The Blocks


Each preset can have up to four Input blocks (one or two per path).

Input Blocks

Block Description
None Disables (mutes) the input block. Only available on Path 2.
Multi Guitar, Aux, and Variax inputs are all active simultaneously. Normally, you should choose Multi.
Guitar Guitar in only.
Aux Aux in only. (^10 kΩ input for an active-pickup equipped guitar or bass.)
Variax With a James Tyler® Variax® (JTV) or Variax® Standard guitar, the "Variax" Input source receives the Model or Magnetic signal, depending on the guitar's Model switch setting.
Variax Magnetics Receives only the JTV or Variax Standard's magnetic pickup signal.
Mic Mic in only.
Return 1, 2, 3, 4, 1/2, 3/4 Returns 1, 2, 3, and 4 can act as additional mono input blocks. Returns 1/2 and 3/4 can act as additional stereo input blocks for processing keyboards, drum machines, or even other modelers. If a Return or FX Loop processing block exists in the preset, the utilized Return input will be non-selectable. See "Send/Return"
S/PDIF S/PDIF digital in only. If a Variax input (or Multi input, which includes Variax) exists on another Input block within the preset, S/PDIF in will be non-selectable.
USB 3/4, 5/6, 7/8 USB inputs 3/4, 5/6, and 7/8 can all be used for processing tracks from your Mac® or Windows® DAW software. See "USB Audio". Helix also receives input from USB 1/2, but it's dedicated for monitoring audio from your computer (or iPad) and bypasses all processing blocks. As such, it's not available as an input block source.

All input blocks have a dedicated noise gate. Threshold and Decay parameters are grayed out unless the Input Gate parameter is turned on:

Input Gate Parameter

Input > Multi and Input > Guitar blocks have an additional Guitar In-Z parameter. Helix has an impedance circuit on its Guitar Input that affects tonea nd feel by loading your guitar's pickups as they would by an effect pedal or amplifier. A lower value will typically result in some high frequency attenuation, lower gain, and an overall "softer" feel. A higher value provides full frequency response, higher gain, and an overall "tighter" feel.

Multi and Variax input blocks have additional pages for Variax parameters:

Variax Input

Variax Input Page 2


Each preset can have up to four Output blocks (one or two per path).

Output Blocks

Block Description
Multi 1/4", XLR, Digital, and USB 1/2 outputs are all active simultaneously. Normally, you should choose Multi.
Path 2A, 2B, or 2A+B These outputs only appear for Path 1 output blocks, and are used to route Path 1 into Path 2.
1/4" 1/4" outs only.
XLR XLR outs only.
Send 1/2, Send 3/4 Send 1/2 and 3/4 can act as additional output blocks.
Digital S/PDIF, AES/EBU, L6 LINK Only one digital output can be active at a time; choose S/PDIF or AES/EBU and the desired sample rate in the "Global Settings > Ins/Outs". The Global Ins/Outs settings are not necessary for L6 LINK - see "L6 LINK Output" for more info.
USB 1/2, USB 3/4, USB 5/6 USB 1/2, 3/4, and 5/6 can act as additional output blocks for routing paths to your computer, iPad, or iPhone (with optional Apple Camera Connection Kit). USB 7 and 8 are dedicated for re-amping, and are not available as output block destinations. See "USB Audio" for details.

All output blocks display Knob 1 (Pan) and Knob 2 (Level):

Output Pan/Level


Press Knob 1 (Pan) to return Pan to center. Press Knob 2 (Level) to return Level to unity (0.0dB).


Use Knob 2 (Level) to set the path's overall level, which is important to ensure all of your presets maintain a consistent volume throughout your set.

Alternatively, the digital XLR connector can be used for L6 LINK output (use of a 110Ω XLR cable is recommended). L6 LINK provides easy digital audio connectivity between Helix and Line 6 StageSource speakers and/or DT-Seriesamplifiers. Two StageSource speakers or DT amps can also be connected in series via L6 LINK and your stereo Helix signal is intelligently split, with the left channel going to the first StageSource/DT and the right channel to the second. If you have one StageSource/DT connected, the Helix output is collapsed to mono and fed to the StageSource/DT.

Connecting an L6 LINK device to Helix automatically disables S/PDIF out and routes audio out the digital XLR connector - no adjustments of the Global Settings > Ins/Outs > Digital Audio or Sample Rate options are necessary.


