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Helix effect models

Line 6 Helix Effect Models

This list contains all effect models that helix will contain when it is shipped. The right column shows the real pedal they are based on.

Distortion Models

ModelSubcategoryBased on
MinotaurMono, StereoKlon® Centaur
Compulsive DriveMono, StereoFulltone® OCD
Valve DriverMono, StereoChandler Tube Driver
Top Secret ODMono, StereoDOD® OD-250
Scream 808Mono, StereoIbanez® TS808 Tube Screamer®
Hedgehog D9Mono, StereoMAXON® SD9 Sonic Distortion
Vermin DistMono, StereoPro Co RAT
Arbitrator FuzzMono, StereoArbiter® Fuzz Face®
Triangle FuzzMono, StereoElectro-Harmonix® Big Muff Pi®
Industrial FuzzMono, StereoZ.Vex Fuzz Factory
Tycoctavia FuzzMono, StereoTycobrahe® Octavia
MegaphoneMono, StereoMegaphone
Added with firmware 1.06
Teemah!Mono, StereoPaul Cochrane Timmy® Overdrive
KWBMono, StereoBenadrian Kowloon Walled Bunny Distortion
BitcrusherMono, StereoLine 6 Original
Added with firmware 2.0
Wringer FuzzMono, StereoGarbage’s special BOSS® FZ-2
Added with firmware 2.10
Stupor ODMono, StereoBOSS® SD-1 Overdrive
Added with firmware 2.20
Obsidian 7000Mono, StereoDarkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
Clawthorn DriveMono, StereoWounded Paw Battering Ram bass overdrive
Added with firmware 2.30
Kinky BoostMono, StereoXotic® EP Booster
Thrifter FuzzMono, StereoLine 6 Original
Added with firmware 2.60
Deranged MasterMono, StereoDallas Rangemaster Treble Booster
Deez One VintageMono, StereoBOSS© DS-1 distortion pedal (classic Made-in-Japan version)
Deez One ModMono, StereoBOSS© DS-1 distortion pedal (Keeley mod version)
Added with firmware 2.80
Dhyana DriveMono, StereoHermida Zendrive
Heir ApparentMono, StereoAnalogman Prince of Tone (basically half a King of Tone)
Tone SovereignMono, StereoAnalogman King of Tone V4 (basically two Prince of Tones in one)
ZeroAmp Bass DIMono, StereoTech 21® SansAmp Bass Driver DI V1
Ampeg ScramblerMono, StereoAmpeg® Scrambler Bass Overdrive
Added with firmware 2.90
Alpaca RougeMono, StereoWay Huge® Red Llama (modded)
Legendary DriveMono, StereoCarvin VLD1 Legacy Drive (high gain channel)
Xenomorph FuzzMono, StereoSubdecay Harmonic Antagonizer
Added with firmware 3.00
Horizon DriveMono, StereoHorizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to “Extended,” drops the gate’s threshold down to -90dB
Swedish ChainsawMono, StereoBOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
Pocket FuzzMono, StereoJordan Boss Tone fuzz
Bighorn FuzzMono, Stereo1973 Electro-Harmonix® Ram’s Head Big Muff Pi
Ballistic FuzzMono, StereoEuthymia ICBM fuzz

Dynamic Models

ModelSubcategoryBased on
Deluxe CompMono, StereoLine 6 Original
Red SqueezeMono, StereoMXR® Dyna Comp
LA Studio CompMono, StereoTeletronix® LA-2A®
Noise GateMono, StereoLine 6 Original
Hard GateMono, StereoLine 6 Original
Added with firmware 2.20
3-Band CompMono, StereoLine 6 Original
Multiband compressor
AutoswellMono, StereoLine 6 Original
Added with firmware 2.30
Kinky CompMono, StereoXotic® SP Compressor
Added with firmware 2.90
Rochester CompMono, StereoAshly® CLX-52 and created in conjunction with Billy Sheehan
Added with firmware 3.00
Horizon GateMono, StereoHorizon 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

