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If I were buying an FRFR today... I'd lean to the Fender line. They sound great and have those familiar controls of an amp for quick room/stage compensation without diving into menus. That said... my AITR tones are baked into my presets. As long as I have a quality monitor arrangement... that tone is there. Studio Monitors.... check! FOH/PA... check! Quality stage monitor... check! IEM's.... check! Any decent FRFR .... check!

Are you speaking about a difference in the intervals of value changes when rotating the knobs slowly vs. rapidly? If so, that’s a designed feature, not an issue. By design (and in response to user feature requests) parameter values change in bigger jumps when you rotate the knob quickly. You need to rotate it more slowly to make the intervals smaller. If that’s not what you’re talking about please elaborate.

If you hear an 'amp in the room' you hear the amp and it's reflections from the room. You can do that from many listening angles and distances. Do you want a sound as if you were in front of a stack of 4x12s in a stadium or more of a combo amp pointing at you legs in a crowded pub? Do you have a recording at hand that features the sound of what you call 'moving air'?

3 Options... 1: Do what the studio engineers have always done. Work really hard with the mic choice and placement in the cab block to capture the "amp in the room" sound to the best you can. Those recordings we love often sound like amps in the room.... that was achieved with creative use of mics & placement. 2: Turn off all cab modeling in the Helix and plug into the effect return on an amp. Voila... amp in the room. 3: Find a good "speaker simulation" IR. Before IR's existed people used speaker simulation hardware such as a Palmer PDI-03... but there were many others as well. Those don't have the MIC character added... they are simply EQ's that attempt to sound like a speaker/cab, without the mic. If you can find an IR package of those sounds.... you can load them up instead of a cab block.

I can only comment on three powered cabs, PC112+, PC212+ and Catalyst 100. I started with a Helix Floor and later added an HXStomp. I quickly sold the PC112+ and moved up to the PC212+. The reason was that I THOUGHT that the PC112+ was too dark. I wish I'd kept it because I later realized that I simply didn't know how to use it. I wish that I'd kept the PC112+ because now that I know how the system works, it would have been fine, and if I only had the HXS it would have been perfect for my needs. The PC212+ is actually overkill with the HXS. I found that the advantages of total volume, which I don't need (the PC112+ is plenty loud), and the "novelty" of the stereo possibilities, which I don't really care all that much about, are offset by the added size and weight. Stereo is nice for "ambient" sounds though. IOW, if you have a full fat Helix and want the above-mentioned advantages of maximum volume, integration and features, and don't mind the weight, the PC212+ is great. Otherwise, or if you only have the HXS, the PC112+ is quite sufficient. Also, if you think of the Speaker Emulations as Speaker 1, Speaker 2 etc. and don't get all hung up on "Do the GB25, V30 etc. REALLY sound like "THE REAL DEAL", then the PC series are great for the AITR feel. Just pick the speaker that sounds best for the sound that you're going for. The Catalyst 100 not only sounds great for AITR, but it's also MUCH cheaper, lighter, and has the advantages of being a backup if the HXS fails. The internal amps, delay and reverb allow me to use more pre-amp FX without running into DSP issues with the single processor HXS. With the addition of the 6 new amps in the latest X version (12 total and the old HW is updatable by FW), I have all of the amps that I need. It's PLENTY loud (get the 2x12 version if you need more) and actually sounds GREAT for low volume (<75db) practice in my apartment. This is due to the built-in Fletcher-Munson compensatory EQ on the .5watt setting. Even at <>60db it sounds full. For LIVE use, going to FOH from the XLR, the "generic" sounding 1x12, 2x12 and 4x12 speaker options, with the MANY mic emulations, give me all the flexibility I need. I went down the rabbit-hole of IRs. I have many THOUSANDS, from every major and minor player, and I no longer use them except for my RARE forays into recording, and even then, rarely. The ability (with the new FW) to disable the internal speaker emulations allows the ability to use an IR loader if I wanted to. My PC212+ is now on Craigslist. IOW, if I was starting over and only had the HXS, the Catalyst is the way I'd go. All of the L6 options have MIDI, which is GREAT. It's NOT Rocket Science, and I'd be happy to answer any questions you have about using MIDI. As to the other candidates you mentioned, the only way to tell which would be best for YOU would be to try them. Good Luck finding a store that has all of them, and keep in mind that what they sound like in a store vs ITRW is about as accurate an evaluation method as YouTube.

After updating the Line 6 Relay G10TII transmitter to the latest version (2.06), connecting it to my Pod Go Wireless, it started working intermittently, making it unusable live. There are no interference signals nearby, and it was working fine for over a year. Can anyone help me? I did the update several times via Pod Go edit and Line 6 updater, unsucessfully. Thanks in advance