Line 6 Helix Effect Models

This is a list of all effect models in Line 6 Helix. The right column shows the real pedal they are based on.

Distortion Models

Model	Subcategory	Based on
Minotaur	Mono, Stereo	Klon® Centaur
Compulsive Drive	Mono, Stereo	Fulltone® OCD
Valve Driver	Mono, Stereo	Chandler Tube Driver
Top Secret OD	Mono, Stereo	DOD® OD-250
Scream 808	Mono, Stereo	Ibanez® TS808 Tube Screamer®
Hedgehog D9	Mono, Stereo	MAXON® SD9 Sonic Distortion
Vermin Dist	Mono, Stereo	Pro Co RAT
Arbitrator Fuzz	Mono, Stereo	Arbiter® Fuzz Face®
Triangle Fuzz	Mono, Stereo	Electro-Harmonix® Big Muff Pi®
Industrial Fuzz	Mono, Stereo	Z.Vex Fuzz Factory
Tycoctavia Fuzz	Mono, Stereo	Tycobrahe® Octavia
Megaphone	Mono, Stereo	Megaphone
Added with firmware 1.06
Teemah!	Mono, Stereo	Paul Cochrane Timmy® Overdrive
KWB	Mono, Stereo	Benadrian Kowloon Walled Bunny Distortion
Bitcrusher	Mono, Stereo	Line 6 Original
Added with firmware 2.0
Wringer Fuzz	Mono, Stereo	Garbage’s special BOSS® FZ-2
Added with firmware 2.10
Stupor OD	Mono, Stereo	BOSS® SD-1 Overdrive
Added with firmware 2.20
Obsidian 7000	Mono, Stereo	Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
Clawthorn Drive	Mono, Stereo	Wounded Paw Battering Ram bass overdrive
Added with firmware 2.30
Kinky Boost	Mono, Stereo	Xotic® EP Booster
Thrifter Fuzz	Mono, Stereo	Line 6 Original
Added with firmware 2.60
Deranged Master	Mono, Stereo	Dallas Rangemaster Treble Booster
Deez One Vintage	Mono, Stereo	BOSS© DS-1 distortion pedal (classic Made-in-Japan version)
Deez One Mod	Mono, Stereo	BOSS© DS-1 distortion pedal (Keeley mod version)
Added with firmware 2.80
Dhyana Drive	Mono, Stereo	Hermida Zendrive
Heir Apparent	Mono, Stereo	Analogman Prince of Tone (basically half a King of Tone)
Tone Sovereign	Mono, Stereo	Analogman King of Tone V4 (basically two Prince of Tones in one)
ZeroAmp Bass DI	Mono, Stereo	Tech 21® SansAmp Bass Driver DI V1
Ampeg Scrambler	Mono, Stereo	Ampeg® Scrambler Bass Overdrive
Added with firmware 2.90
Alpaca Rouge	Mono, Stereo	Way Huge® Red Llama (modded)
Legendary Drive	Mono, Stereo	Carvin VLD1 Legacy Drive (high gain channel)
Xenomorph Fuzz	Mono, Stereo	Subdecay Harmonic Antagonizer
Added with firmware 3.00
Horizon Drive	Mono, Stereo	Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to “Extended,” drops the gate’s threshold down to -90dB
Swedish Chainsaw	Mono, Stereo	BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
Pocket Fuzz	Mono, Stereo	Jordan Boss Tone fuzz
Bighorn Fuzz	Mono, Stereo	1973 Electro-Harmonix® Ram’s Head Big Muff Pi
Ballistic Fuzz	Mono, Stereo	Euthymia ICBM fuzz
Added with firmware 3.10
Ratatouille Dist	Mono, Stereo	1984 Pro Co RAT
Added with firmware 3.50
Pillars OD	Mono, Stereo	Earthquaker Devices Plumes distortion
Vital Dist	Mono, Stereo	Earthquaker Devices Life pedal (Amplitude side)
Vital Boost	Mono, Stereo	Earthquaker Devices Life pedal (Magnitude side)
Added with firmware 3.60
Dark Dove Fuzz	Mono, Stereo	Electro-Harmonix® Russian Big Muff
Added with firmware 3.70
Prize Drive	Mono, Stereo	Nobels ODR-1
Prize Drive Settings Drive—Sets the amount of distortion Spectrum—When turned down, mids are accentuated; when turned up, lows and highs are accentuated. Could almost be considered a “scoop” control. Level—Sets the overall level of the block. Bass Cut—When set to “On,” slightly attenuates low bass frequencies. Voltage—The Nobels ODR-1 can behave differently depending on how much power it receives. Choose 9V or 18V, which gives a bit more headroom.
Regal Bass DI	Mono, Stereo	Noble Preamp bass DI
Regal Bass DI Settings Bass—Adds a 150Hz bass boost to the signal. 0.0 is flat. Treble—Adds a 3.5kHz treble boost to the signal. 0.0 is flat. Low Cut—Applies a 90Hz low cut (high pass) filter to the signal (6dB/octave). Volume—Controls the overall output level of the DI.

Dynamic Models

Model	Subcategory	Based on
Deluxe Comp	Mono, Stereo	Line 6 Original
Red Squeeze	Mono, Stereo	MXR® Dyna Comp
LA Studio Comp	Mono, Stereo	Teletronix® LA-2A®
Noise Gate	Mono, Stereo	Line 6 Original
Hard Gate	Mono, Stereo	Line 6 Original
Added with firmware 2.20
3-Band Comp	Mono, Stereo	Line 6 Original Multiband compressor
Autoswell	Mono, Stereo	Line 6 Original
Added with firmware 2.30
Kinky Comp	Mono, Stereo	Xotic® SP Compressor
Added with firmware 2.90
Rochester Comp	Mono, Stereo	Ashly® CLX-52 and created in conjunction with Billy Sheehan
Added with firmware 3.00
Horizon Gate	Mono, Stereo	Horizon Devices Precision Drive’s gate circuit. Includes an extra Gate Range parameter that, when set to “Extended,” drops the gate’s threshold down to -90dB. Works best before an amp
Added with firmware 3.15
Ampeg Opto Comp	Mono, Stereo	based on the Ampeg Opto Comp compressor pedal
Added with firmware 3.70
Feedbacker	Mono	Line 6 Original feedback generator
Feedbacker Settings Fdbk Gain—Controls the amount of feedback. At higher settings, can easily overwhelm your guitar signal; at lower settings, the feedback can better “sit” between chords. WARNING! Be careful, as this effect can quickly go off the rails, just like real feedback. Consider assigning it to a momentary stomp so feedback only appears while you hold the switch. Fdbk Type—Determines the type of the feedback generated. TIP: Try assigning different Feedback Type values to snapshots. –Octave—Feedback appears one octave below the “reference frequency,” which is basically the note Feedbacker chooses to base its feedback generation on. Depending on the chord, Feedbacker may choose different reference frequencies. Unison—Feedback appears at the reference frequency. +Octave—Feedback appears one octave above the the reference frequency. Oct +5th—Feedback appears one octave plus a 5th above the the reference frequency. +2 Octaves—Feedback appears two octaves above the the reference frequency. 2 Oct+3rd—Feedback appears two octaves plus a 3rd above the reference note frequency. 2 Oct+5th—Feedback appears two octaves plus a 5th above the reference note frequency. 2 Oct+7th—Feedback appears two octaves plus a 7th above the reference note frequency. Mid to Low—Feedback typically starts on the highest harmonic below 500 Hz and drops down to lower harmonics as the signal decays. High to Low—Feedback typically begins on the highest harmonic below 1200 Hz and descends to lower harmonics as the signal decays. Rndm Onset—New harmonics are selected randomly every time a new onset (note or chord’s attack) is detected. In this case, repeating the same chord could still generate different harmonics. Rndm Trigger—New harmonics are selected randomly every time the Retrigger parameter is set to “Trigger.” See the Retrigger parameter below. Attack—Controls how quickly feedback appears. Release—Controls how quickly each harmonic dies out or transitions to a different one. At higher values, you may hear more than one harmonic as they transition. Dry Kill—Determines what happens to the dry (unaffected) signal: Off—The dry signal is controlled by the Dry Level parameter but is otherwise unaffected when the Feedbacker block is turned on On—The dry signal is muted when the Feedback block is turned on. TIP: With Dry Kill on and Fdbk Type set to “Unison,” playing slower, single notes can result in sounds similar to using an E-bow. Always—The dry signal is completely muted from the entire path, regardless of whether the Feedback block is on or off. TIP: Use this setting only when Feedbacker is on a parallel path. Dry Level—Sets the amount of dry signal through the Feedbacker block. TIP: Assign this parameter to an expression pedal for blending in the dry signal behind the feedback. Reference—Determines which note within a chord is referenced by the feedback. “Lowest” prioritizes a chord’s lowest-pitched note as the feedback reference, which often represents the fundamental frequency of the chord. “Loudest” prioritizes the loudest note in the chord as the feedback reference, which may not be the lowest note. Silence Thr—Sets the level threshold above which feedback is generated. Below this level, no feedback will be generated. Onset Thr—When Feedback Type is set to Rndm Offset, sets the threshold of onsets (plucks) that cause changes to the feedback note. Lower values increase sensitivity to plucking and strumming, so changes to the feedback note take place more often. Higher values reduce sensitivity to plucking and strumming, so changes to the feedback note take place less often. Offset Thr—Rapid drops in the signal level by this amount will quickly kill the feedback to prevent warbling. Retrigger—Okay, Retrigger isn’t a parameter per sé; it’s meant for you to assign it to an unused momentary stomp switch. (Press and hold the Retrigger knob, press Learn, press the desired stomp switch, and then set Type to “Momentary.”)Every time you press the switch (and the parameter changes from “—” to “Trigger”), the feedback generated will change, depending on the type of mode: Mid to Low or High to Low modes—Pressing the Retrigger switch will cause the Feedbacker to descend to lower harmonics. Rndm Trigger or Rndm Onset—Pressing the Retrigger switch will cause the Feedbacker to randomly choose a different harmonic. All other modes—Pressing the Retrigger switch will cause feedback to regenerate at the mode’s selected frequency. Trails—When on, feedback continues to ring out (for the duration of the Release parameter) after the block is bypassed. When off, feedback stops abruptly when the block is bypassed.

