The Blocks

Input

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

Output

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

SHORTCUT

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

TIP

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.

TIP

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!

TIP

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 http://line6.com/support/manuals/

Effects

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

Arbitrator Fuzz

Sub-category: Mono, Stereo

Based on: Arbiter® FuzzFace®

Bitcrusher

Sub-category: Mono, Stereo

Based on: Line 6 Original

Clawthorn Drive

Sub-category: Mono, Stereo

Based on: Wounded Paw Battering Ram bass overdrive

Compulsive Drive

Sub-category: Mono, Stereo

Based on: Fulltone® OCD

Deez One Mod

Sub-category: Mono, Stereo

Based on: BOSS© DS-1 distortion pedal (Keeley mod version)

Deez One Vintage

Sub-category: Mono, Stereo

Based on: BOSS© DS-1 distortion pedal (classic Made-in-Japan version)

Hedgehog D9

Sub-category: Mono, Stereo

Based on: MAXON® SD9 Sonic Distortion

Industrial Fuzz

Sub-category: Mono, Stereo

Based on: Z.Vex Fuzz Factory

Kinky Boost

Sub-category: Mono, Stereo

Based on: Xotic® EP Booster

KWB

Sub-category: Mono, Stereo

Based on: Benadrian Kowloon Walled Bunny Distortion

Megaphone

Sub-category: Mono, Stereo

Based on: Megaphone

Minotaur

Sub-category: Mono, Stereo

Based on: Klon® Centaur

Obsidian 7000

Sub-category: Mono, Stereo

Based on: Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ

Scream 808

Sub-category: Mono, Stereo

Based on: Ibanez® TS808 Tube Screamer®

Stupor OD

Sub-category: Mono, Stereo

Based on: BOSS® SD-1 Overdrive

TBD

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Ampeg Scrambler Bass Overdrive

TBD

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Tech 21 SansAmp Bass Driver DI V1

TBD

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Analogman King of Tone

TBD

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Hermida Zendrive

Teemah!