Eq Models

ModelSubcategoryBased on
Simple EQMono, StereoLine 6 Original
Low Cut/High CutMono, StereoLine 6 Original
ParametricMono, StereoLine 6 Original
10-Band GraphicMono, StereoMXR® 10-Band Graphic EQ
Added with firmware 2.0
Cali Q GraphicMono, StereoMESA/Boogie® Mk IV’s 5-band EQ
Added with firmware 2.80
Low/High ShelfMono, StereoLine 6 Original
TiltMono, StereoLine 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 SimMono, StereoBOSS® AC-2 Acoustic Simulator. Can be used alone or in conjunction with an acoustic IR

Modulation Models

ModelSubcategoryBased on
Optical TremMono, StereoFender® optical tremolo circuit
60s Bias TremMono, StereoVox® AC-15 Tremolo
Script Mod PhaseMono, StereoMXR® Phase 90
Ubiquitous VibeMono, StereoShin-ei Uni-Vibe®
Gray FlangerMono, StereoMXR® 117 Flanger
Harmonic FlangerMono, StereoA/DA Flanger
Courtesan FlangeMono, StereoElectro-Harmonix® Deluxe EM
ChorusMono, StereoLine 6 Original
70s ChorusMono, StereoBOSS® CE-1
Trinity ChorusStereoDyTronics Tri-Stereo Chorus
Bubble VibratoMono, StereoBOSS® VB-2 Vibrato
Vibe RotaryStereoFender® Vibratone
122 RotaryStereoLeslie® 122
145 RotaryStereoLeslie® 145
AM Ring ModMono, StereoLine 6 Original
Pitch Ring ModStereoLine 6 Original
Added with firmware 1.06
Dynamix FlangerMono, StereoLine 6 Original
Deluxe PhaserMono, StereoLine 6 Original
TremoloMonoBOSS® PN-2
Tremolo/AutopanStereoBOSS® PN-2
Added with firmware 2.0
Harmonic TremoloMono, StereoLine 6 Original
Added with firmware 2.20
PlastiChorusMono, Stereomodded Arion SCH-Z chorus
Added with firmware 2.30
Bleat Chop TremMono, StereoLightfoot Labs© Goatkeeper
Double TakeMono, StereoLine 6 Original
Added with firmware 2.90
Pebble PhaserMono, StereoElectro-Harmonix® Small Stone phaser
Added with firmware 3.00
Poly DetuneMonoLine 6 Original

Delay Models

ModelSubcategoryBased on
Simple DelayMono, StereoLine 6 Original
Mod Chorus EchoMono, StereoLine 6 Original
Multitap 4StereoLine 6 Original
Multitap 6StereoLine 6 Original
Ping PongStereoLine 6 Original
Sweep EchoMono, StereoLine 6 Original
Ducked DelayMono, StereoTC Electronic® 2290
Transistor TapeMono, StereoMaestro® Echoplex EP-3
Harmony DelayStereoLine 6 Original
Bucket BrigadeMono, StereoBOSS® DM-2
Adriatic DelayMono, StereoBOSS® DM-2 w/ Adrian Mod
Added with firmware 1.04.1
Dual DelayStereoLine 6 Original
Stereo delay with separate time, feedback, and mix per channel. Includes high and low cut filters and Chorus or Vibrato modulation
Reverse DelayMono, StereoLine 6 Original
Whatever you play in comes back at you backwards (up to four seconds mono, two seconds stereo)
Elephant ManMono, StereoElectro-Harmonix® Deluxe Memory Man
Added with firmware 2.0
Vintage DigitalMono, StereoLine 6 Original
Added with firmware 2.10
Pitch EchoMono, StereoLine 6 Original
Added with firmware 2.20
Vintage SwellMono, StereoLine 6 Original
Adriatic SwellMono, StereoLine 6 Original
Added with firmware 2.30
Cosmos EchoMono, StereoRoland® RE-201 Space Echo
Added with firmware 2.50 (New HX Effects)
Multi PassMono, StereoLine 6 Original
Bandpass-filtered multitap delay
Added with firmware 3.00
Poly SustainMonoLine 6 Original
  1. Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed.
  2. 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.
  3. 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 DelayMono, StereoLine 6 Original
Performance delay that lets you freely manipulate the repeats’ behavior in real time
  • 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

