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Hi! As I can see, in each new version several new amp models are added. It would be nice if an Fender Bassman 1963 will be added with a new firmware update. Maybe someone would like to join my request. Thank you!

By what I have read, I’m afraid there isn’t an option to edit the Variax 500 with the Helix. The Helix doesn’t provide these services for Legacy products. For that reason, I kept my old POD XT live. Maybe get one of these? They should not be that expensive any more, and you get a backup unit for your Helix. Though the sound quality isn’t on the same level obviously.

Whether or not you think it belongs in the Helix is a matter of preference/opinion...I have no issue with that. What I find surprising is that the two of you (and others in this thread) think the Tweed Bassman (already in the Helix) and the Brown Bassman are the same amp. They are the same by "name only". They are very different amps. The Brown Bassman has a tone of it's own in the Fender lineup, and would have a tone of it's own in the Helix. I think it's a legitimate request.

Hi! So happy with my Helix! Before the Helix I had this massive board with a switcher. My tuner was always on and I had one button on the switch that only went to the tuner and the sound went silent. This is a really cool way to start tuning and mute your sound instantly. I actually used it in a musical way when I wanted to mute quickly. Anyway.. What I like to do is to have more options on how to turn on the tuner. Two examples: • When my volume pedal is at zero it automatically turns on. • When I press the tuner button it goes to tuner instantly. Yes, I would sacrifice the tap function since I always put in the tempos beforehand. I understand this is not for everyone but the option would be nice. Maybe someone can come up with an even better idea how to turn it on. Anyone?

Latency using a Aggregate Audio Device of Helix Floor and MOTU 624 on my 4.1 (flashed to 5.1) Mac Pro 2 x 3.46 GHz 6-Core Intel Xeon, Mojave 10.14.2 As I use a lot of VI and sample libraries 44.1k & 48K are really the only sample rates that are practical. Do I just add the In & Out to get a total RTL? Cubase 10 & 9.5 Aggregate Audio Device of Helix Floor (Line 6 Driver) and MOTU 624 44.1K 64 = In 7.438 Out 9.433 = 16.871 44.1K 128 = In 8.889 Out 10.884 = 19.773 44.1K 256 = In 11.791 Out 13.787 = 25.578 48K 64 = In 7.333 Out 9.333 = 16.666 48K 128 = In 8.667 Out 10.667 = 19.334 48K 256 = In 11.333 Out 13.333 = 24.666 88.2K 64 = In 9.705 Out 8.707 = 18.412 88.2K 128 = In 10.431 Out 9.433 = 19.864 88.2K 256 = In 11.882 Out 10.884 = 22.766 96K 64 = In 9.667 Out 8.667 = 18.334 96K 128 = In 10.333 Out. 9.333 = 19.666 96K 256 = In 11.667 Out 10.667 = 22.334 Helix Only with Line 6 driver 44.1K 64 = In 7.438 Out 9.433 = 16.871 44.1K 128 = In 8.889 Out 10.884 = 19.773 44.1K 256 = In 11.791 Out 13.787 = 25.578 Aggregate Audio Device of Helix Floor (class compliant) and MOTU 624 48K 64 = In 4.583 Out 3.354 = 7.937 48K 128 = In 5.917 Out 4.688 = 10.605 48K 256 = In 8.583 Out 7.354 = 15.937 Helix Only with class compliant MacOS driver 48K 64 = In 4.583 Out 3.354 = 7.937 48K 128 = In 5.917 Out 4.688 = 10.605 48K 256 = In 8.583 Out 7.354 = 15.937 MOTU 624 Only 44.1K 64 = In 1.995 Out 1.995 = 3.99 44.1K 128 = In 3.447 Out 3.447 = 6.894 44.1K 256 = In 6.349 Out 6.349 = 12.698 48K 64 = In 1.833 Out 1.833 = 3.666 48K 128 = In 3.167 Out 3.167 = 6.334 48K 256 = In 5.833. Out 5.833 = 11.666 Using the same Cubase project, the aggregate device at 48K using the Helix on class compliant gives a much better latency but the CPU hit is much higher than using aggregate device at 48K using the Helix Line 6 driver with the same buffer size… Using the MOTU on its own with the same sample rates and buffer sizes not only is the latency way lower the CPU hit is considerably lower. I am seriously thinking of getting a converter so I can take the Helix SPDif coax out to the SPDif optical in on the MOTU and run at 44.1K 64 or 128 buffer. Super low latency and minimal CPU hit. Hope this is useful

Problem solved: Security settings in Mojave were stopping the Helix driver loading: System Preferences/Security & Privacy/General, once I authorised this to load and rebooted the different Sample Rates were now available in macOS Audio/Midi Setup, 44.1K selected, launch Cubase and everything seems to be working as I expected. I can now load the Helix/MOTU aggregate device as 44.1K, 48K or 88.2K or 96K.