Sub-category: Mono, Stereo

Based on: Paul Cochrane Timmy® Overdrive

Thrifter Fuzz

Sub-category: Mono, Stereo

Based on: Line 6 Original

Top Secret OD

Sub-category: Mono, Stereo

Based on: DOD® OD-250

Triangle Fuzz

Sub-category: Mono, Stereo

Based on: Electro-Harmonix® Big Muff π®

Tycoctavia Fuzz

Sub-category: Mono, Stereo

Based on: Tycobrahe® Octavia

Valve Driver

Sub-category: Mono, Stereo

Based on: Chandler Tube Driver

Vermin Dist

Sub-category: Mono, Stereo

Based on: Pro Co RAT

Wringer Fuzz

Sub-category: Mono, Stereo

Based on: Garbage's modded BOSS® FZ-2

Dynamics Models

3-Band Comp

Sub-category: Mono, Stereo

Based on: Line 6 Original multiband compressor

Autoswell

Sub-category: Mono, Stereo

Based on: Line 6 Original

Deluxe Comp

Sub-category: Mono, Stereo

Based on: Line 6 Original

Hard Gate

Sub-category: Mono, Stereo

Based on: Line 6 Original

Kinky Comp

Sub-category: Mono, Stereo

Based on: Xotic® SP Compressor

LA Studio Comp

Sub-category: Mono, Stereo

Based on: Teletronix® LA-2A®

Noise Gate

Sub-category: Mono, Stereo

Based on: Line 6 Original

Red Squeeze

Sub-category: Mono, Stereo

Based on: MXR® Dyna Comp

EQ Models

10-Band Graphic

Sub-category: Mono, Stereo

Based on: MXR® 10-Band Graphic EQ

Cali Q Graphic

Sub-category: Mono, Stereo

Based on: MESA/Boogie® Mark IV Graphic EQ

Low Cut/High Cut

Sub-category: Mono, Stereo

Based on: Line 6 Original

Parametric

Sub-category: Mono, Stereo

Based on: Line 6 Original

Shelf

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Line 6 Original

Simple EQ

Sub-category: Mono, Stereo

Based on: Line 6 Original

Tilt

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Line 6 Original

Modulation Models

122 Rotary

Sub-category: Stereo

Based on: Leslie® 122

145 Rotary

Sub-category: Stereo

Based on: Leslie®^145

60s Bias Trem

Sub-category: Mono, Stereo

Based on: Vox® AC-15 Tremolo

70s Chorus

Sub-category: Mono, Stereo

Based on: BOSS® CE-1

AM Ring Mod

Sub-category: Mono, Stereo

Based on: Line 6 Original

Bleat Chop Trem

Sub-category: Stereo

Based on: Lightfoot Labs© Goatkeeper

Bubble Vibrato

Sub-category: Mono, Stereo

Based on: BOSS® VB-2 Vibrato

Chorus

Sub-category: Mono, Stereo

Based on: Line 6 Original

Courtesan Flange

Sub-category: Mono, Stereo

Based on: Electro-Harmonix® Deluxe EM

Deluxe Phaser

Sub-category: Mono, Stereo

Based on: Line 6 Original

Double Take

Sub-category: Stereo

Based on: Line 6 Original Doubler

Dynamix Flanger

Sub-category: Mono, Stereo

Based on: Line 6 Original

Gray Flanger

Sub-category: Mono, Stereo

Based on: MXR® 117 Flanger

Harmonic Flanger

Sub-category: Mono, Stereo

Based on: A/DA Flanger

Harmonic Tremolo

Sub-category: Mono, Stereo

Based on: Line 6 Original

Optical Trem

Sub-category: Mono, Stereo

Based on: Fender® optical tremolo circuit

Pitch Ring Mod

Sub-category: Stereo

Based on: Line 6 Original

PlastiChorus

Sub-category: Stereo

Based on: Modded Arion SCH-Z Chorus

Script Mod Phase

Sub-category: Mono, Stereo

Based on: MXR® Phase 90

Tremolo

Sub-category: Mono

Based on: BOSS® PN-2

Tremolo/Autopan

Sub-category: Mono, Stereo

Based on: BOSS® PN-2

Trinity Chorus

Sub-category: Stereo

Based on: DyTronics Tri-Stereo Chorus

Ubiquitous Vibe

Sub-category: Mono, Stereo

Based on: Shin-ei Uni-Vibe®

Vibe Rotary

Sub-category: Stereo

Based on: Fender® Vibratone

Delay Models

Adriatic Delay

Sub-category: Mono, Stereo

Based on: BOSS® DM-2 w/ Adrian Mod

Adriatic Swell

Sub-category: Mono, Stereo

Based on: Line 6 Original

Bucket Brigade

Sub-category: Mono, Stereo

Based on: BOSS® DM-2

Cosmos Echo

Sub-category: Mono, Stereo

Based on: Roland® RE-201 Space Echo

Dual Delay

Sub-category: Stereo

Based on: Line 6 Original

Ducked Delay

Sub-category: Mono, Stereo

Based on: TC Electronic® 2290

Elephant Man

Sub-category: Mono, Stereo

Based on: Electro-Harmonix® Deluxe Memory Man

Harmony Delay

Sub-category: Stereo

Based on: Line 6 Original

Mod Chorus Echo

Sub-category: Mono, Stereo

Based on: Line 6 Original

Multi Pass

Sub-category: Mono, Stereo

Based on: Line 6 Original

Multitap 4

Sub-category: Stereo

Based on: Line 6 Original

Multitap 6

Sub-category: Stereo

Based on: Line 6 Original

Ping Pong

Sub-category: Stereo

Based on: Line 6 Original

Pitch Echo

Sub-category: Mono, Stereo

Based on: Line 6 Original

Reverse Delay

Sub-category: Mono, Stereo

Based on: Line 6 Original

Simple Delay

Sub-category: Mono, Stereo

Based on: Line 6 Original

Sweep Echo

Sub-category: Mono, Stereo

Based on: Line 6 Original

Transistor Tape

Sub-category: Mono, Stereo

Based on: Maestro® Echoplex EP-3

Vintage Digital

Sub-category: Mono, Stereo

Based on: Line 6 Original

Vintage Swell

Sub-category: Mono, Stereo

Based on: Line 6 Original

Reverb Models

63 Spring

Sub-category: Stereo

Based on: Line 6 Original

Cave

Sub-category: Stereo

Based on: Line 6 Original

Chamber

Sub-category: Stereo

Based on: Line 6 Original

Double Tank

Sub-category: Stereo

Based on: Line 6 Original

Ducking

Sub-category: Stereo

Based on: Line 6 Original

Echo

Sub-category: Stereo

Based on: Line 6 Original

Ganymede

Sub-category: Stereo

Based on: Line 6 Original

Glitz

Sub-category: Stereo

Based on: Line 6 Original

Hall

Sub-category: Stereo

Based on: Line 6 Original

Octo

Sub-category: Stereo

Based on: Line 6 Original

Particle Verb

Sub-category: Stereo

Based on: Line 6 Original

Plate

Sub-category: Stereo

Based on: Line 6 Original

Plateaux

Sub-category: Stereo

Based on: Line 6 Original

Room

Sub-category: Stereo

Based on: Line 6 Original

