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TABLE OF CONTENTS MANY of the questions asked here are NOT covered in the manual. Yours is covered in the first couple of sections. We're happy to help with those questions that are not covered, but we're not going to re-type the manual for you to explain the absolute basics of use!

For the tone & just overall 'amp' sound, the cab & mic are crucial, and wrapping your head around the different combinations of cab/mic isn't easy at all, given the vast number of mics, cabs, placement options, etc. So I always recommend The best IR in the world, really sounds great with pretty much any genre, simplifies a lot the entire tone-finding process. setting the Sag setting of the amp tends to make things tighter; less muddy. Always at 0 for me. Proper use of EQ For the impedance issue, if you don't have a pod go with the impedance issue then you don't have an impedance issue and adding buffer pedal shouldn't make a significant change. But that said; Which particular amp(s)? Not all models nor all amps are created equal. https://www.youtube.com/watch?v=Bz9tO4-kAG4 L6 really models the amps electronic components. And even 2 amps of the same brand/model can sound different, not to mention tubes... The blind tests I've seen of real gear vs L6 Helix/Go/etc., pretty much demonstrate that it's on par; really hard to differentiate. It's really all about your ability to tweak the tone. And not everybody likes the same amps/tones either. A lot of the amps you've mentioned are favorites in the lineup, and for me they're just plain meh.. Don't think it's particularly related to the amp/model, maybe more about your own playing style, your guitar, preferences, tweaking ability, tone-preference, etc., So as there's a ridiculous 100+ amps in the thing, just find a dozen amps that work for you, and forget about the rest. That would be my advice. But, it's definitely fun to explore amps and their history, and learning how people use them and how to make them work; plenty of tutorial videos and tweaking PGO tones, so I'd definitely start off with that too! Oh and don't be afraid to use the L6 amps either. Revisited them recently and they're pretty awesome. Definitely nothing wrong using them over 'real' amps; they're just that; improved versions or tweaks of existing amps; amps that could exist, or maybe couldn't due to electronic vs DSP, but honestly they sound great, I'd get rid of all Marshalls in PGO instead of them in a heartbeat! Not 'worse' in any way.

Definitely not normal and you've covered the basic troubleshooting steps. Open a support ticket. If it's still in warranty or a known issue you may luck out.

You don’t mention what Helix device you have, but here’s a quote from the Helix Rack manual. ”MIDI Bank/Program Changes Helix responds to traditional MIDI CC, and Program change messages from an exter- nal MIDI device (or from MIDI software via USB) and will recall setlists, presets, and/ or snapshots accordingly.” Consult the MIDI section of the manual for your device.

Which Helix Native meter are you referring to... there are two which help in getting the gain staging accurate within the plugin. Adjust the level controls as needed to get the right values on the meters, don't just set them to 0 and hope for the best. I like to set my input level on Native around -18/-20... hard hits would push it to about -12. Set like this I find Native reacts similar to my LT with the same preset. Next, gain stage the plugin as you add/remove blocks) until the output meter is very similar. I'm not familiar with Main Stage so I don't know what your meter options are... but I can say that "Dbfs" will be very different from any "K metering" when referring to numbers only. I honestly don't care about getting a match in numbers here... I just make sure I'm not peaking anything. You are not mentioning what you use for an interface. If you have the option, set the input you use to "Instrument" or "High Impedance". That will load down your pickup in a more familiar way than LINE or a Mic Pre will.

You need to assign the parameters to the Snapshot controller. Simultaneously push and rotate the associated encoder knob to do so. The parameter value will appear in brackets when properly assigned.

6 more amps, any two effects at once, more user presets, and best of all you can upgrade the old Catalyst to CX with a firmware update! https://line6.com/catalyst-guitar-amps/

Why? Seems to me the obvious answer is to use multiple presets during the service.

