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Hi So, I have updated my cheat sheet (pdf-version) and for you who are interested just download it from the link below (from my Dropbox). All the new amp’s, cab’s and effects are in there, marked with a red “N”, incl DSP and some other additional info. Legacy devices are marked with a red “L”. All are sorted in order of appearance on the unit, in their respective group. DSP-values for the new products are from me, but I have used the same method as Ben Vesco has used, published, and described very well on his great site (unfortunately not updated). If anyone has found a value that differs from mine, please let me know. There is a slight difference depending on which blocks are used when trying out the numbers. I have used blocks from Ben’s “reference material” to minimize errors and to get continuity. I have used two different setups and if those have a variation bigger than 0,5 (in relative %) I have used a third setup. Think it’s hard to get any closer. “Last device” is always at least one volume pedal at the end, in mono (0,47%) and/or in stereo (0,61%), what’s ever slips in :-), so that would be the tolerance... All devices are in preamp/full amp (cab’s are not incl, presented separate, but as default cab’s incl DSP, are in the sheet with the amp’s), stereo/mono, single/dual etc. where applicable. In an earlier version I did also publish the cheat sheet in a MS Excel 365 format, a DSP calculator. I will make that update but need some more time to finish it (want to play some guitar too…). Download the cheat sheet from my Dropbox (pdf-format) – https://www.dropbox.com/scl/fi/8vsyuiehgd6ofjryw6g9q/Line6-Helix-Model-and-DSP-Summary-3-70.pdf?rlkey=k3yyscizqbi1z80ozmo6gsihi&dl=0 https://www.dropbox.com/scl/fi/3ye2g1okvx18ypsww746w/Line6-Helix-Model-and-DSP-Summary-3.80.pdf?rlkey=8ygh0iqax8ewds0i3yn0nxc86&dl=0 Great update Line6, very impressive work. Thought I had all I needed before this update, but was I wrong, there were a few more I didn’t know about, eg. the US Dripman (!), some of the Catalyst amp’s, 2203 and the ODR-1, wow :-) Have fun (I will…)! //Per

I certainly do consider what Line 6 has done: 10-year-old technology (based on the even older technology available during development) has received multiple updates, including two that I consider truly major - global oversampling and reworked cabs. The reworked cabs update was only two years ago. And you have the massively improved pitch transposition, feedback effect, and significant new effects like the auto level control dynamics. It's easy to forget that snapshots, impulse responses, favorites, and other useful features we take for granted now were updates as well. As far as I'm concerned, Line 6 delivered on their promise of a platform, not just an effects processor, with multiple significant updates over the course of a 10-year product life. That's rare, and all the updates were free, too. I can think of very few companies with a similar track record. I don't judge a product by what it doesn't do as much as I judge it by what it does.

This morning's Line 6 Ideas email had a great suggestion! The idea is to keep cab block parameters while changing cab blocks. I voted it up and added to it. Check it out, upvote if you like, so Line 6 might consider it for a future update Keep Cab Block Parameters to switching btwn/amongst cab blocks Direct URL: https://line6.ideascale.com/c/idea/114452?utm_source=notifciation&utm_medium=email&utm_campaign=225&utm_term=digest-v2&utm_content=c240.m43726.rpe.w201

Few marketing blurbs differentiate between Machine Learning and Artificial Intelligence, so it's hard to know exactly what they're doing. For example: Machine Learning could go through all the presets you use in live performance and balance their levels. It would "learn" what level each preset uses, compare them, and edit them for the same perceived value. Artificial Intelligence could go through all the presets you use in live performance, and generate new presets which meet the same general criteria as what you seem to like. Companies are finding out that AI isn't generating much $$ yet, and there are also legal issues involved. AI has much potential - I used it to generate two recent book covers. It could also be tremendously helpful in reducing repetitive work in the studio. But, so far, practical applications for music that truly use artificial intelligence don't seem to be very common. Presonally, I'm a fan of artificial stupidity. Some of my best sounds come from making mistakes and thinking "y'know, that actually sounds kind of cool."

https://youlean.co/youlean-loudness-meter/ is a great tool for preset leveling.