Eq Models

Model	Subcategory	Based on
Simple EQ	Mono, Stereo	Line 6 Original
Low Cut/High Cut	Mono, Stereo	Line 6 Original
Parametric	Mono, Stereo	Line 6 Original
10-Band Graphic	Mono, Stereo	MXR® 10-Band Graphic EQ
Added with firmware 2.0
Cali Q Graphic	Mono, Stereo	MESA/Boogie® Mk IV’s 5-band EQ
Added with firmware 2.80
Low/High Shelf	Mono, Stereo	Line 6 Original
Tilt	Mono, Stereo	Line 6 Original Tilt is a subtle 6dB EQ that boosts high frequencies while simultaneously attenuating low frequencies (or vice versa). Great for quickly making tones a bit brighter or darker. The Center Freq parameter sets the frequency around which the boost and cut pivot
Added with firmware 3.00
Acoustic Sim	Mono, Stereo	BOSS® AC-2 Acoustic Simulator. Can be used alone or in conjunction with an acoustic IR

Modulation Models

Model	Subcategory	Based on
Optical Trem	Mono, Stereo	Fender® optical tremolo circuit
60s Bias Trem	Mono, Stereo	Vox® AC-15 Tremolo
Script Mod Phase	Mono, Stereo	MXR® Phase 90
Ubiquitous Vibe	Mono, Stereo	Shin-ei Uni-Vibe®
Gray Flanger	Mono, Stereo	MXR® 117 Flanger
Harmonic Flanger	Mono, Stereo	A/DA Flanger
Courtesan Flange	Mono, Stereo	Electro-Harmonix® Deluxe EM
Chorus	Mono, Stereo	Line 6 Original
70s Chorus	Mono, Stereo	BOSS® CE-1
Trinity Chorus	Stereo	DyTronics Tri-Stereo Chorus
Bubble Vibrato	Mono, Stereo	BOSS® VB-2 Vibrato
Vibe Rotary	Stereo	Fender® Vibratone
122 Rotary	Stereo	Leslie® 122
145 Rotary	Stereo	Leslie® 145
AM Ring Mod	Mono, Stereo	Line 6 Original
Pitch Ring Mod	Stereo	Line 6 Original
Added with firmware 1.06
Dynamix Flanger	Mono, Stereo	Line 6 Original
Deluxe Phaser	Mono, Stereo	Line 6 Original
Tremolo	Mono	BOSS® PN-2
Tremolo/Autopan	Stereo	BOSS® PN-2
Added with firmware 2.0
Harmonic Tremolo	Mono, Stereo	Line 6 Original
Added with firmware 2.20
PlastiChorus	Mono, Stereo	modded Arion SCH-Z chorus
Added with firmware 2.30
Bleat Chop Trem	Mono, Stereo	Lightfoot Labs© Goatkeeper
Double Take	Mono, Stereo	Line 6 Original Doubler
Added with firmware 2.90
Pebble Phaser	Mono, Stereo	Electro-Harmonix® Small Stone phaser
Added with firmware 3.00
Poly Detune	Mono	Line 6 Original
Added with firmware 3.10
Retro Reel	Mono	Line 6 Original Simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter.
Retro Reel Settings Wow Fluttr – Determines how much warbly tape sound is heard Saturation – Adds analog tape saturation and at high enough settings, distortion. At lower settings, it’s great for simply warming up a tone Low Cut – Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect High Cut – Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape Tape Speed – Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation Level – Sets the overall level of the block Texture – Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
Added with firmware 3.15
Ampeg Liquifier	Mono, Stereo	based on the Ampeg Liquifier chorus pedal
Added with firmware 3.50
4-Voice Chorus	Mono, Stereo	Line 6 Original
4-Voice Chorus Settings Rate – Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth – Adjusts the amplitude of the modulation, from mild to deep Voices – Determines the number of voices in the chorus (2, 3, or 4) Low Cut – Applies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency HighShelf – Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Mix – Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Level – Controls the overall output level of the block
FlexoVibe	Mono, Stereo	Line 6 Original
FlexoVibe Settings Rate – Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Intensity – Adjusts the amplitude of the modulation, from mild to deep Warp – Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or “warping” Spread – Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle Mix – Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard Level – Controls the overall output level of the block
Added with firmware 3.60
Triple Rotary	Stereo	Yamaha® RA-200 rotary speaker (famously implemented by Pink Floyd’s David Gilmour)
Triple Rotary Info “The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet.“To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems.” —Sam Hwang, Sound Designer Triple Rotary Settings Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place Mix—Controls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Drive—Controls the amount of drive into the speaker’s power amp Headroom—Adds up to 12.0dB of additional headroom Low Cut—Applies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric. Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors Rotor 2 Lvl—Sets the individual volume of the second rotor Rotor 3 Lvl—Sets the individual volume of the third rotor