I hate this idea. Helix is a guitar processor. If you need a drum machine, buy a drum machine. I have the Beat Buddy. It works quite well. Please don't screw up my guitar processor by adding non-guitar stuff to it. In case you were wondering, I also don't want to see a blender attachment as I don't think I will ever want to make margaritas with my Helix. Why not? Because it is a guitar processor, not a bartender .... or a drummer. Thank you. (insert rolling eyes here)

I don’t understand what you’re getting at. Perhaps it’s just terminology. Is ‘Sunset’ the name of a preset, an FX block, or something else? You talk about turning a preset on and off. That’s confusing. At all times there is exactly one preset that is active (don’t think of it as being ‘on’). The active preset is replaced by a different preset (not ‘turned off’) when you activate/select a different preset. You can turn FX blocks within a preset on and off. You don’t turn presets on and off; you activate/select them. There is always exactly one preset active at all times.

Nice! Yeah one thing with Go is that you basically have to go through the manual... So many options, definitely won't be able to fiddle your way exploring every option... Gets even worse once you get to effects with 26 different parameters, many of which really aren't very intuitive, as the manual doesn't go in depth for many of the options and settings... descriptions of amps, cabs, models, etc., vs 'real' counterparts: https://helixhelp.com/models/ Added effects details (settings, etc.) https://line6.com/software/index.html?hardware=All&name=POD Go Edit&os=All&submit_form=set Then, there's all the million tricks and subtleties; things you wouldn't think/know on your own; so can be learned via guides, tutorials, tweaking videos/articles, etc., sigh ... That's all time spent not playing or practicing guitar though. LOL Not exactly sure what gain there would be to increasing cab volume? But on volume topic; the channel volume of the amp is basically the 'pure' volume, while the Master volume simulates how a real amp reacts to increased volume; gain/saturation. Ex; Gain 3, Ch. vol 10, Master 1, would result in low gain/distortion. While Gain 3, Ch vol 1, Master 10, would simulate a real amp pushed to max volume; so your '3' of gain would be much different with both. (tube saturation and all) Same goes with your chain; boosting volume before hitting the amp block, vs boosting volume after hitting the cab block will result in quite different gain/distortion characteristics/feel. Even for EQ. Ex; you can use the EQ as a boost, increasing volume, and again, placing it before or after the amp block will affect the distortion characteristics of the amp.

Solved this with some fiddling, based on @grdGo33's recommendations and others': Some amp models seem to be set at a medium (~5.0) gain with low channel volume, which doesn't sound great out of the box for those amps. I reduced the gain and increased the volume, which immediately improved the quality in relation to the other amps. I saw a post suggesting increasing the volume on the cab block (something I've never thought of doing), and that likewise made a huge difference. Like, 2-6 dB. I also mucked around with mic placement and other cab settings, which helped me fine tune the tones I've been looking for. This might be commonplace for people more experienced with amp modeling than I am, but I didn't realize how big of a difference these settings can make. Comps and EQ also help, but my main issues were with the amp and cab settings themselves. Thanks again for the suggestions!

Thank you so much for your thorough reply! Thanks--I will look into this! I've had trouble getting any Marshalls or Matchless's to sound like I want them to. Some of the Fenders are quite OK, and I definitely like the Cartographer, PRS's, and Soldanos. The Friedmans/Placaters sound more like a Marshall amp than the Marshalls do, which I just can't wrap my head around. I'll follow your advice! I do like the Line 6 Epic one. I guess I've just been trying to dial in the same sounds (using similar amps/cabs) that I've found elsewhere, and having trouble with all the fiddling required on the POD Go to get similar results.

Read The Manual https://line6.com/data/6/0a020a41edfe64823e79e9cdc/application/pdf/Helix LT 3.0 Owner's Manual - English .pdf

This is true if the footswitch gets it's power from the device/cable... Some third party footswitches (eg: The FS-6) use a battery for the LED's

That depends on your personal usage and requirements. I use Helix Native along with my Helix Rack and find the benefits are: - I can record both a wet and dry track simultaneously in my DAW (Cakewalk by Bandlab and/or Reaper). - I can use the Native plugin to reamp the dry track rather than using the Helix Rack hardware. My guitar tone can change repeatedly and continuously during the recording project development. I never need to replay a guitar part for tonal reasons (technical playing skill, now that’s different….). - I have the same familiar user interface in both Native and HX Edit. Anything I can do in Edit I can do in Native, subject to hardware restrictions (e.g. no FX Loop). Also, in Native I can remove the DSP limitations of a Helix device, and am limited only by my PC resources. - I can swap compatible presets between Helix Rack and Helix Native, meaning I immediately and easily have the same tones that are on the recording when I play live. - Helix Native is a very powerful plugin FX processor for lots of things other than guitar (vocals, synths, drums, …).

