't, but I maintain that it is still a great idea and worth trying. That is where experimentation comes in. Many a great idea does not prove out or requires refinement. Thinking out of the box should be encouraged though. You are right that the mic preamp block won't change the input level in the same fashion as a physical mic preamp (I pointed this out initially) but it can boost the level once it hits the signal chain in the Helix and who knows, with the right mic it might work and provide an ultra streamlined if less than sonically ideal solution for the OP that requires no additional hardware to purchase, carry, or connect. Ultimately I do agree with Peter_Hamm's original post and that is how I would personally approach it. For me using a mixer is my preferred solution as soon as multiple mics are involved but the posters here are trying to assist the OP with options that may work better for him and fit the parameters of his request, even if they aren't the ones we would select or consider ideal. Posts as to what is a best practice are always appropriate and appreciated, but so are other potential options.

I agree in theory you want to be sending a consistent signal level to the soundman and the FOH, makes their lives infinitely easier and it is ideal. I try to level all my patches up but without being meticulous about it sooner or later I end up with presets or snapshots that require on the fly unanticipated volume adjustment. I try to save them at the corrected volume when they crop up but I still rarely do a show where I don't find myself working the large volume or expression pedal on some preset/snapshot change too keep the volume consistent or appropriate. As you know depending on the venue and the volume level of the PA some presets can all of a sudden sound too quiet or a bit too loud depending on how things have changed since your last performance. Just trying to say that there are variables from show to show including flat out oversights or miscalculations on your preset/snapshot level and it is nice to have a quick way to adjust volume from the Helix for both the FOH and the stage monitors. This is particularly true when you are doing a show where the band is running its own sound from the stage and there is no dedicated soundman available to quickly reach over and adjust your guitar level on the board . Ultimately I like the idea of being able to adjust my monitor volume from the Helix and also having a relatively "fixed" level going to the FOH, but one that can be adjusted quickly from the Helix where necessary. I think some metering would be very useful on the Helix and an output level meter would be particularly helpful. I also like the idea of being able to rededicate the Phones knob to control the XLR or 1/4 output level such that there is one knob for FOH and one for stage monitors. I don't know if the physical capability is there on the Helix but they did it with the large volume knob, so maybe it is possible with a firmware upgrade?

Funny you should bring this up because after a gig last Saturday I was wondering about exactly this. How could I set my Helix to control my stage monitor volume without affecting the FOH sound.? At least 2 or 3 times during the show I ended up having to go behind my powered stage monitor, which was in a less than easily accessible spot, to adjust the volume. Often I can just leave it at noon and it's all good but not always. I like the idea of just controlling the stage monitor from the Helix with the volume knob. Here is the problem I would have setting this up. If I set the large volume knob to only control the 1/4 output to the stage monitors many of my presets may be way too hot to run to the board at unity gain(0db). That is because those presets were set up a bit hot as I often use my expression pedal to control overall volume so I make sure the presets are loud with the toe all the way down. Maybe I could attenuate the Helix feed for the FOH sufficiently at the mixer. Just concerned I might have a lot of work ahead of me to go back and re-level my presets as well. I wish I could reassign the "Phones" volume knob to the 1/4 output and then just assign the large Volume knob to the XLR output. That would be perfect with the two knobs right next to each other; the Volume knob controlling the FOH and the Phones knob controlling my stage monitor(s). I never use the Helix's 'Phones' output on stage so being able to reassign the Phones knob to control the 1/4 output(s) would be very useful.

^^^^This!! Great idea, I forgot all about the Mic Tube Preamp Block, not quite the same as a physical mic preamp but it might just work fine. I would try this first if you already have a mic cord with a 1/4 connector or an XLR-->1/4 adaptor as it does not require any additional hardware.

True, I have bought a few IRs at a pittance on Cyber Monday and I agree, if I woke up one morning and found a Fractal laying on my chest I might be a bit freaked out but I certainly would not toss it out the window. ;)