Delay Models

Model	Subcategory	Based on
Simple Delay	Mono, Stereo	Line 6 Original
Mod Chorus Echo	Mono, Stereo	Line 6 Original
Multitap 4	Stereo	Line 6 Original
Multitap 6	Stereo	Line 6 Original
Ping Pong	Stereo	Line 6 Original
Sweep Echo	Mono, Stereo	Line 6 Original
Ducked Delay	Mono, Stereo	TC Electronic® 2290
Transistor Tape	Mono, Stereo	Maestro® Echoplex EP-3
Harmony Delay	Stereo	Line 6 Original
Bucket Brigade	Mono, Stereo	BOSS® DM-2
Adriatic Delay	Mono, Stereo	BOSS® DM-2 w/ Adrian Mod
Added with firmware 1.04.1
Dual Delay	Stereo	Line 6 Original Stereo delay with separate time, feedback, and mix per channel. Includes high and low cut filters and Chorus or Vibrato modulation
Reverse Delay	Mono, Stereo	Line 6 Original Whatever you play in comes back at you backwards (up to four seconds mono, two seconds stereo)
Elephant Man	Mono, Stereo	Electro-Harmonix® Deluxe Memory Man
Added with firmware 2.0
Vintage Digital	Mono, Stereo	Line 6 Original
Added with firmware 2.10
Pitch Echo	Mono, Stereo	Line 6 Original
Added with firmware 2.20
Vintage Swell	Mono, Stereo	Line 6 Original
Adriatic Swell	Mono, Stereo	Line 6 Original
Added with firmware 2.30
Cosmos Echo	Mono, Stereo	Roland® RE-201 Space Echo
Added with firmware 2.50 (New HX Effects)
Multi Pass	Mono, Stereo	Line 6 Original Bandpass-filtered multitap delay
Added with firmware 3.00
Poly Sustain	Mono	Line 6 Original
Poly Sustain Settings Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed. *First play the note or chord you wish to sustain, and then* press the footswitch (on) to sustain it indefinitely. Keep playing while the note or chord loops. TIP: Some players may find it easier to change the footswitch mode to Momentary; that way, the note or chord sustains only while you hold the switch on, much like the sustain pedal on a piano. Press the switch again (off) and the sustained note or chord fades out. Interval – Sets the pitch of the sustained note or chord. TIP: This parameter is especially cool for creating massive drones to play over Attack – Sets the speed at which the sustained note or chord fades in Decay – Sets the speed at which the sustained note or chord fades out after bypassing the effect Mod Freq – Sets the speed of the built in modulation Mod Depth – Sets the depth of the built in modulation FX Level – Sets the level of the sustained signal RandDpth – Higher values increase the randomization of the section of audio being sustained, resulting in a more natural, but less predictable drone RandSpeed – Controls how fast the randomization wanders. Setting both RndDpth and RndSpd to high values will result in a glitch fest (not that there’s anything wrong with that) Level** – Controls the overall output level of the block
Glitch Delay	Mono, Stereo	Line 6 Original Performance delay that lets you freely manipulate the repeats’ behavior in real time
Glitch Delay Settings Time – Sets the delay time; press the knob to toggle between ms/sec and note values Delay Div – Divides the delay time into smaller increments Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Feedback – Controls the overall number of repeats heard for the entire sequence SliceFdbk – Controls the number of repeats heard for individual slices. At higher values, you could call this “Super Chaotic Feedback” Shuffle – Determines the likelihood of repeats shuffling/reordering Octaves – Determines the likelihood of repeats playing back an octave higher or lower Reverse – Determines the likelihood of repeats playing backwards Seq Drift – Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it’ll repeat that way indefinitely Smoothing – Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks Trails – When on, delay repeats continue to ring out after the block is bypassed
Added with firmware 3.10
Euclidean Delay	Mono, Stereo	Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex.
Euclidean Delay Settings Step Time – Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values Feedback – Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0% Steps – Determines the number of steps in the sequence (1-16; see diagram below) Fill – The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored Rotate – Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward Mix – Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Low Cut – Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Level – Controls the overall output level of the block Trails – When on, delay repeats continue to ring out after the block is bypassed
Added with firmware 3.15
Heliosphere	Mono, Stereo	Line 6 Original delay with reverb injected into the feedback loop
Heliosphere Settings Time – Sets the delay time. Press the knob to toggle between ms/Sec and note values Feedback – Controls the overall number of repeats. To hear only one repeat, set to 0% Rate – Controls the rate or speed of modulation Depth – Controls the depth or amount of modulation Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level—Sets the overall level of the block Scale – For stereo delays, the Time parameter sets the left side. The right side’s time is always some percentage of the left’s time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same Rev Mix—Controls the wet/dry mix of the reverb inside the delay’s feedback loop. When set to 0%, no reverb is heard Rev Decay—Sets the decay of the reverb Headroom—Some 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. Trails – When set to “Off,” delay repeats are instantly muted when the block is bypassed. When set to “On,” delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected
ADT	Mono, Stereo	Line 6 Original double-tracking tape emulation
ADT Settings Delay 1, Delay 2 – Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms WowFlutr1, WowFlutr2 – Determines how much warbly tape sound is heard for each deck Saturate1, Saturate2 – Adds analog tape saturation and at high enough settings, distortion. At lower settings, it’s great for simply warming up a tone Deck 1 Vol, Deck 2 Vol – Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default Deck 2 Pol – Flips the polarity of deck 2 Mod Rate – Controls the rate or speed of modulation applied to Deck 2 Mod Depth – Controls the depth or amount of modulation applied to Deck 2 Level – Sets the overall level of the block TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation Texture – Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion Low Cut – Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency Deck 1 Pan, Deck 2 Pan – Pans each deck left and right EnvThresh – Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2’s delay. Subtle, but fun Trails—When set to “Off,” delay repeats are instantly muted when the block is bypassed. When set to “On,” delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected
Crisscross	Mono, Stereo	Line 6 Original dual delay with cross-feedback between the two delay lines
Crisscross Settings Time A, Time B – Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values Feedbk A, Feedback B – Controls the number of repeats for each delay line. To hear only one repeat, set to 0% Pan A, Pan B – To achieve the widest stereo field, set Pan A to L100 and Pan B to R100 Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard Level – Sets the overall level of the block Crossfeed – Controls the amount of the A delay line fed back into the B delay line and vice versa Headroom—Some 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. Mod Rate—Controls the rate or speed of modulation Mod Depth—Controls the depth or amount of modulation Shape—Sets the modulation’s wave shape (Sine or Triangle) Phase—Determines the modulation’s phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to “24 bits” Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to “48kHz” Low Cut – Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency Trails – When set to “Off,” delay repeats are instantly muted when the block is bypassed. When set to “On,” delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected
Tesselator	Mono, Stereo	Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine… it’s stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached
Tesselator Settings Assign Tesselator to a stomp footswitch. It’s bypassed by default. Play a chord and while it’s ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters: First – Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values Last—Determines the length of the last step in the sequence. If shorter than the First step’s time, the sequence will get shorter; if longer than the First step’s time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values Steps – Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence’s characteristics Direction – Determines the direction of the steps: Forward: Each step plays back normally (Ex. 2a below) Reverse: Each step plays back in reverse (Ex. 2b below) Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below) Boomerang – When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below) Operation – Determines what happens to your signal when Tesselator is turned on (remember, it’s bypassed by default) “Mute All”—When Tesselator is on, THE ENTIRE PATH IS MUTED “Dry Kill”—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values “Normal” (default)—When Tesselator is on, both the dry and effected signals are heard Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value “Speed” (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed) “Pitch”—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below) Speed – Sets the target speed for the last step. For example, if set to “200%,” the last step’s pitch will be twice as high as the first step and if set to “0%,” the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to “Speed” Pitch – Sets the target pitch for the last step. For example, if set to “-12”, the last step will be an octave lower than the first step. Disabled unless Ramp is set to “Pitch” (see Ex. 3c below) HP Filter – Very different from Helix’s traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence LP Filter—Very different from Helix’s traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below) FX Level – Controls the level of the effected signal Level – Controls the overall output level of the block
Ratchet	Mono, Stereo	Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before
Ratchet Settings Assign Ratchet to a stomp footswitch. It’s bypassed by default. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal. FX Level – Controls the level of the looped audio Level – Controls the overall output level of the block Time – Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose “1/1”; to stutter your playing, start with “1/16” or “1/32” Operation – Determines what happens to your signal when Ratchet is turned on (remember, it’s bypassed by default) “Mute All”—When Ratchet is on, THE ENTIRE PATH IS MUTED “Dry Kill”—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values “Normal” (default)—When Ratchet is on, both the dry and effected signals are heard

