Regarding the Helix reverbs and possible development of new Helix reverbs, While everyone has a different opinion about how reverb should be used in music recording and while I often agree with the notion that reverb needs to be felt and not heard, especially on rhythmic sound sources like bass and drums where the inteligibility of the source material could quickly become muddy, washed out, undefined and sloppy sounding, I will say this... Many artists, (especially these days) like to push reverb to the extremes and the reverb BECOMES the sound of the music. Especially in the more ambient styles of music where you are often listening to the 100% wet signal of a reverb unit throughout a piece of music. And in those cases, the reverb algorithm used was often something very un-natural and more fantasy like Some examples of extreme reverb use in popular music: The drum sound on When The Levee Breaks by Led Zeppelin The guitar sound on the first Van Halen Record The guitar, vocal and keyboard sounds on The Cure's Disintegration album The guitar and vocal sounds on The Cocteau Twins albums The Guitar, vocal and keyboard sounds on U2's Unforgetable Fire The entire sound of Apollo and all of the ambient record by Eno/Lanois The keyboard, saxaphone and orchestral sounds on the Blade Runner soundtrack by Vangelis The vocal and keyboard sounds on any ENYA record The bowed guitar sound on Jonsi Birgisson's guitar from Sigur Ros 100% wet Almost all the sounds on every Hammock album use reverbs mixed well above the 50% range In all of these landmark records, you are hearing gorgeous otherworldly reverbs (mostly Lexicon but some Alesis, some EMT, some TC Electronic, some Boss, some Eventide, some Strymon and some natural) in the mix, often 50% wet compared to the dry signal and on some instruments, above a 50% mix, sometimes 100% reverb mix like on Jonsi's bowed guitar or many of Hammock's guitar layers. I mention other companies who make otherworldly reverb algorithms that sound amazing 100% wet. Most recently Strymon with their Big Sky has revolutionized the sound design of digital reverbs. Some of their Big Sky algoritms such as Cloud, Bloom, Swell, Corale and Nonlinear go well beyond the Lexicon 224, PCM92, Eventide H8000 and Bricasti reverbs. With such an amazing product that the Helix is and with the quality of it's amp simulations, modulations and delays stacking up to the competition, I personaly think the reverbs could also be worked on to compare with some of the best algorithms out there today. I will say that reverbs are also the weak point of the other modeling product I have used for years. It's reverbs are flat, boring and do nothing to wow me like the Strymon Big Sky or Lexicon PCM92 concert hall algorithm does. Helix otherwise is an amazing product. The design of how it operates is genius. I love that you can work with it on the floor or a table top with ease. The Auto Volume Echo from the DL4 would be great to have as well. The Auto Volume Echo in the DL4 is way more chewy and ramps better than the one from the Echo Park or the M series pedals.