With an L6 LINK connection to a DT-Series amp, often the Helix Preamp models are a better choice than Amp or Amp+Cab models. Manually configure the analog power amp options on the DT amp for more sonic possibilities!


It is possible to use Helix to remotely control several parameters on your DT-Series amp (channel select, power amp topology, reverb, etc.) via MIDI. Connect a 5-pin MIDI cable from Helix Rack's MIDI Out to the DT amp's MIDI In and use the Helix "Command Center" to configurethe desired MIDI commands for any preset.

Start by loading the Helix TEMPLATES > 04D DT25-DT50 Remote preset since it has several handy DT commands already mapped to Helix switches for you. You can customize this template and create your own sets of controls to add to your Helix presets. Also see the DT MIDI Implementation Guide for a complete list of MIDI commands, available from Line 6 manuals


Many Helix effects blocks can be either mono or stereo. Stereo effects display after the model name.

Effects Blocks

Select an effects block and turn the joystick to change its model.

Distortion Models

Model Based On
Ampeg Scrambler Ampeg Scrambler Bass Overdrive
Arbitrator Fuzz Arbiter® FuzzFace®
Bitcrusher Line 6 Original
Clawthorn Drive Wounded Paw Battering Ram bass overdrive
Compulsive Drive Fulltone® OCD
Deez One Mod BOSS© DS-1 distortion pedal (Keeley mod version)
Deez One Vintage BOSS© DS-1 distortion pedal (classic Made-in-Japan version)
Deranged Master Dallas Rangemaster Treble Booster — WARNING! Like the real thing, this model can take your head off! Works best before a distorted amp
Dhyana Drive Hermida Zendrive
Hedgehog D9 MAXON® SD9 Sonic Distortion
Heir Apparent Analogman Prince of Tone (basically half a King of Tone)
Industrial Fuzz Z.Vex Fuzz Factory
Kinky Boost Xotic® EP Booster
KWB Benadrian Kowloon Walled Bunny Distortion
Megaphone Megaphone
Minotaur Klon® Centaur
Obsidian 7000 Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
Scream 808 Ibanez® TS808 Tube Screamer®
Stupor OD BOSS® SD-1 Overdrive
Teemah! Paul Cochrane Timmy® Overdrive
Thrifter Fuzz Line 6 Original
Tone Sovereign Analogman King of Tone V4 (basically two Prince of Tones in one)
Top Secret OD DOD® OD-250
Triangle Fuzz Electro-Harmonix® Big Muff π®
Tycoctavia Fuzz Tycobrahe® Octavia
Valve Driver Chandler Tube Driver
Vermin Dist Pro Co RAT
Wringer Fuzz Garbage's modded BOSS® FZ-2
ZeroAmp Bass DI Tech 21 SansAmp Bass Driver DI V1

Dynamics Models

Model Based On
3-Band Comp Line 6 Original multiband compressor
Autoswell Line 6 Original
Deluxe Comp Line 6 Original
Hard Gate Line 6 Original
Kinky Comp Xotic® SP Compressor
LA Studio Comp Teletronix® LA-2A®
Noise Gate Line 6 Original
Red Squeeze MXR® Dyna Comp

EQ Models

Model Based On
10-Band Graphic MXR® 10-Band Graphic EQ
Cali Q Graphic MESA/Boogie® Mark IV Graphic EQ
Low Cut/High Cut Line 6 Original
Low/High Shelf Line 6 Original
Parametric Line 6 Original
Simple EQ Line 6 Original
Tilt Line 6 Original

Modulation Models

Model Based On
122 Rotary Leslie® 122
145 Rotary Leslie®^145
60s Bias Trem Vox® AC-15 Tremolo
70s Chorus BOSS® CE-1
AM Ring Mod Line 6 Original
Bleat Chop Trem Lightfoot Labs© Goatkeeper
Bubble Vibrato BOSS® VB-2 Vibrato
Chorus Line 6 Original
Courtesan Flange Electro-Harmonix® Deluxe EM
Deluxe Phaser Line 6 Original
Double Take Line 6 Original Doubler
Dynamix Flanger Line 6 Original
Gray Flanger MXR® 117 Flanger
Harmonic Flanger A/DA Flanger
Harmonic Tremolo Line 6 Original
Optical Trem Fender® optical tremolo circuit
Pitch Ring Mod Line 6 Original
PlastiChorus Modded Arion SCH-Z Chorus
Script Mod Phase MXR® Phase 90
Tremolo BOSS® PN-2
Tremolo/Autopan BOSS® PN-2
Trinity Chorus DyTronics Tri-Stereo Chorus
Ubiquitous Vibe Shin-ei Uni-Vibe®
Vibe Rotary Fender® Vibratone

