silverhead

There is. In fact there are three that can be set individually for each physical Output. Again, the manual is your friend. Read the Matrix mixer section.

I suggest that it’s time for you to read the Snapshots section in the manual. It’s all explained there in a fashion that’s much more concise, detailed, and accurate than I could do.

Are you sure that you don’t have the Bypass Snapshot setting activated for that block? Have you assigned all desired parameters to the Snapshot controller? Also check the Discard Edits setting for the preset in the Snapshot panel.

Q1: depends on venue. If connecting to external mixer/PA as one of several players with a sound person running the mixer I would turn the volume quite high - say -6 to 0db in the Stadium’s Matrix mixer - and let him/her handle the mix. Turn up or down if requested. If playing without external mixer set Matrix mixer level as desired for the room. Q2: Preset leveling is a manual and somewhat tedious activity that should be done with each preset as you develop your setlists. You shouldn’t leave it to be dealt with during a performance. There are lots of historical threads here about the task of preset leveling.

Not to rain on the parade but I think there’s more to this than meets the eye. Here’s a comment I made in a similar post previously: I think that a clone change via Snapshots won't happen until/unless you can also change amps. Here's a snip from the manual section on Snapshots: “The only thing your octopuses/snapshots can’t do is rearrange your pedalboard or swap out an effect or amp for a different one (unless both effect or amp blocks exist in the same preset).” Reason is that DSP requirements are calculated based on the selected blocks in a preset. Snapshots aren't able to change that. I expect that clones, like amps, have varying DSP requirements. Note that this is not specific to Clones; it’s a general restriction about swapping any amp or FX model in and out using Snapshots. You can’t for instance put a generic Reverb block in a preset and swap different Reverb models using Snapshots. Different Reverb blocks require different DSP allocations. With dynamic DSP management that specific DSP allocation must be made when the block is added to the preset. You can change parameters of a selected model but not the model itself. I believe IRs require the same DSP, or at least minimal, regardless of the specific IR; that’s why it’s possible for them. You could do it easily with static DSP management; you simple allocate the DSP required for the most DSP-hungry block in the class. That’s how Line 6 modellers prior to the POD HD line were managed. Note that the POD Go is a hybrid approach using some fixed blocks (static DSP management) and some ‘flex’ blocks (dynamic management). If and when Line 6 introduces ‘generic’ blocks and somehow retain dynamic DSP management they will likely do it in general, not just for Clones.

What computer and OS are you using?

Makes me wonder if your app and firmware are the same version. Worth checking? Also, don’t know if this is relevant but since you mention 3rd party presets you might not have seen this in the manual: As of this writing, Helix Marketplace premium presets and IRs are not supported. They will be, but unfortunately, we have no timeline to share.

Yes to your first post. See manual description of Scroll Mode, and Global Settings -> Footswitches FS3. That’s assuming you want to control both Gain and Delay blocks together. If you want independent control of each then the answer is no. Second post: too subjective. Only you can decide. Your height? Eyesight? Daytime outside?

Something to experiment with. Give it a try.

The Stadium driver uses ASIO which means the same device must be used as the audio input and output device. Specifically you can’t use Stadium as the input device and the 192 as the output device. You must choose one of them to use one of them as your interface for the DAW; the other can be used as an analog device if necessary. If you use Stadium as your DAW interface then either your speakers should be connected to the Stadium OR connect the Stadium analog outputs to your Studio 192 analog inputs which will then deliver the sound to your speakers. In the latter case your Studio 192 device will not communicate with the DAW. Why do you need the 192? Other non-Stadium inputs?

If the Stadium is set as the audio interface and the speakers are connected to the Studio 192 device then I would not expect to hear sound from the speakers. What do you hear through phones connected to the Stadium? I’m not clear about what you’re saying in the previous two posts. Is it perhaps because your guitar is mono and maybe only coming through the L in a stereo channel? Maybe connect the speakers to the Stadium outputs?

Long shot but check the Matrix mixer setting for USB In 1/2 and the physical Output layer you are monitoring (1/4”, XLR, Phones). That meter in the Matrix should indicate whether or not you are receiving a signal from the DAW. If you’re not receiving any signal then the problem is in the computer/DAW setup.

I would open a support ticket .

I think you mean Line 6 Central, not Update. Central is its replacement.

From the manual: Each Matrix layer provides real-time metering, level, pan, mute and solo control over the 4 stereo paths on the Home > Edit screen, 8 stereo tracks on the Song screen, Click, Count In, USB In 1/2 (for monitoring your DAW), Bluetooth audio (for jamming along with Apple Music®, Spotify®, or YouTube™), and Aux In. A matrix layer refers to the physical Outputs, 1/4”, XLR, and Phones. So the quote suggests you can have different Song mixes for each output but you can’t have different mixes for different Songs using the same output.