I'm the author. I wanted to give a heads-up that the book has been through four free updates, but there will be another free update after the next Helix firmware becomes available. To obtain the update, all you need to do is download the book again. Whatever you download will always be the most current update. Updates cover the features from new firmware, but they also include more applications for new and existing features. To find out what people think, check out the reader reviews on the Sweetwater site. They've all been extremely positive except for a couple people who expected it to be a "Helix 101" book for beginners. It is not. It's written to cover what's not in the manual, describe applications (e.g., virtual "Nashville tuning"), and provide technical information about the blocks that isn't available anywhere else. The original reason for writing the book was because the manual didn't describe what the block parameters actually do. The only other caveat is the presets. Not all are meant to be "plug and play." Some are simply designed to show a particular technique, so you load them to experiment with something described in the text. Then using what you learned from reading the book, you can modify them for your specific needs. Scroll down the book's landing page and you'll see the contents toward the bottom. The topics that are covered will help you decide if you want to go deep into maximizing the Helix's potential, or need something more introductory.

The "best" sounding FRFR (a meaningless marketing term) for anything is so subjective as to be a pointless discussion. See TGP for dozens of such. I have a PC212+, HR FRFR112 and Rokit 6 studio monitors. They all sound good for different things and at different levels. The "best" sounding FRFR speaker is the one that YOU like best for YOUR application in YOUR listening environment. Which means that YOU would have to try them ALL to know which is "best". I know, not the answer you wanted. I mostly play my Helix through my Catalyst100 without IRs. If I played more "metal" I'd get a closed back cab and separate amp. For as often as I play that style, running the XLR Out from the Cat with emulation OFF into the PC212+ with speaker emulation (not FRFR) sounds good enough. YMMV.

Below you find a link to the updated cheat sheet, now updated with the nice stuff brought to us in the Line 6 firmware 3.80-update. I have used Ben Vesco's method to calculate the relative DSP values. Technical info in the pdf that was not published by Line 6 has been explored through available info from manufacturers, forums and other "reliable" sources. If you find something wrong/strange don't hesitate to let me know. Download the cheat sheet from my Dropbox (pdf-format) – https://www.dropbox.com/scl/fi/3ye2g1okvx18ypsww746w/Line6-Helix-Model-and-DSP-Summary-3.80.pdf?rlkey=8ygh0iqax8ewds0i3yn0nxc86&dl=0 Some of you have used my DSP calculation tool in Microsoft Excel. I have decided to put this tool on hold for now. The reason is that I found myself making the calculation I need from this pdf-document, quicker and more "on the fly". I had some other ideas to include too, but that will be later... Hope you find it useful. And Line6, I have left space for at least 30 more amps, cabs and effects in future updates... :-) /Per

The real Bogner Ecstasy is a $3500 amp that has more knobs, buttons and switches than any amp I've ever seen, so I'm betting they spent as much time to create that one amp as it takes to create a dozen simpler amps. I don't know if I'll use the Helix version, but I bet a lot of people will. So I'd look at this as a quality over quantity situation. After all, whatever favorite amps you have in the Helix so far, aren't you glad they got them right?

I am just grateful for any update or enhancement. No expectations here.

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!

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.

Study the cheat sheet, it contains condensed "need to know" information: https://line6.com/support/manuals/helixlt This article is a must read IMHO, understanding this will probably save you a lot of pain: https://blog.line6.com/2023/09/15/eric-klein-at-least-half-of-your-modelers-sound-is-determined-by-your-playback-system/ There are many blog entries that are interesting: https://blog.line6.com/ Lot's of stuff to find on Line 6's YouTube channel: https://www.youtube.com/@line6movies Have fun!

Those types of amps typically have two tube "gain stages" in the preamp. The first tube stage overdrives the second either a little or a lot. The degree to which the first stage overdrives the second allows for variation in the character of the overdrive which feeds the master/power tubes.