Searchlights

Sub-category: Stereo

Based on: Line 6 Original

Spring

Sub-category: Stereo

Based on: Line 6 Original

Tile

Sub-category: Stereo

Based on: Line 6 Original

Pitch/Synth Models

3 Note Generator

Sub-category: Stereo

Based on: Line 6 Original

3 OSC Synth

Sub-category: Stereo

Based on: Line 6 Original

4 OSC Generator

Sub-category: Stereo

Based on: Line 6 Original

Dual Pitch

Sub-category: Mono, Stereo

Based on: Line 6 Original

Pitch Wham

Sub-category: Mono, Stereo

Based on: Digitech Whammy®

Simple Pitch

Sub-category: Mono, Stereo

Based on: Line 6 Original

Twin Harmony

Sub-category: Mono, Stereo

Based on: Eventide® H3000

Filter Models

AutoFilter

Sub-category: Mono, Stereo

Based on: Line 6 Original

Mutant Filter

Sub-category: Mono, Stereo

Based on: Musitronics® Mu-Tron® III

Mystery Filter

Sub-category: Mono, Stereo

Based on: Korg® A3

TBD

Firmware version: 2.80

Sub-category: Mono, Stereo

Based on: Moog Moogerfooger Murf Filter

Wah Models

Chrome

Sub-category: Mono, Stereo

Based on: Vox® V847

Chrome Custom

Sub-category: Mono, Stereo

Based on: Modded Vox® V847

Colorful

Sub-category: Mono, Stereo

Based on: Colorsound® Wah-fuzz

Conductor

Sub-category: Mono, Stereo

Based on: Maestro® Boomerang

Fassel

Sub-category: Mono, Stereo

Based on: Dunlop® Cry Baby® Super

Teardrop 310

Sub-category: Mono, Stereo

Based on: Dunlop® Crybaby® Fasel model 310

Throaty

Sub-category: Mono, Stereo

Based on: RMC Real McCoy 1

UK Wah 846

Sub-category: Mono, Stereo

Based on: Vox® V846

Vetta Wah

Sub-category: Mono, Stereo

Based on: Line 6 Original

Weeper

Sub-category: Mono, Stereo

Based on: Arbiter® Cry Baby

Volume/Pan Models

Gain

Sub-category: Mono, Stereo

Based on: Line 6 Original

Pan

Sub-category: Stereo

Based on: Line 6 Original

Stereo Width

Sub-category: Stereo

Based on: Line 6 Original (utility to collapse stereo paths)

Volume Pedal

Sub-category: Mono, Stereo

Based on: Line 6 Original

Looper Models

1 Switch Looper

Sub-category: Mono, Stereo

Based on: Line 6 Original (doesn’t leave Stomp mode)

6 Switch Looper

Sub-category: Stereo

Based on: 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

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:

Tonestack

SHORTCUT

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

A30 Fawn (Nrm & Brt)

Sub-category: Guitar

Based on: Vox® AC-30 Fawn (normal & bright channel)

Synopsis

The Vox AC-30 Fawn contains two channels. Both the bright channel and the normal channel only hit one preamp stage before going to the phase inverter in the power amp. All of the saturation of this amp comes from the power amp, and it can get pretty dirty. The bright channel is pretty bright when run clean, but that brightness when driving the power amp results in a wonderfully rich and harmonically complex overdrive. It's quite responsive to saturation with picking dynamics and volume knob control. Turning up the Bias knob reduces crossover distortion the best, but there are no wrong knob settings. If you like the sound coming out, the knobs are set right for you.

Notable users

The Beatles first recordings in the Abbey Road studio used a fawn.

Agua 51

Sub-category: Bass

Based on: Aguilar® DB751

ANGL Meteor

Sub-category: Guitar

Based on: ENGL® Fireball 100

Synopsis

Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL® Fireball 100 (German) Designed to redefine the stereotypical "shred" sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal.

Tips: Since the Treble and Presence control knobs sweep through different frequency ranges and influence the signal at different places in the amp's internal signal chain, you can dial in different combinations of treble and presence settings to come up with many interesting sonic variations.

Archetype (Clean & Lead)

Sub-category: Guitar

Based on: Paul Reed Smith® Archon® (clean & lead channels)

Synopsis

The Clean channel is rich a dimensional and stays clean to almost full volume. Reminiscent of the mesa and soldano cleans. The versatility of the three-band EQ lets you dial in tones from across the decades and across genres. The Lead channel starts out in hot-rodded Marshall territory and quickly works its way up into modern high gain tones. As long as you keep the Lead volume below noon, you can always clean things up with the volume knob on your guitar. If you crank the Lead volume beyond noon, totally higain.

Brit 2204

Sub-category: Guitar

Based on: Marshall® JCM-800

Synopsis

Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes.

Tips: Turn up Master Volume. Try with a low-gain TS808 or Tube Drive. The real amp is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes with presence normally way down. They are designed to be run loud and the brightness decreases as the Master Volume is increased. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter, but set Master Volume too high and it will get muddy. The sound of 80's hair metal, treble boosting amplifies the upper frequencies, however, that treble boosting helps the sound cut.

Brit J45 (Nrm & Brt)

Sub-category: Guitar

Based on: Marshall® JTM-45 (normal & bright channel)

Synopsis

The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter.

Tips: It's a bass-heavy amp –> Decreasing Bass could be a good tip. Great for clean tones as well as rock tones.

Notable users

This is the exact same amplifier as the Marshall® "Bluesbreaker" that Eric Clapton made famous, but in head form, rather than housed in a 2×12" combo. This is your starting if you're looking for that ‘beano' tone.