It's useful when asking for help to provide details such as computer OS and DAW.

Try uninstalling and reinstalling the driver?

I think what makes this feel odd to you is that the idea of a preset is confined to Helix Native, not to the DAW or the project, and that's consistent behavior across ALL Helix products. In fact it's pretty much consistent with the vast majority of plugins. This simply mirrors the behavior across all Helix products and allows Helix Native to behave consistently with all other Helix units and be a part of the Helix eco system. But the fact is this behavior is consistent with most plugins used in the DAW world, it's just handled differently. Most plugins provide for users to create their own presets outside of the manufacturers presets and they're referenced by the name the user gives it. If you change the behaviors but not the name, those behaviors will change for all projects that use that named preset. This is because plugins have no inherent knowledge regarding what DAW projects they're used in. If you create a new preset under a new name that will only be used in each DAW project that uses that new renamed preset.

Hi, This has been an ongoing issue for quite sometime now, but it recently came back to the top of the list of problems with "amp sims", that will also include Helix Native. To save me from lots of typing, you may want to get some insight from a few videos on YouTube. Here ya go:- This is what started the ball rolling. Even more info. Even more info. Hope this helps/makes sense.

There is a Global Setting that lets you specify what you want the big Volume knob to control - XLR, 1/4”, etc.

Attach a preset where this is happening.

My AKG K240's sound fine. My Sony MDR-V6's sound harsh. Both are "Studio" headphones, so... Play around with different speaker and mic combinations and, oh yeah, those round knob thingies on the amp panel... FWIW - there's no such thing as "FRFR" (full-range/flat response). It's a marketing gimic. There's only what sounds good to YOU.

From the manual, USB AUDIO section: Recording a Dry DI Track For this example, we’ll record guitar into two DAW tracks simultaneously, with one capturing the Helix-processed tone and the other the unprocessed DI guitar. 1. In the Helix Global Settings>Ins/Outs>Page 3 screen, set Re-amp Src (USB 7) to “Guitar” (as shown above). 2. Dial in your desired Helix tone, while keeping the Helix Input and Output blocks both set to the default “Multi” setting. 3. Create two new audio tracks in your DAW software project: Create one mono track to record the dry DI guitar, and set the track’s input to Helix USB 7. Continued...

The editor will not ‘overwrite’ anything you do on the device itself. The editor program does not have its own copy of any settings. It uses the data stored on the device to serve its display. Changes made using either the editor or the device itself are immediately reflected on the device and remain synchronized with the editor display.

I can feel your frustration with this. I currently have 5 audio interfaces. Focusrite Scarlett is my MAIN AI, the rest are built into Line6 and IKMM HW. I have NEVER had this much trouble getting one to work in ANY of the DAWs I've used over the years: Cakewalk; Ableton LIVE; Reaper; Studio One; ProTools; Cubase; Mixcraft; FL Studio - I think there's a couple more that I just don't recall right now. Every one of my interfaces have their own driver (including the two that have died over the years - M-Audio and Roland). If the DIRECT MONITOR button is not the fix, give this a try: Here's a link to DL the actual Behringer Drivers for the UM2. Since this is not an official Behringer site and I do not have a UM2 I can't test them. https://bit.ly/64_Bit_Driver_Behringer Here's a link to where the driver link came from with instructions for installing and using them. He's using a different DAW but combined with my instructions you should be able to figure out the parallels in Cakewalk.