Reverb Models

Model	Subcategory	Based on
Plate	Stereo	Line 6 Original
Room	Stereo	Line 6 Original
Chamber	Stereo	Line 6 Original
Hall	Stereo	Line 6 Original
Echo	Stereo	Line 6 Original
Tile	Stereo	Line 6 Original
Cave	Stereo	Line 6 Original
Ducking	Stereo	Line 6 Original
Octo	Stereo	Line 6 Original
63 Spring	Stereo	Line 6 Original
Spring	Stereo	Line 6 Original
Particle Verb	Stereo	Line 6 Original
Added with firmware 2.50 (New HX Effects)
Glitz	Mono, Stereo	Line 6 Original
Ganymede	Mono, Stereo	Line 6 Original
Searchlights	Mono, Stereo	Line 6 Original
Plateaux	Mono, Stereo	Line 6 Original
Double Tank	Mono, Stereo	Line 6 Original
Added with firmware 3.10
Dynamic Hall	Mono, Stereo	Line 6 Original Hall Reverb
Dynamic Hall Settings Decay – Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it “ForEVER ever?” Predelay – Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Room Size—Sets the size of the hall (10, 20, or 30 meters). *NOTE:* This parameter actually changes the algorithm so you’ll hear a small bump when changing it. Therefore, we don’t recommend assigning Room Size to snapshots or other controllers Diffusion – Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Damping – Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Motion – Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Freq – Sets the frequency below which the Low Gain parameter is applied Low Gain – Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level – Controls the overall output level of the block Trails – When on, reverb decay continues to ring out after the block is bypassed
Hot Springs	Mono, Stereo	Line 6 Original Spring Reverb
Spring Reverb Settings Dwell – Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay Spring Count – Sets how many springs are in the tank (1, 2, or 3, and numerous values in between) Drip – Adjusts the intensity of the spring reverb, or how much “ploink” you might hear Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Level – Controls the overall output level of the block Trails – When on, reverb decay continues to ring out after the block is bypassed
Added with firmware 3.15
Dynamic Plate	Mono, Stereo	Line 6 Original plate reverb typically found in high-end studio rack reverbs
Dynamic Plate Settings Decay – Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) Predelay – Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals Damping – Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Mot Rate – Motion Rate, or how fast the echoes’ intensity changes, due to changes in plate tension or temperature MotRange – Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq – Sets the frequency below which the Low Gain parameter is applied Low Gain – Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level – Controls the overall output level of the block Trails – When set to “Off,” the reverb decay is instantly muted when the block is bypassed. When set to “On,” the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected
Dynamic Room	Mono, Stereo	Line 6 Original room reverb typically found in high-end studio rack reverbs
Dynamic Room Settings Decay – Sets the decay of the reverb (0.1 sec ~ 3.0 sec) Predelay – Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Damping – Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty Diffusion – Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Mot Rate – Motion Rate, or how quickly the room’s shape may be changing, due to people moving, doors opening or closing, etc. Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Freq – Sets the frequency below which the Low Gain parameter is applied Low Gain – Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency EarlyReflc – Sets the amount of early reflective room sound Level – Controls the overall output level of the block Trails – When set to “Off,” the reverb decay is instantly muted when the block is bypassed. When set to “On,” the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected
Shimmer	Mono, Stereo	Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler
Shimmer Settings Type – Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset “Luster”—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits “Sheen” (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom Pitch 1 – Sets the interval of the first pitchshifter. Set to “Oct Up” for more traditional shimmer sounds; set to “Oct Down” for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1 Pitch 2 – Sets the interval of the second pitchshifter Intensity – Controls the mix between the pitchshifted and non-pitchshifted reverb Feedback – Controls the number of times the pitchshifting recirculates through the reverb Pitch Blend – Controls how much of Pitch 1 is heard vs. Pitch 2 (set to “Even” by default) Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Decay – Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity) Predelay – Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals Room Size – Sets the size of the room (10, 20, or 30 meters) Damping – Determines the frequency above which the reverb will be absorbed Diffusion – Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Motion – Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level – Controls the overall output level of the block Trails – When set to “Off,” the reverb decay is instantly muted when the block is bypassed. When set to “On,” the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected
Added with firmware 3.50
Dynamic Ambience	Mono, Stereo	Line 6 Original ambience reverb. At less extreme settings can be used to “open up” the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.
Dynamic Ambience Settings Room Size – Sets the size of the hall (8, 10, or 12 meters) Predelay – Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Damping – Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Diffusion – Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Shape – Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to “Even” Mix – Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Cut – Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level – Controls the overall output level of the block Trails – When on, reverb decay continues to ring out after the block is bypassed
Added with firmware 3.70
Dynamic Bloom	Mono, Stereo	Line 6 Original bloom reverb.
Dynamic Bloom Settings Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity). Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty. Mot Rate—Motion Rate, or how fast the echoes’ intensity changes, due to changes in plate tension or temperature. Rise Time—Sets how long it takes for the reverb to bloom. Choose Short, Medium (default), or Long. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard. Low Freq—Sets the frequency below which the Low Gain parameter is applied. Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies. Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency. High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency. Ducking—Traditionally, ducking controls how much of the entire reverb is dropped in volume (or “ducked”) while the signal is active. With Dynamic Bloom, the ducking instead applies to the reverb’s feedback only. For example, if you set Decay really high and strum one chord, you’ll hear that chord sustain for a long time. While it’s ringing out, hit another chord. Without ducking, both chords now sustain together. With Ducking set high, the first chord quickly fades out, and all you’ll hear sustaining is the 2nd chord. This helps your bloom from turning into a sloppy mess of multiple chords Level—Sets the overall level of the block. Trails—When set to “Off,” reverb decay is instantly muted when the block is bypassed. When set to “On,” the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected.
Nonlinear	Mono, Stereo	Line 6 Original nonlinear reverb with a variety of decay tail shapes (including multiple reverse reverb shapes).
Nonlinear Settings Decay—Sets the decay of the reverb (1.0 ms ~ 2.000 sec). Press the knob to toggle between ms/sec and note values. TIP: When set to note values, playing a note/chord 4 beats (Decay set to “1/1”) or 2 beats (Decay set to “1/2”) before a song transition can cause the reverb to stop right on the downbeat. Predelay—Determines the amount of delay heard before the signal enters the reverb. Shape—Determines the shape of the reverb’s decay: Linear—Traditional reverse reverb with an even, linear slope; abruptly stops after the decay length. Log—Reverse reverb with a logarithmic curve so it starts low and ramps up toward the decay’s end. Inverse Log—Reverse reverb with an inverse logarithmic curve so it ramps up quickly. Gauss—Ramps up and then down in a gaussian curve shape. Inverse Gauss—Ramps down and then up in a gaussian curve shape. Triangle—Ramps up and then down in a triangle shape. Inverse Triangle—Ramps up and then down in a triangle shape. Full—No ramp at all; the reverb is on full blast for the duration of the decay and then abruptly stops after the decay length. Late Dry—Adds a bit of the original signal as the very last tap. Most audible when playing simple lines with gaussian and triangle shapes. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard. Level—Sets the overall level of the block. Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal. Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency. High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency. Mod—Controls the amount of modulation applied to the reverb. Rate—Controls the rate or speed of modulation applied to the reverb. Spread (Stereo version only)—Determines the stereo width or spread of the effected signal. Trails—When set to “Off,” reverb decay is instantly muted when the block is bypassed. When set to “On,” the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected.

Pitch / Synth Models

Model	Subcategory	Based on
Pitch Wham	Mono, Stereo	DigiTech Whammy®
Twin Harmony	Mono, Stereo	Eventide® H3000
3 OSC Synth	Stereo	Line 6 Original
Added with firmware 1.06
Simple Pitch	Mono, Stereo	Line 6 Original
Dual Pitch	Mono, Stereo	Line 6 Original
Added with firmware 2.20
3 Note Generator	Mono, Stereo	Line 6 Original
4 OSC Generator	Mono, Stereo	Line 6 Original
Added with firmware 3.00
Poly Pitch	Mono	Line 6 Original
Poly Pitch Settings NOTE: Polyphonic pitch engines are designed for shifting complex chords with minimal artifacts, at the expense of latency (and our algorithms have lower latency than leading standalone poly pitch pedals). If you’re looking to pitch individual notes (such as in a solo), monophonic pitchshifting is often preferred. See the Tracking parameter below for more information IMPORTANT! 3.0’s new poly models are extremely DSP-intensive. Some effects can eat up roughly a quarter of all available DSP on a Helix Floor, Rack, or LT or half (!!!) of all available DSP on HX Stomp or HX Effects. You also can’t run more than one on the same path/DSP. Don’t say we didn’t warn you… Interval – Sets the pitch of the effect in semitones Cents – Sets the pitch of the effect in cents ShiftTime – Determines how long it takes for the signal to ramp up or down to the set pitch when the block is enabled. Press the knob to toggle between ms/Sec and note/beat values. TIP: Want to hit the switch and have Poly Pitch dive bomb and land on the selected interval exactly one bar later? Press the knob to select note values and set ShiftTime to “1/1” ShiftCurve – Determines the trajectory curve of the pitch shift over time. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). The default is “Linear” ReturnTime – Determines how long it takes for the signal to return to normal pitch when the block is bypassed. Press the knob to toggle between ms/Sec and note/beat values ReturnCurv – Determines the trajectory curve when returning to the original pitch. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite) Tracking – Determines how the poly pitch engine behaves. “X Fast” results in lower latency, ideal for faster lead lines. “X Stable” (the default) results in fewer artifacts when pitch shifting complex, sustained chords. “Fast” and “Stable” are somewhere in between. TIP: If you find yourself changing playing styles—say from fast lead lines to clean, open chords—you can assign this parameter to a footswitch (or snapshots) to optimize the balance between transparency and low latency Auto EQ – Determines how much compensation EQ is applied to the shifted signal. If the effected signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. When set to 0.0, no compensation is applied Mix – Controls the wet/dry mix of the pitchshift Level – Controls the overall output level of the block
Poly Wham	Mono	Line 6 Original Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
Poly Capo	Mono	Line 6 Original Simpler version of Poly Pitch when you just want to change keys. Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
12 String	Mono	Line 6 Original 12-string guitar emulation
Added with firmware 3.50
Boctaver	Mono, Stereo	BOSS® OC-2 Octaver