Brit P75 (Nrm & Brt)

Sub-category: Guitar

Based on: Park® 75 (normal & bright channel)

Synopsis

Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Add it all up, and it's a sizzling, crunchy plexi-style tone like nothing you've ever heard before, equally adept at classic British blues-rock and contemporary grind. The Normal channel is the mellower of the two, with less brightness and gain than the Bright channel. The Bright channel utilizes the second half of the first preamp tube for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter.

Brit Plexi (Nrm, Brt, & Jumped)

Sub-category: Guitar

Based on: Marshall® Super Lead 100 (normal, bright, & jumped channel)

Synopsis

A Plexi is supposed to sound fizzy (it's helps to cut through in a mix). Don't be afraid to turn the bass all the way down or the treble all the way up. Just like with the actual amp. For example, on the normal channel of a Plexi most people turn the bass way down. Otherwise it's too flubby." Settings for a "typical" Plexi tone could be aprox. Bass: 2, Mid: 8, Treble 7.5. Presence adjust to taste.

Notable users

Users include Pete Towsend, Eric Clapton, Angus Young of AC/DC, and most famously, by Jimi Hendrix at his Woodstock performance.

Brit Trem (Nrm, Brt, & Jump)

Sub-category: Guitar

Based on: Marshall® Plexi Tremolo 50 (normal, bright, & jumped channel)

Busy One (Ch1, Ch2, & Jump)

Sub-category: Bass

Based on: Pearce BC-1 (channel 1, 2 & jumped)

Synopsis

Very Rare Preamp made famous by Billy Sheehan. The Pearce Pre-amp is just a supremely great distortion and clean. This pre amp is solid state. It has 2 channels, which can be used separately or coupled, w/ built in distortion. It has a -10dB/0dB/+10dB switch (pretty cool if you need less or more punch without having to change your settings all the time). Each channel has a gain – bass – mid range – mid – treble – volume controls and built in compressor/limiter with adjustable threshold. Each channel can be used separately, or combine them to create a wide range of tones.

Cali 400 (Ch1 & Ch2)

Sub-category: Bass

Based on: MESA/Boogie® Bass 400+ (channel 1 & 2)

Synopsis

CHANNEL ONE: Volume 1 offer a high headroom preamp that you might find preferable for active type basses. The gain is slightly lower than Channel 2 and the tonal personality is slightly different. The Pull Bright switch built into Volume 1 can be great for funk bass, as it accentuates the harmonics above the Treble control region.

CHANNEL TWO: Input 2 and Volume 2 recreate the classic sounds of the D-180, The gain is slightly higher and may be better suited for traditional basses than Channel One. But be certain to sample both channels because their tonal personalities are both very usable with very interesting differences. It is even possible to preset the two channels.

Cali Bass

Sub-category: Bass

Based on: MESA/Boogie® M9 Carbine

Cali IV Rhythm 1, 2, & Lead

Sub-category: Guitar

Based on: MESA/Boogie® Mark IV (channel I, II, & lead)

Synopsis

In 1984, Mesa / Boogie released the first "Tri-modal" amplifier, the Mark III. Tri modal, because it has separate modes for Clean sound, Crunch sound and Lead sound. The Mark IV, which came out six years later, significantly improved the ability to control each channel separately by introducing two controller knobs on the front panel, thus optimizing available space without increasing the Mark III's comfortable and versatile size. It is a complete amplifier, has all ranges, from blues, jazz, rock, heavy, even metal, has immense possibilities and just so make it especially complicated.

Cali Rectifire

Sub-category: Guitar

Based on: MESA/Boogie® Dual Rectifier®

Synopsis

Based on a 2001, 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end. We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively.

Tips: Real Rectos are bassy/fizzy beasts but that tone works great for certain genres. This is based on the Modern mode, so be very careful with the Master parameter. If you turn it up too high it will flub out really quick. If in doubt reduce the MV (because there is no negative feedback, the power amp has a lot more gain and a huge bass boost).

Cali Texas (Ch1 & Ch2)

Sub-category: Guitar

Based on: MESA/Boogie® Lonestar (clean & drive channel)

Cartographer

Sub-category: Guitar

Based on: Ben Adrian Cartographer

Del Sol 300

Sub-category: Bass

Based on: Sunn® Coliseum 300

Synopsis

It's got a great strong tone, and the eq is extremely flexible and powerful.There are filters "in between" each band of the EQ, so they don't effect each other. You can boost the 62.5hz, and not effect the 125hz, so on. Which is the exact opposite of say, the Fender tone stack, where you turn down the mids to turn up the other stuff.

Derailed Ingrid

Sub-category: Guitar

Based on: Trainwreck Circuits® Express

Divided Duo

Sub-category: Guitar

Based on: ÷13 JRT 9/15

Synopsis

Divided by 13 creates two differently voiced but blendable channels for a simple yet incredibly versatile front end. The result is a palette of tones that remind you of the best American "tweed" and classic British amps, while somehow sounding entirely unique throughout their range. Each volume controls the two 5879 tubes. One is voiced with more gain and darker, the other is brighter with less gain.

Notable users

Famous Divided By 13 Users include Lyle Workman of Beck, Rusty Anderson, Jackson Browne, and Ronnie Wood.