Delay Models

Model Based On
Adriatic Delay BOSS® DM-2 w/ Adrian Mod
Adriatic Swell Line 6 Original
Bucket Brigade BOSS® DM-2
Cosmos Echo Roland® RE-201 Space Echo
Dual Delay Line 6 Original
Ducked Delay TC Electronic® 2290
Elephant Man Electro-Harmonix® Deluxe Memory Man
Harmony Delay Line 6 Original
Mod Chorus Echo Line 6 Original
Multi Pass Line 6 Original
Multitap 4 Line 6 Original
Multitap 6 Line 6 Original
Ping Pong Line 6 Original
Pitch Echo Line 6 Original
Reverse Delay Line 6 Original
Simple Delay Line 6 Original
Sweep Echo Line 6 Original
Transistor Tape Maestro® Echoplex EP-3
Vintage Digital Line 6 Original
Vintage Swell Line 6 Original

Reverb Models

Model Based On
63 Spring Line 6 Original
Cave Line 6 Original
Chamber Line 6 Original
Double Tank Line 6 Original
Ducking Line 6 Original
Echo Line 6 Original
Ganymede Line 6 Original
Glitz Line 6 Original
Hall Line 6 Original
Octo Line 6 Original
Particle Verb Line 6 Original
Plate Line 6 Original
Plateaux Line 6 Original
Room Line 6 Original
Searchlights Line 6 Original
Spring Line 6 Original
Tile Line 6 Original

Pitch/Synth Models

Model Based On
3 Note Generator Line 6 Original
3 OSC Synth Line 6 Original
4 OSC Generator Line 6 Original
Dual Pitch Line 6 Original
Pitch Wham Digitech Whammy®
Simple Pitch Line 6 Original
Twin Harmony Eventide® H3000

Filter Models

Model Based On
Asheville Pattrn Moog Moogerfooger Murf Filter
AutoFilter Line 6 Original
Mutant Filter Musitronics® Mu-Tron® III
Mystery Filter Korg® A3

Wah Models

Model Based On
Chrome Vox® V847
Chrome Custom Modded Vox® V847
Colorful Colorsound® Wah-fuzz
Conductor Maestro® Boomerang
Fassel Dunlop® Cry Baby® Super
Teardrop 310 Dunlop® Crybaby® Fasel model 310
Throaty RMC Real McCoy 1
UK Wah 846 Vox® V846
Vetta Wah Line 6 Original
Weeper Arbiter® Cry Baby

Volume/Pan Models

Model Based On
Gain Line 6 Original
Pan Line 6 Original
Stereo Width Line 6 Original (utility to collapse stereo paths)
Volume Pedal Line 6 Original

Looper Models

Model Based On
1 Switch Looper Line 6 Original (doesn’t leave Stomp mode)
6 Switch Looper Line 6 Original

Using the 1 Switch Looper:

  • Add a Looper > 1 Switch Looper block to your preset and assign it to a stomp footswitch. (Adding a 1 Switch Looper to HX Effects from Stomp view automatically assigns it to the selected footswitch.)
  • Press the 1 Switch Looper switch. The LED lights red, indicating the loop is recording.
  • Press the 1 Switch Looper switch again. The LED lights green, indicating the loop is playing back.
  • Press the 1 Switch Looper switch again. The LED lights amber, indicating the loop is in overdub mode. Subsequent presses of the switch toggle between play and overdub mode.
  • While the 1 Switch Looper is in play or overdub mode, press and hold the switch for 1 second. The most recent recording is undone. Holding the switch again will redo the recording. On Helix, Helix Rack/Control, and HX Effects, “UNDO” or “REDO” briefly appears on the scribble strip. On Helix LT, “UNDO” or “REDO” briefly appears in Performance view.
  • Quickly double-press the 1 Switch Looper switch. Playback/recording stops and the LED lights white, indicating a loop is in memory.
  • While Looper playback/recording is stopped, press and hold the switch. The recording is deleted and the LED lights dim white.