IF you have a high-quality Audio Interface with a 1M Instrument Input AND IF you have a powerful enough laptop to get acceptable (<10ms) latency without glitching AND if that latency is acceptable vs the 1 to 3.5ms latency of HW modelers (GT1000/HXStomp) AND IF none of your presets use FX that require <1M Input Impedance (certain fuzzes, some others in Helix) THEN Laptop/Native won't sound EXACTLY the same as Helix HW because no AI's preamps will sound EXACTLY the same as Helix direct to your FRFR BUT It WILL sound plenty good enough for jamming. "Noticeably different" only matters if you like one sound better than the other. If you've never heard either, you either like it or you don't. I have both rigs. They sound slightly different. Both are totally acceptable for jamming. I do not have "Golden Ears". You're the only person in the world who has your ears. My "Golden Tone" could be your "Horrid Noise". Bottom line/my recommendation - get a HW modeler and leave the computer on your desk where it belongs! Setup/teardown/transport will always be simpler with a modeler. Also, less failure points. Nothing ruins a good jam vibe than a glitchy computer rig. Well, if your guitar falls over and breaks the headstock. Or the neighbor calls the cops... :-(

I finally sorted this out, after a couple hours of trial and error. The thing that eventually worked for me was the following: - remove the USB cable from and shut down the Pod GO - download the line 6 updater - start the line 6 updater in offline mode - do not log in. - from https://line6.com/software/ Filter by Hardware: Pod GO, Software: Firmware , Operating system: your operating system - download the firmware version you were on before the failed update - Turn on the Pod GO in update mode ( hold `Page >`) while flipping the power switch on - quit all applications besides line 6 updater - in Line 6 updater, choose the firmware .hfx file that you downloaded - Go through the installation steps That got be back to where I was before I bricked my Pod GO. Then, to update to the newest version, I updated each consecutive version and updated to that through the line 6 updater. whew. Hope that helps someone!

Go to The Gear Page>Digital and Modeling Gear. Search for posts by Digital Igloo. He is THE BOSS (aka Eric Klein - Chief Product Design Architect). He has repeatedly said "Not this year. Probably not next year either." That's the best you're going to get on the subject. Buy what you want now. You might not be here tomorrow.

HX Edit is probably an older version. When you open HX Edit and you are connected to the hardware, the screen shows the HARDWARE version number. To see the version number of HX Edit you need to go to "Help > About HX Edit" Then it pops up a window showing the HX Edit version.... it needs to be equal, or greater than the hardware version. If you have updated HX Edit and the new amps/effects are not showing up... then the opposite has happened. You didn't update the hardware!

A few ideas... Acoustically, there's a huge amount of interaction with a room, which acts as a filter. It will emphasize certain frequencies that Stomp won't emphasize on its own. So, carefully analyze the frequency response you hear acoustically that you like, and try to nail those same characteristics with the parametric EQ. A room also acts like a complex delay line that's heavy on the early reflections. Of course, a live venue will add its own reflections, but it may be that some very short delays (e.g., the ambience block) would supplement the reflections that the venue is adding. Because of this interaction with your room environment, when you move your head even the slightest bit you're experiencing stereo phase and level changes. It's hard to fake this with a guitar processor but subtle chorusing at a very slow speed can help the guitar seem more "alive." Some pickups have resonances that bring out weird midrange frequencies. Frankly the notch response on the Helix parametric isn't that great, but try creating as narrow a midrange notch as possible, and sweep it slowly in the midrange to see if that helps even out the sound more. Good luck! Hope this helps.

Each of those WAV files represents different configurations of microphones and microphone placements that were used to make that particular IR. Generally not all of them will be relevant to you and you would tend to settle on the ones that fit the kind of sound you want given whatever amp you decide to apply it to. When I was using IRs I ended up having way more IR entries in my list on my Helix than I ever needed. That all disappeared when I started using the new Helix cabs that are actually IRs but you can easily adjust the mic and mic positions without having a ton of different IRs loaded

Relative to a lot of the people on this forum - the Helix has been around a long time. And the questions you've asked have been answered (multiple times) in this and other forums (try the search funtion). There's a LOT of content on YouTube, Facebook etc that can help you will have to look for older material as the newer stuff is generally "whats this new feature". Suggest Jason Sadites as a great starting point. And, whilst none of us like to do it, read the manual - its a great resource. https://www.youtube.com/@JasonSadites https://line6.com/support/manuals/ There is no way to make the backing track sound good through an amp (through the LT or any other source) - it will always sound like its running through a guitar amp - some EQ will help a bit. You're better off having some form of seperate monitoring for the backing track - PA speaker(s), monitors, anything really.