Essex A15

Sub-category: Guitar

Based on: Vox® AC-15

Synopsis

For the AC-15, the master volume is post-phase-inverter in the full amp model. This allow the user to use the Drive knob to hit just the Phase Inverter tubes harder. However, in this amp the power tubes can distort a LOT. When this is combined with the fact that the preamp doesn't distort a whole lot on its own, it can produce a situation where turning the preamp up and the master volume down will clean up the sound quite a bit. The preamp barely distorts and the power amp distorts a TON. This is the opposite of many amps where the preamp is designed to distort and, while the power amp can distort as well, most of the crunch comes from smashing the preamp.

Notable users

Early Beatles recordings and the James Bond theme from Dr. No feature the Vox AC-15.

Essex A30

Sub-category: Guitar

Based on: Vox® AC-30 with top boost

Synopsis

The Vox AC-30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox® sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone.

Tips: Starting Point: Master 10, set Drive to taste, Mid 5 (50%), Instead of turning up Drive, try boosting the input signal before the amp. Cabinet suggestion: Alinco Silver Or use (or combine with) Marshall greenbacks (4×12 20w or 25w). Alternative: Red Wirez Vox and Marshall greenbacks, Ownhammer Blue and greenbacks.

Notable users

The Beatles, The Shadows, Tom Petty & The Heartbreakers, Brian May of Queen, Peter Buck of R.E.M., and Foo Fighters have all used classic AC-30s to make their music.

G Cougar 800

Sub-category: Bass

Based on: Gallien-Krueger® GK 800RB

Synopsis

Designed 20 years ago, the 800RB has long been a standard of the industry—the choice of countless bass players, touring bands, and backline companies. The amplifier head delivers 400W of biamp power in a rackmountable metal case, 3 voicing filters. Great deep, punchy sound. Roadworthy and studio friendly.

Notable users

Geddy Lee had one. Will Lee used one on "Late Night With David Letterman". And bands like Def Leppard powered through a decade of pop metal with the 800RB.

German Mahadeva

Sub-category: Guitar

Based on: Bogner® Shiva

Synopsis

The beauty of the Shiva is that it takes what Marshall did in the ‘70s and ‘80s and adds some modern appointments so that the user can achieve tones ranging from classic rock to heavy metal (the utilization of the boost feature works wonders here). One thing is constant, though: Swirling notes. It is hard to describe, but the Shiva has a midrange character that results in what sounds like a light swirling of each note and chord that creates a very harmonically rich tone.

Tips: Bogner around noon (50%) are dark, it's like turning the treble way down on a Marshall. The treble knob at 50% on a Bogner is equivalent to the treble knob at 10% on a Marshall. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi.

German Ubersonic

Sub-category: Guitar

Based on: Bogner® Überschall®

Synopsis

This model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain. The presence knob on the Bogner Ubserschall is more like a contour, affects most of the midrange as well.

Tips: Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%. Keep the Master volume low (5 or less). Turn up Presence, add Mids

Interstate Zed

Sub-category: Guitar

Based on: Dr Z® Route 66

Synopsis

This amp achieves an extremely touch sensitive, full-bodied "milkshake thick" overdrive when pushed, without ever losing its impressive clarity and definition. Treble and bass operate regularly until 50%, and dial in gain once turned past 50%. To put this amp into overdrive, crank all three controls (Drive, Treble, Bass), use humbuckers and possibly an overdrive pedal.

Jazz Rivet 120

Sub-category: Guitar

Based on: Roland® JC-120 Jazz Chorus

Synopsis

Roland Jazz Chorus is a solid-state instrument amplifiers produced in Japan since 1975. Its name comes from its built-in analog chorus effect. The Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes because of its clean yet powerful sound.

Notable users

Its earliest users included Albert King, Andy Summers (The Police), Robert Smith of The Cure and Siouxsie and the Banshees, and Pat Metheny. James Hetfield and Kirk Hammett of Metallica use it for their clean tones as well.

Line 6 2204 Mod

Sub-category: Guitar

Based on: Line 6 Original

Synopsis

Hot rodding would usually entail internal modifications to the amplifier. This could just be changing the odd resistor/pot/cap value to change drive levels, tone etc… Or it could actually be a change to the signal path itself, such as adding and extra gain stage or wiring two different inputs in parallel on older Marshall amps. Marshall with extra gain mod. The original intent of the term "modded Marshall' was to achieve the added gain without resorting to a pedal. For instance GnR album Appetite for Destruction, was recorded with a Hot Rodded JCM 800.

Line 6 Badonk

Sub-category: Guitar

Based on: Line 6 Original inspired by the original high gain Big Bottom model

Synopsis

To create the Line 6 Badonk, the Big Bottom model from the XT code was rebuilt using new tools so that the overall EQ and pre-post distortion filtering matched. The previous tone stack was a little limited, so it was tuned up to have more range and provide a realistic, interactive response. To make this model feel more like a full amp, the power amp from the Fatality model (mesa rectifier mod) was added then tweaked slightly to reinforce the overall EQ curve of the Big Bottom. Tone Secret: The Big Bottom does not have a crap-load of low frequency. Instead, it is an amp with a slightly more than average amount of low end that can really hold together while being fed a lot of low frequency. It holds together well with heavily detuned guitars.