Hello, and Welcome! First things first. This is a user-to-user support forum. NOBODY from Line6 hangs out here. If you want them to see your suggestion post it here: https://line6.ideascale.com/c/ But FIRST, do a search. This has been suggested MANY times. Now for the reality portion of our broadcast. Digital Igloo (Eric Klein, Chief Product Designer) has stated that the L6 product philosophy, at least in part, is that if somebody else is already doing it, and doing it well, they're not going to do it. Fractal does it (I think). Positive grid has been doing it for, like, 10 years? There's probably others, that's just 2 off the top of my head. Here's my view - I don't care. There're enough great sounding amps in Helix that I don't feel the need to invent new ones. Also, the design team has been coming up with new and original amp designs since the POD Bean days. I'd rather see them spending their development dollars doing more of that, and maybe original effects? Anyhow, do post over on Ideascale because you're right, you're not the only one who wants that. But search first and VOTE for all the others who got there before you!

Hi APSRN! Welcome to the Wonderful World of Digital Music Madness! I haven't used Cakewalk in many years (prefer Reaper), so it took me a bit to get this configured properly. Hopefully I've properly documented the steps. Open Cakewalk. Go to FILE>NEW. The default should be BASIC. Name the project NATIVE and SAVE (click OK). Go to EDIT>PREFERENCES>AUDIO. In PLAYBACK AND RECORDING>DRIVER MODE select ASIO. In DRIVER SETTINGS click the ASIO PANEL. If it doesn't appear ALT-TAB until you find it. The SAMPLE RATE should auto-detect from your AI's Driver (probably 44.1k or 48k - don't worry about it). Set the BUFFER SIZE to 64. Later, when you're playing, if you get clicks/dropouts/other weird noises come back here and try 128. **The BUFFER SIZE determines the Latency. Round Trip Latency (RTL) is the amount of time between when you PICK a note and when you HEAR it. Lower is better, but how low you can go is dependent on your computer's power, mostly processor speed. You should also google Windows Audio Optimization for DAW and configure your computer accordingly. Go to DEVICE. Refer to the above screenshot. My Audio Interface is a Focusrite Scarlett. Select ALL of the Input and Output options for your AI (1-2). Click APPLY and then OK (3-4). Follow the numbered steps. 5-In the FX slot, right-click and select INSERT AUDIO FX>Uncategorized>Helix Native. 6-In the INPUT Box select whatever your AI calls USB 1 (or whichever input your guitar is plugged into). 7-Activate the TRACK RECORD button (won't record until you activate the TRANSPORT RECORD button at the top of the UI below the MENU BAR). 8-Activate the INPUT ECHO button. You should now be able to play and record if desired (by clicking the TRANSPORT RECORD button). Questions?

One data pin probably is not connected.

First, make sure your HX One behaves properly when used with the Line 6 power supply that came with it. That will rule out your HX One itself as the problem. Then check the specs on your Joyo and make sure they match the HX One - 9VDC, center-negative, 2.1mm center diameter, 500mA. If the specs match and it doesn’t work there’s likely a problem with your Joyo.

I don't use a MAC so I can't help with the specifics of the programs that you use. All I can say is that my FCB is currently connected to my system via USB but what I'm about to describe also worked when I connected by DIN through a MIDI interface. I set up a track in Reaper to receive MIDI from my FCB (iConnectivity MIO DIN/USB), pass it to my Helix via USB with MIDI THRU enabled, and on to my Powercab via DIN. Works perfectly with bothe Program Changes and CCs. Do you have USB MIDI set to ON in Global Settings?

I don't know about you guys but I now feel sooooooooo unprofessional changing presets between every song playing live every weekend on my Helix since getting it in 2015 before we even had snapshots.

Okay, I posted this back in 2022, and now Line 6 just debuted the POD Express for guitar and bass. Hmmmm ... did I do that? And yes, I just ordered the POD Express for Guitar.

There is nothing wrong with posting the request on ideascale, but that comment is a little extreme isn't it? I would think that all those people that do use the unit professionally would disagree with this! Whenever I see this argument I wonder how a guitar player cannot find 500ms to stop playing between songs, or even within a song if they ever "needed" to change a preset.