Common FX Settings

Parameter Description
Drive Adjusts the amount of overdrive, distortion, or fuzz.
Bass Adjusts the bass level.
Mid Adjusts the midrange level.
Treble Adjusts the treble level.
Speed Adjusts the speed of the effect, with higher settings providing faster rates. Press the knob to toggle between Hz and note values. Choosing a Hz value provides a specific modulation speed in cycles per second; choosing a note value provides a time based on the current tempo. Not all Speed parameters can be synced to note values, as they may be non-linear and highly interactive.
Rate Adjusts the rate of the effect, with higher settings providing faster rates. Press the knob to toggle between numeric and note values. Not all Rate parameters can be synced to note values, as they may be non-linear and highly interactive.
Time Adjusts the delay/repeat time, with higher settings providing longer delays. Press the knob to toggle between ms and note values. Choosing a ms value provides a specific time in milliseconds; choosing a Note Division value provides a time based on the current tempo. With a note division value, this parameter’s value is retained when changing models.
Depth Adjusts the intensity of the modulation. Higher settings result in more extreme pitch bending, wobble, or throb depending on the effect.
Feedback Adjusts the amount of delayed signal fedback into the effect. Higher settings can provide more dramatic textures.
Decay Sets the length of time the reverb effect sustains.
Predelay Determines the time before the reverb effect is heard.
Headroom Some mod and delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal.
Low Cut, High Cut Filters a portion of the block's bass and/or treble frequencies, which can help remove rumble and/or high-end harshness.
Mix Blends the effected "wet" signal vs. the "dry" signal passed through the block. When set to 0% the path bypasses the effect completely. When set to 100%, the entire path is fed through the effect, and no dry thru signal is heard.
Level Adjusts the overall output level of the effects block. Be careful not to boost this parameter too high on multiple blocks, as digital clipping could occur. You should typically leave this at 0.0dB for most blocks. Where the original pedal's level or volume knob behavior doesn't really apply to dB values, 0.0-10 may be used.
Trails Trails Off: Any delay repeats or reverb decays are instantly muted when the block is bypassed. Trails On: Any delay repeats or reverb decays continue to decay naturally when the block is bypassed or a different snapshot is selected.


Amp+Cab blocks are convenient in that when you select an Amp model, its matching Cab model is automatically loaded.

To change the amp model in an Amp+Cab block, press <PAGE until the amp icon is white and turn the joystick. To change the cab model, press PAGE> until the cab icon is white and turn the joystick.

The first page of Amp+Cab parameters is called the tonestack, and represents the knobs you would see on the real amp's panel:



Press to quickly select the Amp+Cab, Amp, or Preamp block and access its tonestack parameters (Gain, Bass, Mid, Treble, etc.). If a preset has more than one of these blocks, press repeatedly to cycle through all tonestacks.