Filter Models

Model	Subcategory	Based on
Mutant Filter	Mono, Stereo	Musitronics® Mu-Tron®
III Mystery Filter	Mono, Stereo	Korg® A3
Added with firmware 1.06
Autofilter	Mono, Stereo	Line 6 Original
Added with firmware 2.80
Asheville Pattrn	Mono, Stereo	Moog® Moogerfooger® MF-105M MIDI MuRF Filter (with both MuRF and Bass MuRF voicings)

Volume / Pan Models

Model	Subcategory	Based on
Volume Pedal	Mono, Stereo	Line 6 Original
Gain	Mono, Stereo	Line 6 Original
Pan	Stereo	Line 6 Original
Added with firmware 2.30
Stereo Width	Stereo	Line 6 Original Utility to collapse stereo paths
Added with firmware 3.00
Stereo Imager	Stereo	Line 6 Original

Wah Models

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

Looper Models

Model	Subcategory	Based on
Added with firmware 2.60
Switch Looper	Mono, Stereo	Line 6 Original (doesn’t leave Stomp mode)
Added with firmware 3.00
Shuffling Looper	Mono, Stereo	Line 6 Original
Shuffling Looper Settings Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you realtime control over reordering, octave shifting, reversing, and repeating. It’s all immense fun (even on vocals, drums, and percussion), but you’ll want to familiarize yourself with its controls.IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands Add Looper > Shuffling Looper to a preset and assign it to a footswitch. Turn Knob 1 (Slices) to set the number of slices your loop will be chopped into. 8 slices is the default. Press the switch to begin recording. The LED lights red, indicating the loop is recording. At the end of your loop, press the switch. The LED lights green and the sliced loop sequence immediately plays. During playback, adjust the following knobs (or assign them to controllers, like expression pedals or snapshots): Slices – Changes the number of slices your loop will be chopped into SeqLength – Determines the number of slices in the sequence. This can be changed even after recording a loop Shuffle – Determines the likelihood of slices shuffling/reordering. At 0%, the slices never shuffle; at 100%, they’re constantly reshuffling Octave – Determines the likelihood of slices playing back an octave higher or lower Reverse – Determines the likelihood of slices playing backwards Repeat – Determines the likelihood of slices repeating Smoothing – Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks Seq Drift – Determines the likelihood of the entire slice sequence changing every time it loops around. When set to 0.0, the same sequence repeats forever; when set to 10.0, the sequence changes completely every time it loops TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it’ll repeat that way indefinitely Playback – Sets the looper’s playback level Low Cut – Applies a low cut (or high pass) filter to the loop, letting you remove looper signal below a certain frequency High Cut – Applies a high cut (or low pass) filter to the loop, letting you remove looper signal above a certain frequency Want to change it up? While the loop is playing, press the switch to randomize its slice sequence. Quickly double-press the switch. Playback/recording stops and the LED lights white, indicating a loop is in memory. Press again to restart. While the loop is playing or stopped, press and hold the switch. The recording is deleted and the LED lights dim white.

Split

Model	Based on
Added with firmware 2.90
Dynamic	Line 6 Original
Dynamic Settings This new Split block type lets you dynamically route signals to Path B, depending on how hard you play. For example, you could roll your guitar’s volume back a bit and play clean chords through a Grammatico on Path A and then roll it back up and dig in to blend in a searing Revv Gen Purple lead on Path B Knob 1 (Threshold)—Signals below the Threshold are routed to Path A; signals above the Threshold are routed to Path B Knob 2 (Attack)—Determines how fast the signal routes to Path B once reaching the Threshold Knob 3 (Decay)—Determines how fast the signal returns to Path A once falling below the Threshold Knob 4 (Reverse)—Swaps dynamic path routing. When set to “On”, signals below the Threshold are routed to Path B and signals above the Threshold are routed to Path A

Legacy Effects (with firmware 2.50)

Helix Floor, Rack/Control, and LT now include a library of effects from M13, M9, M5, DL4, DM4, FM4, and MM4. These appear in a new “Legacy” subcategory in the model list.

Type	Model	Description
Distortion	Tube Drive	A sweet, singing sustain craved by guitarists worldwide. Inspired by* the tone of a Chandler Tube Driver®.
Distortion	Screamer	Inspired by the smooth medium-gain tones of the collectable original, Screamer is based on* an Ibanez® Tube Screamer®.
Distortion	Overdrive	Inspired by* a DOD® Overdrive/Preamp 250, which was designed to slam the input of a tube amp forcing it to distort violently.
Distortion	Classic Dist	Angry and aggressive, Classic Distortion is inspired by* a ProCo Rat.
Distortion	Heavy Dist	The industry-standard heavy metal distortion of the late ’80s. Inspired by* a Boss® Metal Zone.
Distortion	Colordrive	Colordrive will transport you back to the breeding ground of British guitar heroes. Inspired by* a Colorsound® Overdriver.
Distortion	Buzz Saw	Take a deep breath and repeat: “I can’t get no (duh, duh, duh) Satisfaction.” Inspired by* a Maestro® Fuzz Tone.
Distortion	Facial Fuzz	Bottom-heavy distortion inspired by* the Arbiter Fuzz Face, which is associated with the tones of Jimi Hendrix and Eric Johnson.
Distortion	Jumbo Fuzz	Jumbo Fuzz delivers a bright bite reminiscent of the fuzz tones heard all over the first two Led Zeppelin records. Inspired by* a Vox® Tone Bender.
Distortion	Fuzz Pi	Fuzz Pi delivers plenty of thick distortion and oceans of sustain inspired by* the tone of an Electro-Harmonix® Big Muff Pi®.
Distortion	Jet Fuzz	Part fuzz/part phaser, Jet Fuzz delivers the best of both. Inspired by* the Roland® Jet Phaser.
Distortion	Line 6 Drive	If we could go back to the 60s and be a part of the fuzz revolution, this is what we’d design. Inspired by* the Colorsound® Tone Bender.
Distortion	Line 6 Distortion	Completely saturated and over the top, Line 6 Distortion is massive and totally crazy.
Distortion	Sub Oct Fuzz	Biting fuzz with an octave below! Excellent for bass guitar. Inspired by* the PAiA Roctave Divider.
Distortion	Octave Fuzz	White-hot fuzz with an octave above! This classic fuzz+octave effect was used by Jimi and other pioneering players. Inspired by* the Tycobrahe® Octavia.
Added with firmware 3.15
Distortion	Bronze Master	based on the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
Distortion	Killer Z	based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

Dynamics	Tube Comp	Tube-style compression with added low-end warmth inspired by* the characteristic color of the Teletronix® LA-2A® compressor, a studio standard.
Dynamics	Red Comp	Red Comp evens out your volume and adds plenty of sustain. Ideal for slow leads. Inspired by* the MXR® Dyna Comp stompbox compressor.
Dynamics	Blue Comp	Inspired by* the Boss® CS-1 Compression Sustainer (with the treble switch off), Blue Comp delivers warm, percussive qualities that are great for cleaner tones.
Dynamics	Blue Comp Treb	Inspired by* the Boss® CS-1 Compression Sustainer with the treble switch on.
Dynamics	Vetta Comp	Taken from Line 6’s guitar amplifier – Vetta II. With a fixed ratio of 2.35:1, adjustable threshold and up to 12dB of gain available at the Level knob.
Dynamics	Vetta Juice	A colorful boost taken from Line 6’s Vetta™ II guitar amplifier, Vetta Juice pours out up to 30dB of available gain at the Level knob.
Dynamics	Boost Comp	A punchy boost of gain inspired by* an MXR® Micro Amp. The compressor can add hang time to your sustain and fill out your leads.