I think Peter is correct that a small mixer might be one of your best options. The challenge is that you want a mic preamp for the signal from both microphones. Additioanally, summing a signal is not exactly the same as splitting it which is why you don't want to use a Y cable for something like this. The Helix has a quite nice mic preamp when you use the "Mic In" input. You could use an external mixer to blend the signal from both mics before it hits the Helix and use the "Mic In" input on the Helix. The only problem with that approach I suppose is that you now have the two mic preamps from your mixer both feeding in to the Helix's "Mic In" mic preamp. In other words you now have two parallel mic preamp's feeding serially into yet another one. It might sound fine but it is not theoretically ideal. One way to avoid having the mic preamp on the Helix from reprocessing the signal that has already gone through the two(parallel) mic preamps from your mixer might be to use a return input instead of the Helix's "Mic In". The Helix returns don't have mic preamps. I suppose another way to do it would be to use a small mixer or something like a Presonus Mic Preamp for your first mic and send that to a return input on the Helix. Your second mic would go directly into the Helix's standard Mic In. That way you only have only one mic preamp in the signal chain for each mic. Granted the mic preamps would most likely differ in the external mixer and the Helix and you might have to account for that with leveling and EQ. http://www.fullcompass.com/prod/042050-Galaxy-Audio-JIB-C A third relatively inexpensive option might be this Galay Audio XLR combiner box or something similar. Make sure you get a combiner, not a splitter. The Galaxy Audio even has phantom power passthrough although I don't know if it is wise to try and power two microphones from the Helix. I don't know how much max current draw the Helix phantom power circuit is designed for. I wouldn't want to damage my Helix. You may want to use only passive mics or battery powered mics. The Galaxy Audio box does not contain mic preamps so the two mics would plug into the box and then be directly(no mic preamp) output to the Helix "Mic In" so you can take advantage of the Helix's built-in mic preamp. Take note of the fact that there is a 10db signal loss from the Galaxy Audio box when summing the mics. I have no idea whether the Helix "Mic In" input/preamp can compensate enough for this level loss with enough volume and maintain decent signal quality and a good S/N ratio, although it well might. I have never personally tried to connect two mics to the Helix so if other folks who have attempted this have better information or mine is incorrect, please chime in.

I purchased/used practically every modeler/MFX on the market and never found their sound entirely to my liking for performance or alternatively if the sound was good enough I simply did not enjoy designing presets on them. This kept me cycling through an endless parade of tube amps and effect pedals. Finally I found a stable gigging alternative with the Helix that balances simple intuitive preset design with just enough depth to keep things interesting. I have performed with it steadily since its purchase. At first I was a little daunted by the price but the Helix and its features seemed so appealing I purchased it as soon as it became available. Best investment I have made in years. I was finally able to step off the G.A.S. treadmill of constantly purchasing the next latest greatest pedal and the next great amp in the ongoing search for the holy grail tone. The Helix has actually turned out to be a huge savings despite the price tag. For anyone who is hesitating because of cost, I urge you to jump on the Helix bus. If you are like many of us here you will actually save money in the long run and a lot of it. I am not saying I will never buy another amp, pedal or guitar but my gear purchases have dropped off dramatically, and I mean to almost nothing, now that I have a flexible user friendly solution that works so well on stage. I honestly did not think any piece of equipment was capable of this but it was like kicking a life-long technology addiction. Yea, I still peruse Musician's Friend and Sweetwater websites and catalogs or visit the local Guitar Center and occasionally salivate over some new toy but for the most part I no longer feel inclined to purchase them. When I think my sound needs refinement or I just want a change I simply tweak a preset instead of buying a new pedal or amp the way I used to. The Helix has absolutely proven to be a net gain for me rather than an expense.

Not surprised, seemed like normal behavior. Sorry I have not been able to recreate the bug you are seeing yet. A little off topic but I wanted to point out this observation which I made while trying to recreate your bug. You may have already noticed this but If you assign an alternate tuning for the Variax on the Helix it is only invoked when you switch to that preset. If you change the tuning knob on the Variax, changing snapshots will not retrieve your alternate tuning setting on the Helix. However, if you assign the alternate tuning settings parameter to a snapshot , e.g. 'Preset Variax String 6 '= [-2(D)] then when you switch snapshots it will invoke your alternate tuning setting from the Helix again. This actually makes a lot of sense and seems like it would be the preferred behavior. To sum up, default behavior is that the alternate tuning setting on the Helix is only invoked on a preset switch unless the tuning is assigned to a snapshot in which case it will invoke it when you switch to the preset and also every time the snapshot is changed. This means that if you assign the tuning to a snapshot you can change the tuning knob on the Variax in between snapshots and still get back to the alternate tuning setting on the Helix preset by switching to another snapshot or even just stomping on the current snapshot again. You don't have to switch away and back to the preset. I suppose this behavior might be useful for some songs. Seems well thought out and I like the way it works. The described switching behavior may seem like belaboring the obvious but it is unique to using the Variax with the Helix and seemed worth mentioning. Of course, as you would expect, it generally would make more sense to just assign different tunings to your snapshots and never change the Variax tuning knob manually. I will post back if I run into the issue you are seeing.

I think it is safe to say that, at least for the foreseeable future DI is not exactly enthused about the idea of including a Performance view in the Helix. His point "E" does sound like some variation that is even more useful for the Helix and Helix Rack could be percolating though. I am just delighted to see the Helix LT join the Helix family as well as the impending release of Helix Native. The fact that L6 has invested heavily in this family of products bodes well for future development and I look forward to them sharing innovations, or variations of them, across the product line where appropriate. I do appreciate that what works well for one product may not always be ideal for all.