Amp Models

Model Based On
A30 Fawn (Nrm & Brt) Vox® AC-30 Fawn (normal & bright channel)
Agua 51 Aguilar® DB751
Ampeg B-15NF Ampeg®B-15NF Portaflex®
Ampeg SVT (Nrm & Brt) Ampeg® SVT® (normal & bright channel)
Ampeg SVT-4 PRO Ampeg® SVT-4 Pro
ANGL Meteor ENGL® Fireball 100
Archetype (Clean & Lead) Paul Reed Smith® Archon® (clean & lead channels)
Brit 2204 Marshall® JCM-800
Brit J45 (Nrm & Brt) Marshall® JTM-45 (normal & bright channel)
Brit P75 (Nrm & Brt) Park® 75 (normal & bright channel)
Brit Plexi (Nrm, Brt, & Jumped) Marshall® Super Lead 100 (normal, bright, & jumped channel)
Brit Trem (Nrm, Brt, & Jump) Marshall® Plexi Tremolo 50 (normal, bright, & jumped channel)
Busy One (Ch1, Ch2, & Jump) Pearce BC-1 (channel 1, 2 & jumped)
Cali 400 (Ch1 & Ch2) MESA/Boogie® Bass 400+ (channel 1 & 2)
Cali Bass MESA/Boogie® M9 Carbine
Cali IV Rhythm 1, 2, & Lead MESA/Boogie® Mark IV (channel I, II, & lead)
Cali Rectifire MESA/Boogie® Dual Rectifier®
Cali Texas (Ch1 & Ch2) MESA/Boogie® Lonestar (clean & drive channel)
Cartographer Ben Adrian Cartographer
Del Sol 300 Sunn® Coliseum 300
Derailed Ingrid Trainwreck Circuits® Express
Divided Duo ÷13 JRT 9/15
Essex A15 Vox® AC-15
Essex A30 Vox® AC-30 with top boost
Fullerton (Nrm, Brt, & Jump) 1958 Fender® 5C3 Tweed Deluxe
G Cougar 800 Gallien-Krueger® GK 800RB
German Mahadeva Bogner® Shiva
German Ubersonic Bogner® Überschall®
Grammatico (Nrm, Brt, & Jump 2016 Grammatico® LaGrange
Interstate Zed Dr Z® Route 66
Jazz Rivet 120 Roland® JC-120 Jazz Chorus
Line 6 2204 Mod Line 6 Original
Line 6 Badonk Line 6 Original inspired by the original high gain Big Bottom model
Line 6 Doom Line 6 Original
Line 6 Elektrik Line 6 Original
Line 6 Epic Line 6 Original
Line 6 Fatality Line 6 Original
Line 6 Litigator Line 6 Original inspired by boutique mid-gain amps
Mail Order Twin Silvertone® 1484
Mandarin 80 Orange® OR80
Matchstick (Ch1, Ch2, Jumped) Matchless® DC30 (channel 1, 2, & jumped)
Placater (Clean & Dirty) Friedman® BE-100 (clean & be/hbe channel)
PV Panama Peavey® 5150 ®
Revv Gen Red Gain 2 channel of the Revv® Generator 120
Solo Lead (Clean, Crunch, & OD) Soldano SLO-100 (clean, crunch, & overdrive channel)
Soup Pro Supro® S6616
Stone Age 185 Gibson® EH-185
Tweed Blues (Nrm & Brt) Fender® Bassman® (normal & bright channel)
US Deluxe (Nrm & Vib) Fender® Deluxe Reverb® (normal & vibrato channel)
US Double (Nrm & Vib) Fender® Twin Reverb® (normal & vibrato channel)
US Small Tweed Fender® Champ®
Voltage Queen Victoria® Electro King
WhoWatt 100 Hiwatt® DR-103 Brill
Woody Blue Acoustic® 360

Tonestack and deeper amp parameters found on subsequent pages may differ depending on the amp model selected.

Common Amp Settings

Parameter Description
Master Adjusts the amount of power amp distortion. This parameter is highly interactive with all other power amp parameters—the lower the Master is set, the less effect the other controls will have.
Sag Lower Sag values offer a "tighter" responsiveness for metal and djent playing; higher values provide more touch dynamics & sustain for blues and classic rock riffs.
Hum Controls how much heater hum and AC ripple interacts with your tone.
Ripple At higher settings, things get freaky.
Bias Changes the Bias of the power tubes. Lower values achieve a "colder" Class AB biasing. At maximum, the amp is operating in Class A.
Bias X Determines how the power amp tubes' voicing reacts when pushed hard. Set low for a tighter feel. Set high for more tube compression. This parameter is highly reactive with the Drive and Master settings.

Quick Notes

  • Invented control starting point for neutral settings (setting to simulate the real stuff, without those invented parameters. But you can play with this values, it’s up to you (no limits):
  • Presence for No Presence amps should be zero (all the way counterclockwise). Exception Jazz Rivet (P: 50%).
  • Eq bonus controls to noon (50%) for No Mid, No Bass, No Treble amps.
  • Master parameter for no master amps to 100%.
  • Real amps with Volume means Gain in Helix. Volume in Helix is like a mixer to compensate final modeled output level (obviusly it doesn’t exist in any of the real amps).
  • To attenuate "Crossover Distortion", the best parameter in Helix is "Bias", increase it from 6 to 8 as general rule just in case you need to mitigate it.
  • The default Line 6 amp settings parameters for Helix, when you open a modeled amp, are also a good starting point, normally they are close or exactly in concordance with this. Tip : double click in the parameter to come back to the default one.
  • For Pre Amps models in Helix, some power amp related parameters (i.e presence in general ; or cut tone with Vox amp )are not present, but they modeled also Master and Sag with PreAmps.
  • All amps are modeled on the Input 1 (High). If you want simulate Input 2 (low), then use a gain block to take 6dB off the signal, and change the input impedance to something lower; somewhere between 68k and 150k.