Line 6 Doom

Sub-category: Guitar

Based on: Line 6 Original

Synopsis

Here's a hybrid to fill a void for doom/sludge players. It's a JCM800 preamp going into a Hiwatt® power amp with some additional tweaks, to give you large amounts of gain and a rich, sag-induced reaction with a whole lot of bass.

Line 6 Elektrik

Sub-category: Guitar

Based on: Line 6 Original

Synopsis

This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber.

Line 6 Epic

Sub-category: Guitar

Based on: Line 6 Original

Synopsis

A metal-friendly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease.

Line 6 Fatality

Sub-category: Guitar

Based on: Line 6 Original

Synopsis

It's a heavily modified Mesa Rectifier. It sounds a bit like a Mark V Extreme setting.

Line 6 Litigator

Sub-category: Guitar

Based on: Line 6 Original inspired by boutique mid-gain amps

Synopsis

Based on a heavily modded Fender and then hammered on and tweaked. It wouldn't be impossible to make in the physical world, but it might get a little messy. removing a lot of the noise and irregularities that people find unpleasant, but adding just enough of the wrong things so they enhance without being a distraction. It's like a vintage amp with movie magic color correction and hyped depth of field. Like a dirty Vintage Deluxe, dumble-esqe, very smooth, mid-gain, edge-of-breakup model. In the same general neighborhood as the Pete Anderson Deluxe model that was in the HD model packs, but with more gain on tap.

Mail Order Twin

Sub-category: Guitar

Based on: Silvertone® 1484

Synopsis

These amps are famous for their nice smooth overdrive but they've also got a sweet clean tone at lower volumes.

Notable users

Some notable users of this amp are Jack White, Beck, and Coldplay.

Mandarin 80

Sub-category: Guitar

Based on: Orange® OR80

Synopsis

The F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that offers many variations on the Orange sound. Experiment with different settings for a variety of sounds. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. In other words, it cuts bass increasingly with each click clockwise. The HF drive is a presence control, that boost/attenuate very high frequencies, comparing to other amplifiers. It's in between gain stages (2 to 3), so it does effect drive. You can call it a drive control, like the Eq, that is between stage 1 and 2.

Matchstick (Ch1, Ch2, Jumped)

Sub-category: Guitar

Based on: Matchless® DC30 (channel 1, 2, & jumped)

Synopsis

Pure "Class A" configuration gives rich, complex harmonics whether played clean, mildly overdriven, or with all out power tube saturation. This means you should sound great in any situation, in any music style. Similar to AC30 without breaking, Channel 2 similar to AC15.

Notable users

Paul Jackson Jr., Chris Collingwood of Fountains of Wayne, Mike McCready of Pearl Jam, Neil Young, Coy Bowles of The Zac Brown Band, James Valentine of Maroon 5, Ben McKee of Imagine Dragons, Bob Dylan, and many more.

Placater (Clean & Dirty)

Sub-category: Guitar

Based on: Friedman® BE-100 (clean & be/hbe channel)

PV Panama

Sub-category: Guitar

Based on: Peavey® 5150 ®

Synopsis

Well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists. An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone".

Solo Lead (Clean, Crunch, & OD)

Sub-category: Guitar

Based on: Soldano SLO-100 (clean, crunch, & overdrive channel)

Synopsis

Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel.

Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones.

Solo Lead Crunch: Here we've modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive.

Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities.

Notable users

The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes, Lou Reed, and Eddie Van Halen.

Soup Pro

Sub-category: Guitar

Based on: Supro® S6616

Synopsis

Wind it up, and the S6616 offers juicy, brown overdrive that can sound like a raging stack when mixed with the track, yet with a character all its own. Reined in to clean volumes, it has a beautifully crisp spank. And at all levels the 6"x9" speaker yields nodes and peaks that contribute to an unusual and distinctive sonic voice that has come to be known as the Supro sound.

Notable users

Jimmy Page has admitted to using a Supro amp to record most of the first two Led Zeppelin albums.

Stone Age 185

Sub-category: Guitar

Based on: Gibson® EH-185

Synopsis

The EH-185 makes a surprisingly versatile voice for sculpting anything from vintage jazz tones to raw rock 'n roll when cranked up, and sits beautifully in a full-band mix, both live and in the studio.

Notable users

Seminal jazzer Charlie Christian is believed to have moved up to an EH-185 combo before his death, about the same time that he stepped up from his original Gibson ES-150 guitar to an ES-250. In a more modern setting, it has shared the stage with Queen Of The Stone Age's Josh Homme.

SV Beast (Nrm & Brt)

Sub-category: Bass

Based on: Ampeg® SVT® (normal & bright channel)

Synopsis

For 30 years now, we've heard the tone and felt the power of the mighty Ampeg® SVT® that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT® of pure tube magic.