I'm not at all sure what all you're doing, more complicated than I've time to figure out, but here's a simple bottom-line reality for you to start with. If your FX SEND is connected to SOMETHING you need a SEND BLOCK in your signal chain. If you want the signal to return from that SOMETHING you need a SEND/RETURN Block or separate SEND and RETURN Blocks in your signal chain. If you use separate SEND and RETURN Blocks you probably want the DRY THRU parameter of the SEND Block set to -120db UNLESS you want a MIX of the DRY and EFFECTED signals. My HXS/ToneX signal chain is: Gtr>WAH>HXS Input>HXS FX> SEND/RETURN Block (Stereo if you're using 2 ToneX)> Send L (TRS to Dual Mono if 2 ToneX)>ToneX Input(s)> ToneX Output(s)> Return L(L+R if 2 ToneX)>HXS FX> HXS Main Out(s). Your SEND/RETURN Global Settings should be INSTRUMENT (ToneX In/Out are BOTH Instrument Level). Hope that helps.

I finally liked this amp after the update

No, other than the new cosmetics and new labeling on the control panel, the amps are identical. (they screwed down the trim piece around the control panel because most pop off). Superglue is your friend). Buy the older one, and update the software and you're the same as the new amp.

Update was a piece of cake, no problems at all, just be sure to back up your presets and perform a Factory Reset after the update, same as Helix/HX. They've fixed one of the biggest complaints - being stuck with Reverb vs being able to use any two FX! Still unable to disable cab sim, but at least they're working on it. The Pilot's Guide adds the relevant MIDI commands and includes the Audio Interface info (which channels do what). They've added some of my favorite amps and paired them nicely for different flavors of similar sounds. Very nice update!

As mentioned several others have recently reported similar problems with Customtone. Would you mind telling us your solution? Might help others.

Hi, Yep - You seem to have misunderstood how “true spillover” is implemented. In order to take advantage of it, you have to sacrifice one entire DSP, which means you loose all of Path 2. I would suggest you check out page 21 of the Helix 3.0 Owner’s Manual. https://line6.com/data/6/0a020a3f041b611d61cac763b/application/pdf/Helix 3.0 Owner's Manual - English .pdf Most folks use Snapshots to achieve similar results without the potential loss of 16 blocks in the second path. Hope this helps/makes sense. Happy trails.