Modulation	Pattern Tremolo	Engage up to four tremolo patterns to play in sequence. This is a truly original textural effect inspired by* a Lightfoot Labs Goatkeeper.
Modulation	Panner	This effect pans back and forth between your left and right channels. If you run it in mono, it’s basically tremolo.
Modulation	Bias Tremolo	Bias Trem is inspired by* the 1960 Vox® AC-15 Tremolo, which got its pulse by literally varying the bias of the power amp tubes.
Modulation	Opto Tremolo	Opto Trem is inspired by* the optical tremolo circuit that was used in the blackface Fender® amps like the ’64 Deluxe Reverb®.
Modulation	Script Phase	Just add the “brown” sound and you’re emulating one of rock’s most celebrated guitar tones! Inspired by* an MXR® Phase 90. Speed control only, just like the original.
Modulation	Panned Phaser	A hypnotizing phaser that slithers from side to side. Inspired by* the sound of an Ibanez® Flying Pan, which is a four-stage phase shifter with a panner built in.
Modulation	Barberpole	A classic effect from the world of modular synths. Depending on how you set it, this phaser either sounds like it’s always going up or always down. Set to stereo you get both!
Modulation	Dual Phaser	Dual Phaser delivers a big jet sound inspired by* a Mu-Tron® Bi-Phase.
Modulation	U-Vibe	Inspired by* the pulsing push of the now-legendary Uni-Vibe®. One listen to “Machine Gun” and you’ll be hooked!
Modulation	Phaser	Phaser is inspired by* the sound of an MXR® Phase 90 but it’s got a few extra parameters to bring you there and back again.
Modulation	Pitch Vibrato	Inspired by* the Boss® VB-2, which contained a circuit that produced a bubbly vibrato. This pedal (and this model) feature a “rise time” control that when engaged speeds up to where you last set it.
Modulation	Dimension	Inspired by* the Roland® Dimension D, one of the first true-stereo chorus units. It’s relatively subtle in nature and became an industry standard for double-track effects.
Modulation	Analog Chorus	Inspired by* the big and warm tones of a Boss® CE-1 Chorus Ensemble, the original stompbox chorus.
Modulation	Tri Chorus	Tri Chorus is inspired by* the larger-than-life sound of a Song Bird/DyTronics Tri-Stereo Chorus.
Modulation	Analog Flanger	Inspired by* the classic MXR® Flanger, which was made classic on Van Halen’s Fair Warning and Women and Children First.
Modulation	Jet Flanger	Compared to Analog Flange, Jet Flanger is more dramatic with a different wave shape. Inspired by* the signature jet-like sweep of an A/DA Flanger.
Modulation	AC Flanger	The variety of vibey effects available from AC Flanger are inspired by* the classic tones of the MXR® Flanger
Modulation	80A Flanger	The gritty and spacey sweeps of 80A Flanger are inspired by* the distinctive sound of the A/DA Flanger.
Modulation	Frequency Shift	Shift frequencies up or down and set the mix to 100% for an otherworldly tone. Or dial it back to add interesting colors to leads.
Modulation	Ring Modulator	Perfect for those late-night jams when only the weirdest, wildest sounds will do.
Modulation	Rotary Drum	Inspired by* the Fender® Vibratone. This rotating speaker effect was popular with SRV. Think “Cold Shot.”
Modulation	Rotary Drm/Horn	Inspired by* a Leslie® 145 tube-driven cabinet with a rotating speaker. Guitarists have always loved its signature shimmer.
Added with firmware 3.15
Modulation	Tape Eater	Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
Modulation	Warble-Matic	Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
Modulation	Random S&H	Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
Modulation	Sweeper	Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

Delay	Ping Pong	Two separate channels of delay. The output of each channel bounces into the other to create the ping pong effect.
Delay	Dynamic	Dynamic Delay features a ducking control to keep the delays from overwhelming what you’re playing. Inspired by* a T.C. Electronic® 2290 Dynamic Digital Delay.
Delay	Stereo	The secret to the “Big L.A. Solo” sound of the ’80s! Set one side as a fast echo with many repeats, and the other side as a slow delay with few repeats. Voilà, you’re famous!
Delay	Digital	A great workhorse effect, this straight-up digital delay has a transparent and pristine echo-echo-echo-echo…
Delay	Dig w/ Mod	Digital Delay w/ Mod adds a juicy chorus effect to your digital delay.
Delay	Reverse	!seltaeB eht dna xirdneH imiJ ekil tsuJ – Whatever you play comes out backwards.
Delay	Lo Res	Inspired by the unique grunge and noise of early digital delay units. Many of which had only 8-bit resolution.
Delay	Tube Echo	Like peanut butter and chocolate, tubes and tape are a great combination. Tube Echo is inspired by* a Maestro® EP-1.
Delay	Tape Echo	Tape Echo is inspired by* the unmistakable depth and sweetness of the Maestro® EP-3 Echoplex, which used transistor sound electronics instead of tubes.
Delay	Sweep Echo	Add a sweeping warble to the Tube Echo repeats and you’ve got Sweep Echo. This unique tone adds a tangy flavor to your delays.
Delay	Echo Platter	Inspired by* a Binson EchoRec, which inspired bands like Pink Floyd. Rather than using tape, the EchoRec used a magnetic platter to record and play back.
Delay	Analog Echo	Analog Echo is inspired by* the warm and distorted delays of a Boss® DM2 Analog Echo.
Delay	Analog w/ Mod	Inspired by* the cherished tone of an Electro-Harmonix® Deluxe Memory Man, Analog w/ Mod delivers an organic-sounding analog delay with a generous dollop of lush, spatial chorus.
Delay	Auto-Volume Echo	Two effects in one! A volume fade-in swell and an echo complete with tape-style wow-and-flutter modulation.
Delay	Multi-Head	Multi-Head delay is inspired by* the sound created by the multiple playback heads of the Roland® RE-101 Space Echo.
Added with firmware 3.15
Delay	Phaze Eko	Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
Delay	Bubble Echo	Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

Pitch/Synth	Bass Octaver	This effect gives you a single clean note one octave down. Bassists love it but guitarists (including Jeff Beck) are known to bust it out, too. Inspired by* the tone of an EBS OctaBass.
Pitch/Synth	Smart Harmony	Turn that 6-string into a 12-string, rip some ’80s dual leads and so much more. This intelligent pitch shifter is inspired by* an Eventide® H3000.
Pitch/Synth	Octi Synth	Not to be missed, Octisynth provides textures that are equally at home in a mad scientist’s laboratory or miles below sea level among its eight-armed namesake.
Pitch/Synth	Synth O Matic	Synth-O-Matic features waveforms from a mouth-watering collection of vintage analog synths.
Pitch/Synth	Attack Synth	Inspired by* a waveform and wave-shaping functions of a Korg® X911 Guitar Synth
Pitch/Synth	Synth String	A monophonic synth sound inspired by* the Roland® GR700 Guitar Synth.
Pitch/Synth	Growler	Named Growler for a reason, this model produces a sinister “Grrrrrrrrr” that’s inspired by* a Roland® GR700 Guitar Synth and a Mu-Tron® III.
Added with firmware 3.15
Pitch/Synth	Synth Lead	Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
Pitch/Synth	String Theory	Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called “Synth String”—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version “String Theory” to avoid confusion
Pitch/Synth	Synth FX	Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
Pitch/Synth	Buzz Wave	Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
Pitch/Synth	Rez Synth	Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
Pitch/Synth	Saturn 5 Ring Mod	Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
Pitch/Synth	Double Bass	Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
Pitch/Synth	Seismik Synth	Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
Pitch/Synth	Analog Synth	Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
Pitch/Synth	Synth Harmony	Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