Notable users

Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every "rock" bass player in between.

TBD

Firmware version: 2.80

Sub-category: Bass

Based on: Ampeg® SVT-4 Pro

TBD

Firmware version: 2.80

Sub-category: Guitar

Based on: Gain 2 channel of the Revv® Generator 120

TBD

Firmware version: 2.80

Sub-category: Guitar

Based on: 2016 Grammatico® LaGrange

TBD

Firmware version: 2.80

Sub-category: Guitar

Based on: 1958 Fender® 5C3 Tweed Deluxe

Tuck n' Go

Sub-category: Bass

Based on: Ampeg®B-15NF Portaflex®

Notable users

If we had to sum up the amp's sound up in one sentence, we would simply say: Listen to James Jamerson's bass playing on the Motown®/Tamala records of the 1960's — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15.

Tweed Blues (Nrm & Brt)

Sub-category: Guitar

Based on: Fender® Bassman® (normal & bright channel)

Synopsis

An amp with the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. Try a Drive setting of about 4 or 5 — it's guaranteed to dredge up the best R & B licks you know. Sounds great with a Booster Drive (Treble) in front. The normal channel is the mellower of the two, with less brightness and gain than the Bright channel. The bright channel utilizes the second half of the first preamp tube for a different voicing. High frequencies are increased due to the addition of a bright cap across the volume knob.

Notable users

The Bassman doesn't have a master volume, so like all amps of this era, you had to crank this mutha up to get that dirty tone revered by all Bassman enthusiasts! As Buddy Guy, Bruce Springsteen, Jimmy Vaughan, and so many others would tell you, when you're talking vintage amps, the Bassman really is ground-zero for big-combo tone.

US Deluxe (Nrm & Vib)

Sub-category: Guitar

Based on: Fender® Deluxe Reverb® (normal & vibrato channel)

Synopsis

The Normal channel is the mellower of the two, with less brightness and gain than the Vibrato channel. The Vibrato channel is a separate preamp circuit with tone and clipping characteristics that are different than the Normal channel due to an additional 12Ax7 tube stage. High frequencies are increased due to the addition of a bright cap across the volume knob. Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here.

Notable users

Muddy Waters, Mike Campbell, Jackson Brown, Vince Gill, Elvis Costello, Pete Townshend, Buddy Guy. Honestly, this list could go on and on.

US Double (Nrm & Vib)

Sub-category: Guitar

Based on: Fender® Twin Reverb® (normal & vibrato channel)

Synopsis

An all-time classic of biting twang and shimmering clean tones, the Fender Twin Reverb first hit the scene in 1964 and quickly became the standard for large, fully featured touring combos. The Normal channel is the mellower of the two, with less gain than the Vibrato channel. The Vibrato channel is a separate preamp circuit with clipping characteristics that are different than the Normal channel due to an additional 12Ax7 tube stage.

Notable users

Played clean but singing with a Telecaster, this is the sound of Roy Buchanan; cranked with a Les Paul, it's pure Michael Bloomfield. It never gets extremely overdriven and dirty, mostly just louder–a lot louder.

US Small Tweed

Sub-category: Guitar

Based on: Fender® Champ®

Synopsis

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. Tweed amplifiers typically break up earlier than later "cleaner" models and are known for their warm-sounding overdrive.

Notable users

Eric Clapton used the Champ almost exclusively for Derek and the Dominos. Other notable users are Joe Perry and Brad Whitford of Aerosmith as well as Joe Walsh and Slash.

Voltage Queen

Sub-category: Guitar

Based on: Victoria® Electro King

WhoWatt 100

Sub-category: Guitar

Based on: Hiwatt® DR-103 Brill

Synopsis

Amp with a brilliant chime and unique tone-stack. If you need more gain, crank the drive and master. This amp has a special Master, an additional gain stage between the master volume and the phase inverter, then the model matches this trait.

Notable users

Pete Townshend's Live at Leeds-era tone with The Who in the late '60s, as well as David Gilmour's soaring lead work with Pink Floyd in the '70s.

Woody Blue

Sub-category: Bass

Based on: Acoustic® 360

Notable users

Larry Graham himself used these towering stacks for the thumb, the stank and the funk. Led Zeppelin's virtuosic bassist John Paul Jones had to keep up with Jimmy Page, for the love of Pete, and with the Acoustic 360. Jaco Pastorius saved all his money (legend has it, sleeping on the beach when his bandmates on the road slept in hotel beds) and eventually purchased an Acoustic 360, which gave Jaco's fretless J-bass that instantly-recognizable bump in the upper-mids that provided him bassdom's most enduring, original voice.

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.

Cheers!

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

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

Preamp

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.