I found it helpful when evaluating all of the factory presets to get an idea of what artist/song they were taking inspiration from in trying to duplicate the sound. Most are obvious from the preset names, but some aren't. If was wrong about any or you have any ideas about ones that I didn't figure out, feel free to add to the list. This are the Version 1 preset numbering. PRESET ARTIST SONG 01A US Deluxe Nrm 01B AC30 Fawn Brt 01C Brit Plexi Brt 01D Cali Rectifire 02A US Double Arm 02B Essex A30 02C Cartographer 02D Revv Gen Red 03A Archetype JS 03B Divided Duo 03C Brit J45 Brit 04D Archetype Lead 04A Matchstick Ch1 04B Matchstick Ch2 04C Matchstick Jump 04D PV Panama Van Halen (Peavey) Panama 05A Placater Clean 05B A30 Fawn Nrm 05C Line 6 Litigator 05D Placater Dirty 06A Jazz Rivet 120 06B Fullerton Nrm 06C Brit 2204 06D Voltage Queen 07A Cali IV Rhythm 1 07B Essex A15 07C Cali IV Rhythm 2 07D Cali IV Lead 08A WhoWatt 100 08B Tweed Blues Nrm 08C Interstate ZedJS 08D German Ubersonic 09A Cali Texas Ch1 09B Derailed Ingrid 09C Cali Texas Ch2 09D Line 6 Factory 10A Mail Order Twin 10B Tweed Blues Brt 10C Mandarin 80 10D Line 6 Elektrik 11A Solo Lead Clean 11B Grammatico Brt 11C Solo Lead Crunch 11D Solo Lead OD 12A BAS:Agua 51 12B BAS:Ampeg B-15 12C BAS:SVT Nrm 12D BAS:SVT Brt 13A BAS:Cougar 800 13B BAS:Cali Bass 13C BAS:Woody Blue 13D BAS:Cali400 Ch1 14A CrushDestroy 14B Guns N Sons BBF Guns ’n Roses 14C Chris Buck 14D TheWorldisMad DK 15A FLUFF’D UNDER 15B New Romantic 15C Super Crank JKS 15D CHAOSBREAKER 16A VURNTWAHBbLE 16B Crossroads JS Cream Crossroads 16C Deaf Leopard JS Def Leppard 16D Fullerton Brt JS 17A Gene’sTrickBagJS 17B Vasoline JS Stone Temple Pilots Vasoline 17C Mayer’ish JS John Mayer 17D Robben’ish JS Robben Ford 18A Watt Angel PH 18B Dental Plac PH 18C Full Pan PH 18D Open Chordus PH 19A Supr9 Groove PH 19B DLX Seven PH 19C British Bug PH 19D Bambi Fuzz PH 20A Uber Widedrop PH 20B Vicars War PH 20C Trademark 20D Streets w/o Name U2 Where the Streets Have No Name 21A A Quid For Nutin’ Dire Straits Money For Nothing 21B Another Thing 21C Run Pink Floyd Run Like Hell 21D Cold Shot Stevie Ray Vaughan Cold Shot 22A Boulevard Green Day Boulevard of Broken Dreams 22B Troopah Iron Maiden The Trooper 22C Shining Star Earth, Wind and Fire Shining Star (Also OJays - Money) 22D Fish w/ Teeth Heart Barracuda 23A Straightedge 23B Ridin’ Lightning 23C Every Breath The Police Every Breath You Take 23D Message Botella The Police Message in a Bottle 24A Go This Way Aerosmith Walk This Way 24B Guy In a Box Alice in Chains Man in the Box 24C Come as U Were Nirvana Come As You Are 24D Bloody Sunday U2 Bloody Sunday 25A Tie Yo Mama Queen Tie Your Mother Down 25B Monkey Wrench Foo Fighters Monkey Wrench 25C Bit Like Heaven 25D Waterlung Jethro Tull Aqualung 26A Hangar 9x2 Megadeth Hangar 18 26B Cowboys Pantera Cowboys From Hell 26C Sultans Dire Straits Sultans of Swing 26D Right Next Door Robert Cray Right Next Door 27A Lights Journey Lights 27B Manic D Jimi Hendrix Manic Depression 27C Nothing Clean 27D Breaker o’Hearts Pat Benetar Heart Breaker 28A Real Thing U2 Even Better than the Real Thing 28B Dreamy Lead 28C Funky Meercat 28D Next County Over 29A Rockadilly 29B Filter Native 29C Hull Breach 29D Trem Moods 30A Infinite Space 30B Outpost Theta 30C Wave Rider 30D New Preset 31A New Preset 31B New Preset 31C New Preset 31D New Preset 31A New Preset 31B New Preset 31C New Preset 31D New Preset 32A New Preset 32B New Preset 32C New Preset 32D New Preset

Thanks for the input, however, I already had these things covered. That being said, I have no idea what changed, but I fired everything up this afternoon and it’s working just as it did before.

Here's another thing to consider - SOME USB powered AI's are noisy. I know that you don't want to hear this, but maybe it's time for some "tough love". You bought the cheapest AI on the market from a mfr that is known for crappy low end hardware. They don't even provide drivers! How many hours have you spent on this project? IDK about you, but the last job I worked before retiring was driving a truck for $25/hr. I'm almost up to two hours (the price of the unit) just trying to help you make it work. Just go out and get a Focusrite Scarlett Solo (3rd or 4th gen - <>$100) and be done with it. If you get it at GC or Amazon you can even return it if you decide you don't like it.