I'm running into more and more programs, like web browsers, that require macOS 11 (Big Sur) or higher. That was the first macOS to support ARM processors, so the implication is that if you're a Mac user and not running Apple Slicon, Apple wants you to buy a new computer. And since there's such a push to force encourage people to buy a new computer, there's not much incentive for companies to update older software for an ever-diminishing user base. Do I like that? No, nor do I like that Apple promised FireWire devices could always work with Thunderbolt adapters. But if the OS doesn't support FireWire, it doesn't matter if the hardware does. With music industry companies like Line 6, if Apple or Microsoft sneezes, Line 6 catches a cold. Remember all those emails from companies a few months back, urging users not to update yet to the latest macOS because the companies needed to test and patch their plugins? It happens a lot, and that's time not spent on developing new products, providing support, or giving their employees raises. Just sayin.' /rant

Did you perform the recommended factory reset after updating? Are you sure the affected preset has the Input block set to the Guitar or Aux input?

1. From Edit view, turn the Upper Knob to select the point where the two paths merge. The Mixer block (circle symbol) appears only when selected. 2. Press ACTION and turn Knob 1 (Path) to select “B.” The Mixer moves to path B, and a new Output block is created. 3. Press ACTION again to drop the Mixer block. See manual page 18 if you need pictures.

In Global Settings > Preferences make sure to set EXP/FS Tip to FS4 and EXP/FS Ring to FS5. If it's set to EXP1/2, the switches won't work because the Stomp logically expects an expression pedal. Other than that, the Ampero Switch is a rock solid device that just works.

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Wtf, "3.8, that´s it?" It´s about all of it, 3.8 included. THAT´S IT! There is a whole world of gear since the beginning of rock´n´roll up to now within my stomp. Not to speak about all that extra gear you would need for switching/routing all that stuff compared to analog. Endless possibilities...but people focus on what´s not in there. If you are a "musician" and care about tools to express your creativity, you should be happily covered. If you suffer from GAS (HX Stomp cured me) and can´t stop thinking about new stuff you won´t ever be happy. Write good music, play and enjoy! I can´t imagine that the lack of something within this unit could hold anyone back from this.

Digital Igloo wrote this months ago: 3.80 will be quite a bit smaller than 3.70, but people have been clamoring for at least two of its amps for a long time.

It's tempting to think of it that way.... but equally - i've not had to pay any maintenance subscriptions in the 5+ years I've had my Stomp, and yet it keeps getting improvements. OK, so it's been a while since the last one, and i'd have sooner seen a killer envelope filter in there or a 4th snapshot instead of yet more fender amps that I won't be able to tell apart from the others.... but I ain't mad.

Connect your Helix MIDI Out via MIDI cable with HXFX MIDI IN. Program Helix to send MIDI PC (Program Change) messages: If you set Global Settings -> MIDI -> MIDI PC Send to MIDI then Helix sends a MIDI PC message with the new preset number each time you change presets. Alternatively you can use an Instant Command in Command Center to program a Helix preset to send specific PC message with any preset number.

After reading all of your great suggestions and doing more reading on this issue, I decided to replace IRs that were missing with suitable Cabs and changing Cabs and Mics on patches I wasnt happy with and ... well, now I am a very happy HelixLT owner! Thank you for all of your help and suggestions, they are greatly appreciated!!

If you only get the complaint sporadically, and assuming there's no intermittent hardware malfunction, I'm inclined to think that it's just the occasional sound guy who either doesn't know what he's doing and/or has lost his marbles...they're out there. I've met them, lol ;). Don't see how the output can be fine one day and pinning the needle the next...