Cab

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

1x12 Blue Bell

Sub-category: Single, Dual

Based on: 1x12" Vox® AC-15 Blue

1x12 Cali EXT

Sub-category: Single, Dual

Based on: MESA/Boogie® 12" extension (EVM12L speaker)

1x12 Cali IV

Sub-category: Single, Dual

Based on: MESA/Boogie® Mk IV 12"

1x12 Celest 12H

Sub-category: Single, Dual

Based on: 1x12" ÷13 JRT 9/15 G12 H30

1x12 Del Sol

Sub-category: Single, Dual

Based on: Sunn® Coliseum 300 bass cab (12" speaker)

1x12 Field Coil

Sub-category: Single, Dual

Based on: 1x12" Gibson® EH185

1x12 Lead 80

Sub-category: Single, Dual

Based on: 1x12" Bogner® Shiva CL80

1x12 US Deluxe

Sub-category: Single, Dual

Based on: 1x12" Fender® Deluxe Oxford

1x15 Tuck n' Go

Sub-category: Single, Dual

Based on: 1x15" Ampeg® B-15

1x18 Del Sol

Sub-category: Single, Dual

Based on: Sunn® Coliseum 300 bass cab (18" speaker)

1x18 Woody Blue

Sub-category: Single, Dual

Based on: Acoustic® 360 18" bass cab

1x8 Small Tweed

Sub-category: Single, Dual

Based on: 1x8" Fender® Champ

2x12 Blue Bell

Sub-category: Single, Dual

Based on: 2x12" Vox® AC-30 Fawn Blue

2x12 Double C12N

Sub-category: Single, Dual

Based on: 2x12" Fender® Twin C12N

2x12 Interstate

Sub-category: Single, Dual

Based on: 2x12" Dr Z® Z Best V30

2x12 Jazz Rivet

Sub-category: Single, Dual

Based on: 2x12" Roland® JC-120

2x12 Mail C12Q

Sub-category: Single, Dual

Based on: 2x12" Silvertone® 1484

2x12 Match G25

Sub-category: Single, Dual

Based on: Matchless® DC-30 (12" Greenback 25 speaker)

2x12 Match H30

Sub-category: Single, Dual

Based on: Matchless® DC-30 (12" G12H30 speaker)

2x12 Silver Bell

Sub-category: Single, Dual

Based on: 2x12" Vox® AC-30TB Silver

2x15 Brute

Sub-category: Single, Dual

Based on: 2x15" MESA/Boogie® 2x15 EV

4x10 Rhino

Sub-category: Single, Dual

Based on: 4x10" Ampeg® SVT® 410HLF

4x10 Tweed P10R

Sub-category: Single, Dual

Based on: 4x10" Fender® Bassman® P10R

4x12 1960 T75

Sub-category: Single, Dual

Based on: 4x12" Marshall® 1960 AT75

4x12 Blackback30

Sub-category: Single, Dual

Based on: 4x12" Park® 75 G12 H30

4x12 Cali V30

Sub-category: Single, Dual

Based on: 4x12" MESA/Boogie® 4FB V30

4x12 Greenback20

Sub-category: Single, Dual

Based on: 4x12" Marshall® Basketweave G12 M20

4x12 Greenback25

Sub-category: Single, Dual

Based on: 4x12" Marshall® Basketweave G12 M25

4x12 Mandarin EM

Sub-category: Single, Dual

Based on: 4x12" Orange® Eminence

4x12 SoloLead EM

Sub-category: Single, Dual

Based on: 4x12" Soldano

4x12 Uber T75

Sub-category: Single, Dual

Based on: 4x12" Bogner® Uberkab T75

4x12 Uber V30

Sub-category: Single, Dual

Based on: 4x12" Bogner® Uberkab V30

4x12 WhoWatt 100

Sub-category: Single, Dual

Based on: 4x12" Hiwatt® AP Fane®

4x12 XXL V30

Sub-category: Single, Dual

Based on: 4x12" ENGL® XXL V30

6x10 Cali Power

Sub-category: Single, Dual

Based on: 6x10" MESA/Boogie® Power House

8x10 SV Beast

Sub-category: Single, Dual

Based on: 8x10" Ampeg® SVT®

Soup Pro Ellipse

Sub-category: Single, Dual

Based on: 1 x 6x9" Supro® S6616

Mic Models

112 Dynamic

Based on: AKG® D112

12 Dynamic

Based on: AKG® D12

121 Ribbon

Based on: Royer® R-121

160 Ribbon

Based on: Beyerdynamic® M 160

20 Dynamic

Based on: Electro-Voice® RE20

30 Dynamic

Based on: Heil Sound® PR 30

4038 Ribbon

Based on: Coles 4038

409 Dynamic

Based on: Sennheiser® MD 409

414 Cond

Based on: AKG® C414 TLII

421 Dynamic

Based on: Sennheiser® MD 421-U

47 Cond

Based on: Neumann® U47

57 Dynamic

Based on: Shure® SM57

67 Cond

Based on: Neumann® U67

7 Dynamic

Based on: Shure® SM7

84 Cond

Based on: Neumann® KM84

87 Cond

Based on: 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 line6.com/software.

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.

IMPORTANT!

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.

Send/Return

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.

NOTE

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

NOTE

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.

Looper

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.

Split

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:

Y

  • 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.

A/B

  • 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).

Merge

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: 12/16/2018, 2:51:17 AM