Further Tone Control Info

Originally posted by Ben Adrian here.

I’ll do my best to answer this while also playing it safe and not giving away anything that might get me a stern talking-to.

Bias on cathode biased amps.

Many people have an association that cathode biased = class A. This is usually not true. However, most cathode biased amps are running the tubes hotter than most fixed bias amps. The Bias control affects the balance of distortion between saturation and cutoff in the power tubes. Proportion changes depending on the idling state of a power tube; if it’s idling hot, then there will be more saturation and less cutoff, and if it’s cold there will be more cutoff and less saturation. The bias control affects where the idling state of the tube is “located”; if it’s hot or cold. Another way of putting it might be that we can virtually change the value of the cathode bias resistor in a cathode bias amp.

All these extra knobs.

If an amp has a small number of knobs, then we will invent the knobs in a way that makes the most sense to us. First, let me say that the Channel Volume (ChVol) knob is ALWAYS a flat response, post amp model level control. This is like a fader on a console. It’s in the amp model, but it’s not tied to the tonality of the amp model. It’s how I level different presets so that they play well together.

The Drive knob corresponds with the Drive or Gain knob on master volume amps. With amps that don’t have a master volume, it corresponds with the Volume knob. So, on the Deluxe model that you reference, the Drive knob is the Volume control on the front panel.

The Master Volume knobs in Helix map to the Master volume knobs on amps with Master Volume controls. If the amp does not have a master volume control, then we add one similar to where an amp tech might add one to an amp if the amp was having one installed. In the case of the Deluxe, this is between the preamp and the power amp. This can be thought of as a passive volume reduction. Master @ 10 is like it’s not in the circuit. As it is turned down, the level from the preamp into the power amp is reduced.

Tone controls. We try to make them fit the character of the amp. In the Deluxe Reverb, the tone controls are exactly like that or a twin reverb except the 10k linear midrange knob is replaced with a fixed 6.8k resistor. If you want to match the model to the actual amp, set the model between 6.1 and 6.8 (values drift in the real amps. My idea, though, was to make the midrange knob on the deluxe behave like the midrange knob on other black-face fender circuits that have a midrange control.

In other amps, tone controls gets invented on a per-amp basis. In the tweed champ, the bass and treble are after the amp modeling, but the midrange control is between the two preamp gain stages. The midrange knob can become a cool drive feature. In some amps, the invented controls come between the preamp and the power amp. In short, we tried to make it sound good, and we tried to respect what is happening in similar classic amp circuits.


Thank you amsdenj of the Helix community for providing further information about the Common Amp Settings and duncann for providing the link to Ben Adrian’s information regarding tone controls.


Amp blocks are identical to Amp+Cab blocks, except they contain no matched cab model.


We’ve also included a complete set of Preamp versions of each Amp model, which provide the tone of just the preamp stage of the amp—recommended when feeding Helix into an external amplifier (either via 1/4" to your traditional amp or via L6 LINK to a Line 6 DT25 or DT50).

Preamp blocks require less DSP than a full Amp block.


There are two subcategories of Cab blocks—Single and Dual. Not surprisingly, dual Cabs take twice as much DSP as single Cabs.

To change the first cab model in a Cab > Dual block, press < PAGE until the left cab icon is white and turn the joystick. To change the second cab, press PAGE > until the right cab icon is white and turn the joystick.