Well, we did FINALLY get an improved tuner..:-)....but I get it. I'm personally hoping that with all the back end improvements, we can finally get polyphonic pitch shifting! Not mocking! It's not like I never use the high gain amps. One of my favorite Amplitube sims is the Randall Warhead. Although I'm not all that fond of most metal, the tones that the better metal guys (like Ola) get is the logical next step in rock after The Who and Tony Iommi. But, just like a TS in front of a Bassman or a Deluxe covers most of what we need for blues, a TS in front of a Recto or the 2204 Mod (or the Badonk) covers a big chunk of metal. It's not rocket science. We all want new amps, especially our favorites. There's no need to belittle each other's wants (after all, this isn't Gearslutz!). We're all just a bunch of little kids who ALWAYS want new toys! And then, of course there's the Holy Grail - the mythical Dumble, no two of which are the same, but EASILY identifiable in any mix by a TRUE tone aficionado....... Speaking of Amplitube - wouldn't it be cool if L6 could model the DETAILS of our favorite amps (instead of jamming them all into a generic format) using their tech to make them sound REALLY GOOD? And MERRY CHRISTMAS too!

@codamedia @amsdenj @soundog @datacommando this is awesome seeing variety of opinions. I will certainly try them all! Thanks guys. Will update you as soon as I find the best solution that works for me by trying and combining all the above. Merry Xmas.

Good questions. The gold standard for a modeling device is either direct into a venue's PA or a flat response speaker system such as Line 6's own Powercab series (https://line6.com/powercab/). Essentially, those let your modeler become the complete tonal machine with your speaker being where that sound is output exactly as the modeler intended (or if not exactly, with as little coloration as possible). In order of greatness, modeling options are: 1. PA or FRFR (i.e. full range/flat response) 2. Amp with an effects loop. 3. Amp without effects loop. The problems with 2 and 3 are that, while all rules can be broken in some scenarios, GENERALLY you don't want to stack amps upon amps, and you generally don't want time based effects prior to distortion and amp processing. Modeling software, particularly Line 6, does some GREAT amps - but if you have option 2 or 3 you're left out in the cold using them because the existing amp is already there, and you'd be stacking the modeled amp upon that one. So, most people using 2 or 3 would want to leave the modeled amp on the Firehawk turned off. With option 2, by using a four cable method (guitar in to Firehawk through pre amp effects such as compressor and distortion >>>> out of Firehawk out into amp >>> out amp effects loop into Firehawk in >>>> through Firehawk post amp effects like delay and reverb >>> out Firehawk and back in to effects loop of amp >>>> out amp's cab to your ears) your modeler can still take full advantage of pre and post amp effects. With option number three your modeler is largely stuck just doing pre amp effects, such as compressor and distortion, which is a lot more limiting and you're not getting near as much bang for your buck. Sometimes you can rig some pretty cool purely wet stuff (i.e. guitar + effects added) going from your modeler into the amp's auxiliary in for playing along to music, but that can take a ton of fine tuning and is far from perfect. Your mileage and enjoyment on that may vary. Unfortunately, amps with effects loops seem to be drying up as more and more amps go for being modelers of their own to some extent and don't see a need to attach one. This is tragically even the case with Line 6's own Spider series which, as awesome as it is, even the most expensive models do not have an effects loop. It's for this reason that my advice to you would be that if you are even remotely interested in buying the Firehawk, if you choose to buy anything to go along with it steer clear of an amp with or without an effects loop and instead purchase a solid FRFR speaker system you can be happy with (Headrush makes the most affordably and solidly decent one that I'm aware of, though my ears give a slight preference to the Powercab). That way you get all the juice possible from your modeler, and if by chance you fall in love and wish to dive in even deeper with some Helix model in the future, you already have future proofed yourself with the FRFR system and you won't need to buy something else yet again. Edit: On a final note, the other HUGE advantage to an FRFR speaker is it's just stupidly easy. You connect your guitar into the Firehawk, and a cord out from the Firehawk into the FRFR speaker. Done, and with only two cords.