Filter	Voice Box	Let your guitar Come Alive with the sound of a classic talk box. Inspired by vocoders, vocal tracts and surgical tubing.
Filter	V Tron	Your guitar “speaks” with an almost human voice in response to your playing. Inspired by* Voice Box and a Mu-Tron® III.
Filter	Q Filter	Your very own parked wah! Let your solos soar with the colorful “honk” that became a signature tone of Mark Knopfler and Brian May.
Filter	Seeker	Up to nine “parked” wah filters set at varying positions and then used in sequence to create a pulsating, hypnotic vibe. Inspired by* the Z-Vex Seek Wah.
Filter	Obi Wah	Obi Wah creates sequential changes in tone by emphasizing random frequencies. Inspired by* the Oberheim® Voltage Controlled sample-and-hold filter.
Filter	Tron Up	Part Auto Wah and part triggered filter, Tron Up delivers a seriously funky vibe. Inspired by* the Mu-Tron® III envelope follower.
Filter	Tron Down	Part Auto Wah and part triggered filter, Tron Down delivers a seriously funky vibe. Inspired by* the Mu-Tron® III envelope follower.
Filter	Throbber	Perfect for a multitude of cool electronica-style sounds and textures, Throbber is inspired by* the Electrix® Filter Factory.
Filter	Slow Filter	This triggered filter rolls off your high-end with adjustable speeds.
Filter	Spin Cycle	This is what headphone mixes were made for! Imagine two wahs panned left and right working in opposite directions from each other. Inspired by* Craig Anderton’s Wah/Anti-Wah.
Filter	Comet Trails	Spooky and otherworldly, Comet Trails provides an enchanting pulse for you to add to your tone.