Cab Models

Model Based On
1x12 Blue Bell 1x12" Vox® AC-15 Blue
1x12 Cali EXT MESA/Boogie® 12" extension (EVM12L speaker)
1x12 Cali IV MESA/Boogie® Mk IV 12"
1x12 Celest 12H 1x12" ÷13 JRT 9/15 G12 H30
1x12 Del Sol Sunn® Coliseum 300 bass cab (12" speaker)
1x12 Field Coil 1x12" Gibson® EH185
1x12 Lead 80 1x12" Bogner® Shiva CL80
1x12 US Deluxe 1x12" Fender® Deluxe Oxford
1x15 Ampeg B-15 1x15" Ampeg® B-15
1x18 Del Sol Sunn® Coliseum 300 bass cab (18" speaker)
1x18 Woody Blue Acoustic® 360 18" bass cab
1x8 Small Tweed 1x8" Fender® Champ
2x12 Blue Bell 2x12" Vox® AC-30 Fawn Blue
2x12 Double C12N 2x12" Fender® Twin C12N
2x12 Interstate 2x12" Dr Z® Z Best V30
2x12 Jazz Rivet 2x12" Roland® JC-120
2x12 Mail C12Q 2x12" Silvertone® 1484
2x12 Match G25 Matchless® DC-30 (12" Greenback 25 speaker)
2x12 Match H30 Matchless® DC-30 (12" G12H30 speaker)
2x12 Silver Bell 2x12" Vox® AC-30TB Silver
2x15 Brute 2x15" MESA/Boogie® 2x15 EV
4x10 Ampeg HLF 4x10" Ampeg® SVT® 410HLF
4x10 Tweed P10R 4x10" Fender® Bassman® P10R
4x12 1960 T75 4x12" Marshall® 1960 AT75
4x12 Blackback30 4x12" Park® 75 G12 H30
4x12 Cali V30 4x12" MESA/Boogie® 4FB V30
4x12 Greenback20 4x12" Marshall® Basketweave G12 M20
4x12 Greenback25 4x12" Marshall® Basketweave G12 M25
4x12 Mandarin EM 4x12" Orange® Eminence
4x12 SoloLead EM 4x12" Soldano
4x12 Uber T75 4x12" Bogner® Uberkab T75
4x12 Uber V30 4x12" Bogner® Uberkab V30
4x12 WhoWatt 100 4x12" Hiwatt® AP Fane®
4x12 XXL V30 4x12" ENGL® XXL V30
6x10 Cali Power 6x10" MESA/Boogie® Power House
8x10 Ampeg SVT E 8x10" Ampeg® SVT®
Soup Pro Ellipse 1 x 6x9" Supro® S6616

Mic Models

Model Based On
112 Dynamic AKG® D112
12 Dynamic AKG® D12
121 Ribbon Royer® R-121
160 Ribbon Beyerdynamic® M 160
20 Dynamic Electro-Voice® RE20
30 Dynamic Heil Sound® PR 30
4038 Ribbon Coles 4038
409 Dynamic Sennheiser® MD 409
414 Cond AKG® C414 TLII
421 Dynamic Sennheiser® MD 421-U
47 Cond Neumann® U47
57 Dynamic Shure® SM57
67 Cond Neumann® U67
7 Dynamic Shure® SM7
84 Cond Neumann® KM84
87 Cond Neumann® U87

Cab Settings

Knob Parameter Description
1 Mic Selects one of the 16 available mic models.
2 Distance Sets the distance (1 inch to 12 inches) between the mic and the speaker grille.
3, 4 Low Cut, HighCut Filters a portion of the cab's bass and/or treble frequencies which can help remove rumble and/or high-end harshness.
5 EarlyReflc Setstheamountof"earlyreflections."Highervaluesaddmore reflectiveroomsoundtoyourAmptone.
6 Level Adjusts the overall output level of the Cab.

Impulse Response (IR)

Impulse Responses are mathematical functions representing the sonic measurements of specific audio systems (for Helix, speaker cabinet and microphone combinations). Helix can load and store up to 128 custom or third-party IRs at a time.

Loading Custom IRs

Loading custom impulse responses requires connecting to the Helix application in your Mac® or Windows® computer. The Helix application is available as a free download from

1. Connect Helix to your computer via USB and open the Helix application. 2. Click the Impulses tab. 3. Drag one or more IR files from the desktop or any Finder window directly into the Helix app's Impulses list.

The Helix app updates the Helix hardware's IR list automatically. Helix can load and store up to 128 IRs at a time. 48kHz, 16-bit, mono, .WAV type IRs of up to 2,048 samples are natively supported. But the Helix app allows you to import IR. WAV files of different sample rate, bit depth, length and stereo format, and the app will convert these attributes automatically before sending to the Helix hardware.

  • Go to the Helix app's Preferences to set the preferred behavior for importing Stereo WAV IRs - there you can choose to import the left or right channel data of the file, or a mix of both channels for the Helix (mono) IR.
  • The imported IR is automatically shortened (or lengthened) to 2,048 samples. You may optionally choose a 1,024-sample version from the model list to save DSP, which fades out the IR halfway through.


IR blocks reference an IR number,not the actual IR file. For example, if you happen to replace or delete "IR 12" from the Helix application, it will affect any presets containing IR blocks with "IR12" selected.