I use the Pod Go into a Fender 40-watt tube amp, and I break all the rules. I use the Line Out to get a "cleaner' sound instead of one tailored for amp users. I only use amp presets occasionally for distortion, typically a Bogner for a bluesy overdrive. I'm not a heavy metal guy, but I use other amp presets occasionally. As for volume, I spend hours at home trying to dial in a volume consistent with my other patches, then hours more after playing with the band redoing them. (Learn about the Fletcher-Munson curve) The only rule is to do what sounds good to your ears. (BTW, I loved my Korg AX-1000G. It was complicated to program but gave a great sound for its day.)

During RECORDING/MIXING it is not important to disable the BIG KNOB. As I said, that is mostly a PERFORMANCE preference. In Helix Global Settings>Ins/Outs set "VOLUME KNOB CONTROLS" to whichever Outputs your speakers are connected to (NOT MULTI!). In your DAW set the TRACK INPUT/INPUT ECHO switch (different DAWS call it different things) to OFF. During RECORDING you'll hear the Helix with DIRECT (ZERO LATENCY) monitoring. You control the playback level of any pre-recorded tracks from your DAW with the TRACK levels in the DAW. The BIG KNOB does not affect RECORDING LEVEL. During PLAYBACK/MIXING you are not PLAYING, so the BIG KNOB simply controls the Output Level of the MIX, which is controlled with the TRACK LEVEL controls.

Well... err..., yeah, it's a bit tough to say so, but even as someone who was always playing the "enough amps already, use what's there, who cares about authentic XYZ?" advocate, I have to admit that the amps added in the 3.7 update are just fantastic and pretty much all I'm using now (in case the HX Stomp is my amp platform, which it isn't all the time). Especially the 2203 and Voltage amps are great and pretty much the best dirt pedal platform I can imagine. Oh yes, I would've gotten along just fine without them, and in case I had the choice between those and, say, a global block functionality being added, I'd take the latter in a heartbeat - but still, I can't deny having huge fun with those new amp additions. In a nutshell, I'm a bit split-minded. In general, I rather take new functionality and utilitarian improvements over more sounds any day, though.

Line 6 fixed this big. They added a paging control at the bottom. Sorting still doesn’t work, but it’s a lot more usable now.

I get the same result as klangmaler, can’t find that driver either. Tried to search for it in different combinations, no hit. rd2rk, Sure you don’t have a VIP or an early adapter account? :-) Is the fix only for Core Isolation-problems? I run Win10 and has no problem with that. //Per

Trust me, they don't... it's a user forum. L6 personnel rarely show up. Feature requests have to go in IdeaScale, otherwise nobody "official" will ever lay eyes on it.

Attention all you two-voice-at-the-same-time-junkies. Here are some alternatives for you. They are derived from Mama Bear. I used Logic Pro's Impulse Response Utility, they are all 32-bit (recorded at 24 and converted) 48K (recorded that way NOT converted) 2048 (a couple are 2047 or 2046, they work the same, it's just really hard to crop exactly 2048 in that clunky program) IRs. All of them work in Helix. I tested them. Here's the thing. Mama Bear makes you not only choose the model, but the input device. I chose the setting that matched my PowerBridge, with EQ flat, captured all the IRs 100% wet (of course), and named them in a manner that should make total sense (ros means rosewood, mah means mahogany, etc. let me know if you can't figure the name of one of them or just download the Mama Bear manual). The number at the front is the number of the model in that manual. A few really cool and different ones are the Gypsy Jazz, Archtop Jazz and resonator models. Very surprising. What surprises me even more is that even though they were made with the "wrong" input selected for a "real" acoustic guitar, they seem to work great in that way! I tried some with my Crowdster and they worked really well. More subtle, I think, than the Fishman Aura ones floating around, and you may like those Fishman ones better (for certain things I think I still do). I will make a sample video when I can, and will probably capture another set with the under-saddle input circuitry selected to see if it works better with acoustic guitars. I attached a zip file if you want as well. same files as the link above. It's in my thread here. Let me know what you think and if they are useful.