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66 comments

Jonathan says:
25. February 2016 at 5:35
Why so many delays and wahs? I would like to see more overdrives!
There should be a smaller and affordable version of Helix. It would sell like icecream in the Sahara!
I found a video with interesting info about amplification and gear. It’s helping me a lot:
https://www.youtube.com/watch?v=gdHPKrkVYug
- dshowmusic.com says:
  25. February 2016 at 8:53
  Thanks for you comment Johnathan,
  Line 6 adds more effect and amp models along the way. With firmware v1.06.0 they have just added a new amp and new effects, including some distortion (the Teemah is awesome).
  I’ve added them to the list.
Josh says:
4. October 2017 at 10:25
Nice list sorted by firmware versions. Thanks for the effort in compiling and sharing this information!
Cheers!
- dshowmusic.com says:
  4. October 2017 at 17:27
  Thanks for your comment Josh – I’m glad you like it.
Vic says:
25. November 2017 at 20:41
Wow! Great info. Do you have it in PDF or another format for printing?
- dshowmusic.com says:
  26. November 2017 at 16:33
  Thank you for your nice comment!
  I’m sorry but I don’t have this in PDF Format but sounds like a good Idea 🙂
  - " class="url" rel="ugc external nofollow">mike says:
    14. September 2022 at 21:29
    yes please on pdf 🙂 thank you so much for the info!
    - dshowmusic.com says:
      15. September 2022 at 8:22
      Hi Mike,
      pdf is aready there. Click the button “download as pdf” 😉
Czym różni się Helix od Helixa? | cyfrowogitarowo.pl says:
10. April 2018 at 14:35
[…] dalej. Cała rodzina ma na pokładzie 194 efekty (tu pełna lista). 117 z nich to algorytmy stworzone specjalnie na potrzeby Heliksa, a 77 (i kolejna „lektura”) […]
James Bordy says:
19. July 2018 at 18:49
How about Boss SG-1 Slow Gear emulation?
dshowmusic.com says:
20. July 2018 at 13:23
At the moment no emulation aof the SG-1. But sounds like a good idea for Ideascale 😉 :
https://line6.ideascale.com/
Steve Gaffney says:
25. July 2018 at 17:51
Are there any plans to model any vocal FX? I know this would be limited to the Helix (not LT or HX), but some of the TC Helicon effects for voice are a step or two above whats currently available in the Helix . Fingers crossed I’m able to fully do my Bass and vocal needs through my beloved Helix in the near future!!
- dshowmusic.com says:
  25. July 2018 at 20:29
  You can already use Helix for vocal. “Studio Tube Pre” with some compression of the “LA Studio Comp” and maybe a bit of Reverb and you’re ready to go.
  Have a look at the Template Setlist – there’s a preset to start with.
  I’m sure there is lot of stuff to come and I wouldn’t be surprised if they’d add some goodies for Vocals too.
Steve Gaffney says:
6. August 2018 at 15:22
Thanks guys. I already use my mic through the Helix in the way you suggested. The delays are great with my voice (as is the tube pre and LA 2 compressor), but I have my fingers crossed for some of the Pitch and Choral effects to be found in effects such as TC’s Voicelive series. Its wonderful already… I feel sure it can only get more magical!! Great list of the contents too… I use it for my reference all the time. Thanks again.
Chris says:
22. October 2018 at 0:22
This list is awesome. Better than anything that line 6 provides. Thanks!
- dshowmusic.com says:
  22. October 2018 at 8:38
  Thank you – glad you like it!
Steven says:
14. January 2019 at 1:15
any plans to add electro harmonix big muff ?/
- dshowmusic.com says:
  14. January 2019 at 8:28
  Hi Steven,
  it’s already there. Have a look at the “Triangle Fuzz” in Distortion and the “Fuzz Pi” under Legacy Effects.
  Hope this helps.
  - Steven says:
    14. January 2019 at 11:08
    Oh great, am newish to the helix and only been using presets, so thank you for letting me know 🙂
Bob says:
11. March 2019 at 12:05
Hello,
Nice page!!!
Thank you!!!
Is it normal that Blue Comp, Blue Comp Treb and Vetta Comp have the same description?
Regards!
- dshowmusic.com says:
  11. March 2019 at 20:07
  Hi Bob,
  thanks for the hint. It was a mistake and I’ve corrected it!
  - Bob says:
    11. March 2019 at 23:35
    Hi!
    It was a pleasure!
    Great Site! \m/_
Chris Hunt says:
23. July 2019 at 12:24
There’s an error on this after your 2.8 updates. You’ve listed Dyhana Drive twice instead of Deranged Master.
Thanks for keeping this up to date.
Chris
- dshowmusic.com says:
  23. July 2019 at 14:08
  Thanks Chris for pointing this out. I’ve corrected it.
Pedro says:
23. July 2019 at 18:18
the new reverbs from the v2.5 are based on reals pedals:
Glitz = Strymon Big Sky Bloom
Ganymede = BOSS RV6 Modulated
Searchlights = Strymon Big Sky Cloud
Double Tank = Strymon Big Sky Plate Mod
Plateaux = Strymon Big Sky Shimmer
- dshowmusic.com says:
  24. July 2019 at 8:25
  Hi Pedro,
  thanks for your comment.
  Where did you get that information? Do you have an official statement from Line 6 about that?
  Please understand that I only post official information! Official release said they are all Line 6 originals and not based on any specific pedal from the real world.
  Thank you
  - Joel says:
    24. October 2021 at 17:28
    I found this thread on the Line 6 forums: https://line6.com/support/topic/32987-is-there-a-detailed-description-for-the-new-reverbs-somewhere/
johnson says:
11. November 2019 at 8:03
This list is awesome, and a i know quite a bit of work. I would gladly pay for it (hint). Of course that makes things like suggestions a little more mandatory 🙂 And of course I have one. Seen like you have made various updates so since you started, and other versoins have been released. Time stamping the update would be helpful for that.
On PDFs, most PC, Mac and iOS apps have “Create PDF” or “ Save as PDF” or even “Print as PDF” options. Just got to hunt around. Google his best friend here.
Really helpful.
- dshowmusic.com says:
  11. November 2019 at 16:31
  Thanks for your comment johnson!
  I’ll take your suggestion. I’ll take your proposal into consideration.
  I’ve added the Firmware version, when something new was added. You could find out the date on Line 6 forum.
Andrei says:
11. November 2019 at 10:13
Thanks a lot for this! Very valuable.
- dshowmusic.com says:
  11. November 2019 at 16:24
  Thanks Andrei, glad you like it
Gareth says:
23. November 2019 at 1:56
Thank you so much for making this list, it has helped me so much. Please keep updating.
- dshowmusic.com says:
  25. November 2019 at 16:23
  You’re welcome Gareth. Glad it helped you.
Ian says:
25. November 2019 at 19:33
Thanks so much for compiling these lists! I was looking for a Helix model list to print out to use as a quick reference in the studio, and here they are already sensibly laid out by firmware version and available as .pdf files
Thanks again for sharing this resource.
- dshowmusic.com says:
  25. November 2019 at 21:59
  You’re welcome Ian. Enjoy!
James says:
1. December 2019 at 19:48
Still waiting for Bronze Master… so easy, just do it.
Angel Martinez says:
27. January 2020 at 6:08
Hi how about having an guitar effect that would mimic a 12 string guitar, like a Mosaic pedal by Digitech?
- dshowmusic.com says:
  27. January 2020 at 8:32
  Hi,
  there’s no such effect in Helix right now, but sounds like a good Idea. Not sure if they will implement it in future. You can post your idea on ideascale. If many people vote for it, the change is better that Line 6 consider to implement ideas:
  https://line6.ideascale.com/
  I use the Line 6 Variax Guitar for such effects.
  - Angel Martinz says:
    27. January 2020 at 16:48
    Hey! Thank you for the response! I appreciated that! Actually here in New York City, I haven’t seen any floor models of the Helix or the Headrush to try out. Which in your opinion if you have tried, both sounds “better” I am look at the Helix Floor or the Headrush. Also, is there like a Line 6 community in the New York City area? I think it’s good to know people who have used both devices. Thank again.
    - dshowmusic.com says:
      28. January 2020 at 8:37
      Hey,
      they are certainly both great devices. It strongly depends on the usage and personal preferences. Best is you try them both. I’m sure there is a shop in New York Area that has them both in stock.
      If you are on Facebook check out the biggest Helix Facebook group: https://www.facebook.com/groups/428105950706417/
Artemij says:
30. January 2020 at 9:57
Amazing set of pedals, eh hope they add one day bo metalcore pedal, and randal satan amp and peavy 6150.
Heh
- dshowmusic.com says:
  30. January 2020 at 17:04
  Hey,
  thanks for your comment. If you have Ideas for amps and effects you can add them on Ideascale or vote for them if they already exist:
  https://line6.ideascale.com/
Stuart says:
21. February 2020 at 10:25
I would love to see, Friedman BE OD Revv G2/3/4 and Hudson broadcast please
- dshowmusic.com says:
  21. February 2020 at 10:31
  Thanks for your comment.
  You may want to check out Ideascale for your wishes:
  https://line6.ideascale.com/
Al says:
2. March 2020 at 8:32
Thanks heaps for making this list. It has been a massive help. I’ve made a spreadsheet (mainly for my own reference) with all of this in it, which I plan on sharing with the world eventually.
Quick question/Problem – it seems that you’ve left out “Reverse Delay” from the list of Delays. Is there a reason for this? Or just an oversight?
- dshowmusic.com says:
  3. March 2020 at 17:49
  Thanks for pointing this out. I will check as soon as possible and update the list.
Paul says:
13. March 2020 at 21:05
Hi, great work!
As you have noticed, v2.82 has been released a few months ago and as usual, line6 only says:
…”introduces 8 new amp models, 8 new effects models”…
No details… So, do you have a list update on your plans soon?
Thanks!
- dshowmusic.com says:
  13. March 2020 at 21:59
  Hi Paul,
  2.81 and 2.82 are bugfix releases. No new models and effects.
  Last big update was 2.80 and all effects are on this list.
  - Paul says:
    16. March 2020 at 4:38
    Better then, Thx!
Bryant says:
26. March 2020 at 2:08
Just recently got my Helix Floor. It has 2.82 on it. When I look at my blocks in HX Edit software I do not see the “Legacy” items in your list for 2.5. Is there something I need to do?
- dshowmusic.com says:
  26. March 2020 at 21:28
  You find them in the dropdown menu where the mono and stereo categories are
Doug Patterson says:
23. May 2020 at 19:53
I grabbed an HX Effects about a year ago and Emnarassed as I am to say this, I yhink I made the classic mistake in thinking like only the latest is the greatest, and I stuck to using and even just trying the newest Helix effects, and truthfully, I wasn’t totally blown away. But the other night UI dived into the Legacy effects, and found some of the very best stuff in my very jaded ears to be Line 6 originals. The Vetta comp on my electic 12 made my mouth fall wide open for real! Nothing I have ever tried including some multi pedal custom tone patches were able to take that sound and firm it up, shine it up, make it hit like the tonne of bricks an extra 6 strings added to HITTING an open power chord should give you, and just sound plain better than that just that old easily stepped over Vetta comp did. Absolutely the money. Another mindblower for me that I ignored because it wasn’t a model of something legendary was the Deluxe Phaser, Line 6 original that when I started playing around with it was set at 8 stages. WOW! The 70’s Jimmy Page Eventide phase shifting studio sonic experiments came to life with ME at the controls! It seema to me that perhaps the engineers at Line 6 have good ears and instincts and that their own models can equal or in my mind better some of the big names of yesteryear. Vetta Comp for compressor pedal of the year!
Chuck McBrayer says:
1. October 2020 at 14:56
Such an incredible resource! I reference your Helix pages weekly. Thank you for your efforts to keep them updated. You’re a saint!
- dshowmusic.com says:
  1. October 2020 at 15:03
  Thanks Chuck,
  glad you like it. I probably use it myself most 😉
Marco says:
24. October 2020 at 14:00
Whats the difference between the Big Muff (mono) and big muff (legacy)?
- dshowmusic.com says:
  25. October 2020 at 11:13
  Hi Marco,
  the legacy effects are ported over from the HD500 series. I guess the “Triangle Fuzz” is an accurate Modelling of the Big Muff. The “Fuzz Pi” in the legacy section is inspired by the Bug Muff and has EQ settings which the original doesn’t have. They sound quite different to me too. The “Fuzz Pi” seems to have a lot more Treble but also more possibilities to shape the tone. I like the effects in the legacy section a lot. It is always worth experimenting with them.
  I’m a strong believer in “If it sounds good, it is good” 😉
Pi says:
3. December 2020 at 0:26
This is an excellent list. Thanks!
- dshowmusic.com says:
  3. December 2020 at 8:39
  Thank you Pi – glad you like it!
Arjen says:
19. April 2021 at 17:20
Just got my HX Effects. It is great. I started to rebuild my own pedal board to have a starting point that I am familiar with. This list is a great help for that already. 🙂 And I expect that when experimenting with new sounds this list will be even more useful. Thanks a lot for maintaining this!
- dshowmusic.com says:
  19. April 2021 at 17:45
  Thanks Arjen,
  glad you find it useful. Enjoy your HX Effects.
Bob Schuster says:
30. April 2021 at 7:34
Thank you. New to the Helix LT. This is a great guide.
- dshowmusic.com says:
  30. April 2021 at 10:33
  Thank you Bob.
  Enjoy your Helix!
  - Gerrit says:
    23. March 2022 at 20:24
    I am into fx since 40 years , used hundreds of hardware and a dozens of multi fx. Since two days on a HELIX LT .
    Thank you very much for this site !
    - dshowmusic.com says:
      23. March 2022 at 21:55
      That’s great Gerrit. Enjoy your Helix.
GEOFFREY ADKISSON says:
13. July 2022 at 18:54
Very appreciative of your efforts. Btw, would you happen to know where I can find the artists whose sounds are represented in many of the factory presets? Robbenish and Mayerish are the obvious ones. Cowboys from DFW I discovered is Pantara. I have ver 3.15. I have a list from Line 6 for some of them, fyi but cant find a way to attach. Email if so desired.
- dshowmusic.com says:
  14. July 2022 at 8:51
  Thanks for the comment.
  You may have a look at this thread in the Line 6 Forum
  https://line6.com/support/topic/18804-lets-put-the-real-name-to-the-presets/