Impulse Response Settings

Knob Parameter Description
1 IR Select Selects one of the 128 available IR locations. If a location contains an IR, the inspector header displays its name; otherwise, it reads "< EMPTY >."
2, 3 Low Cut, High Cut Filters a portion of the IR's bass and/or treble frequencies, which can help remove rumble and/or high-end harshness.
4 Mix Blends the IR signal with the dry signal passed through the IR block. When set to 0%, the path bypasses the IR completely. When set to 100%, the entire path is fed through the IR, and no dry signal is heard.
5 Level Adjusts the overall output level of the IR block.


Each of the Helix four sends and returns can be used independently, or used together as an FX loop.

FX loops let you dynamically insert your favorite external stompboxes (or rack effects) into any location in your tone.


Each send and return pair can be set for instrument (for inserting stompboxes) or line-level operation. See "Global Settings > Ins/Outs".


Each return can be used only once in a preset. For example, if you add a Return 1 block (or assign one of the input blocks to Return 1), Return 1/2, FX Loop 1, and FX Loop 1/2 items will all appear grayed out in the model list, as they also utilize Return 1.

Send Settings

Knob Parameter Description
1 Send Adjusts the level sent to your external devices.
2 Dry Thru Adjusts the level of the signal passed through the Send block,
independent of the Knob 1 (Send) level. Normally, this should be set to 0.0dB.

Return Settings

Knob Parameter Description
1 Return Adjusts the level received at the Return jack.
2 Mix Blends the Return signal vs. the dry signal passed through the Return block. When set to 0%, the path bypasses the Return completely. When set to 100%, the entire signal is fed from the Return, and no dry thru signal is heard.

FX Loop Settings

Knob Parameter Description
1 Send Adjusts the level sent to your external device.
2 Return Adjusts the level received at the Return jack.
3 Mix Blends the FX loop signal vs. the dry signal passed through the FX Loop block. When set to 0%, the path bypasses the FX loop completely. When set to 100%, the entire path is fed through the FX loop, and no dry thru signal is heard.
4 Trails Trails Off: An external stompbox would be instantly muted when the FX Loop block is bypassed. Trails On: An external delay or reverb stompbox would continue to decay naturally when the FX Loop block is bypassed or a different snapshot is selected.


Helix can add one mono or stereo Looper block per preset.

The Looper can exist anywhere on either Path 1 or Path 2. Also see "Looper Footswitch Mode".

Looper Settings

Knob Parameter Description
1 Playback Adjusts looper playback level. You may find it useful to turn this down a bit so your live guitar can be slightly louder.
2 Overdub Relatively sets the level of your loop while overdubbing. For example, if your Overdub Level is set to 90%, each time your loop repeats, its volume will be reduced by 10%, sounding quieter and quieter with each overdub pass.
3, 4 Low Cut, High Cut Filters a portion of the loop's bass and/or treble frequencies, which can improve the mix with your live guitar.


A Split block appears any time a parallel path is created, but is visible only when selected:

Helix has three different types of Split blocks:


  • Both the left and right sides of the signal are sent evenly to Paths A (upper) and B (lower). By default, a Split > Y appears any time a parallel path is created. There are no settings to adjust.


  • The signal can be sent in different amounts to Paths A (upper) and B (lower). Crossover Treble frequencies are sent to Path A (upper) and bass frequencies are sent to Path B (lower).

Split > A/B Settings

Knob Parameter Description
1 Route To Determines the amount of the signal sent to Path A vs. Path B. Press the knob to set to Even Split.

Split > Crossover Settings

Knob Parameter Description
1 Frequency Any signal above this frequency is sent to Path A (upper); any signal below this frequency is sent to Path B (lower).
2 Reverse When on, reverses the path assignments (any signal above the crossover frequency is sent to Path B, any signal below the crossover frequency is sent to Path A).


A Merge > Mixer block appears any time a parallel path is created, but is visible only when selected:

Knob Parameter Description
1 A Level Adjusts the output level of Path A (upper).
2 A Pan Adjusts the left/right stereo balance of Path A.
3 B Level Adjusts the output level of Path B (lower).
4 B Pan Adjusts the left/right stereo balance of Path B.
5 B Polarity Inverts the polarity of Path B. Typically, this should be set to "Normal."
6 Level Adjusts the overall output level of the Merge block.
Last Updated: 8/19/2019, 11:38:56 PM