I'm quite happy with the result, let me know what you think of the tones! https://g-red-music.bandcamp.com/album/traces

Not that I know of, but there's a better way anyway - use command centre to add some of the Looper buttons as footswitches on your normal patch. For almost all my patches, I have Rec/OD, Play/Pause and Undo/Redo as three of the 8 (or 10) stomps. That way, you don't need to go in / out of the looper mode anyway. You don't need to even assign the Looper to a separate stomp if you don't need the other buttons (basically just reverse and 1/2 speed). This is kind of onerous to set up on every patch - so I recommend you save a template patch with these already in place.

All those people you see walking around with headphones on, staring at their phones. They're not listening to music; they're being told when to breathe in and when to breathe out.

With all respect, Silverhead's overthinking this, if you simply have one output for the mags and one for the piezo. The LT will do it, but you'd have to bring the piezo in thru one of the 2 aux returns. The Floor actually has an Aux input for just such cases., leaving its Aux's free for external FX. If you absolutely, positively know that you're never going to want to use outboard pedals or fx, the LT should do just fine. If you want to maintain some future flexibility regarding external boxes, go with the Floor. My full kitchen sink rig used all 4 sends/returns to incorporate a bunch of EHX "9" series processors - your needs may not ever reach that need.

I supplement my income driving for Ubereats. All day long I take driving directions from a robot. If I paid attention I'd be dead.

The more guitarist can sound homogeneous the better. As ai is only good at replicating existing forms and not capable of extending them the sooner it takes over tone the better and the quicker we will regress to the norm. I welcome my tone overlords with welcome arms.

No.

If it's just for goofing around, then you probably don't need all the bells and whistles of a full-blown Helix. Get a Stomp, or the POD Express and call it a day. Repeatedly setting up and tearing down a laptop and interface is gonna get old quick... use the right tool(s) for the job.

Disclaimer: The following is pure speculation. In my experience, companies often prioritize dealers over direct sales. If inventories run low due to parts availability, supply chain issues, shipping delays, etc. it's important for companies to maintain good relations with their dealers. Dealers don't like it turning customers away. As to the future of Helix, the future is that I'll keep using it :) I'm sure something new will come along at some point, but Helix is so ingrained in my setup I would see it being supplemented rather than replaced. Quick comment about Helix Native: It's an outstanding plugin for vocals, drums, synths, etc. I often have multiple instances in a song, but only one or two of them are for guitar or bass.

Perhaps through some dumb luck, I have figured this out. Checked my settings and impedance was set to first block instead of first enabled. Who knows how that happened. But it appears as if that was causing the tone difference. Thanks for helping me work though it, cheers!

Input Impedance and pickup loading. The three inputs all load the pickups differently. It's a complicated subject, Google it. Simplest solution: Instead of using the Apollo, use the Helix as AI and plug into the Helix guitar input like you would in a real-world performance. Create presets on Helix. With impedance set to AUTO your pickups will be properly loaded for the effects in the chain. When recording use Helix, record an effected performance track and record a DI track with USB 7/8. Use Native for re-amping. Helix/Native is a SYSTEM and works best when treated accordingly.

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.

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.

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.

Half a year later…still no real response from Line6. Just thought I would chime in with my experience - bought a variax (I have severe EMI/RF issues where I live, and it is the only axe I have that is dead quiet for recording - whole other story there). Anyway, workbench HD made me disable core isolation - memory integrity on my Win 11 machine in order for the Line6 driver to work. I read on some other forums how others had done this and didn’t think it was a big deal - but I know a thing or three about how machines get pwned and how memory isolation is actually good thing for the OS to do to help prevent that - so, didn’t feel too comfortable about leaving my windows 11 machine in that state. Figure I would just install workbench when I need to customize something and then uninstall it and reenable core isolation. Seems like even the Line6 uninstallers don’t even do their job right - didn’t remove the driver, entries left in the registry, autorun, etc... I was able to manually delete the driver out of c:\windows\system32\drivers and reenable core isolation, but this is really a lot of work - feel like I joined the Line6 family, but nobody is home - this is basic stuff, and iterate OP’s sentiment - c’mon Line6 - update the drivers and installation/uninstallation packages!

Make sure you have HX Edit closed when running Line 6 Updater, for one. That’s probably the most common reason for this.