Reverb Models

ModelSubcategoryBased on
PlateStereoLine 6 Original
RoomStereoLine 6 Original
ChamberStereoLine 6 Original
HallStereoLine 6 Original
EchoStereoLine 6 Original
TileStereoLine 6 Original
CaveStereoLine 6 Original
DuckingStereoLine 6 Original
OctoStereoLine 6 Original
63 SpringStereoLine 6 Original
SpringStereoLine 6 Original
Particle VerbStereoLine 6 Original
Added with firmware 2.50 (New HX Effects)
GlitzMono, StereoLine 6 Original
GanymedeMono, StereoLine 6 Original
SearchlightsMono, StereoLine 6 Original
PlateauxMono, StereoLine 6 Original
Double TankMono, StereoLine 6 Original

Pitch / Synth Models

ModelSubcategoryBased on
Pitch WhamMono, StereoDigiTech Whammy®
Twin HarmonyMono, StereoEventide® H3000
3 OSC SynthStereoLine 6 Original
Added with firmware 1.06
Simple PitchMono, StereoLine 6 Original
Dual PitchMono, StereoLine 6 Original
Added with firmware 2.20
3 Note GeneratorMono, StereoLine 6 Original
4 OSC GeneratorMono, StereoLine 6 Original
Added with firmware 3.00
Poly PitchMonoLine 6 Original
  • 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 WhamMonoLine 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 CapoMonoLine 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 StringMonoLine 6 Original
12-string guitar emulation

Filter Models

ModelSubcategoryBased on
Mutant FilterMono, StereoMusitronics® Mu-Tron®
III Mystery FilterMono, StereoKorg® A3
Added with firmware 1.06
AutofilterMono, StereoLine 6 Original
Added with firmware 2.80
Asheville PattrnMono, StereoMoog® Moogerfooger® MF-105M MIDI MuRF Filter (with both MuRF and Bass MuRF voicings)

Volume / Pan Models

ModelSubcategoryBased on
Volume PedalMono, StereoLine 6 Original
GainMono, StereoLine 6 Original
PanStereoLine 6 Original
Added with firmware 2.30
Stereo WidthStereoLine 6 Original
Utility to collapse stereo paths
Added with firmware 3.00
Stereo ImagerStereoLine 6 Original

Wah Models

ModelSubcategoryBased on
UK Wah 846Mono, StereoVox® V846
Teardrop 310Mono, StereoDunlop® Cry Baby® Fasel model 310
FasselMono, StereoDunlop® Cry Baby® Super
WeeperMono, StereoArbiter® Cry Baby®
ChromeMono, StereoVox® V847
Chrome CustomMono, StereoModded Vox® V847
ThroatyMono, StereoRMC Real McCoy 1
Vetta WahMono, StereoLine 6 Original
ColorfulMono, StereoColorsound® Wah-fuzz
ConductorMono, StereoMaestro® Boomerang

Looper Models

ModelSubcategoryBased on
Added with firmware 2.60
Switch LooperMono, StereoLine 6 Original
(doesn’t leave Stomp mode)
Added with firmware 3.00
Shuffling LooperMono, StereoLine 6 Original
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

  1. Add Looper > Shuffling Looper to a preset and assign it to a footswitch.
  2. Turn Knob 1 (Slices) to set the number of slices your loop will be chopped into. 8 slices is the default.
  3. Press the switch to begin recording. The LED lights red, indicating the loop is recording.
  4. At the end of your loop, press the switch. The LED lights green and the sliced loop sequence immediately plays.
  5. 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
  6. Want to change it up? While the loop is playing, press the switch to randomize its slice sequence.
  7. Quickly double-press the switch. Playback/recording stops and the LED lights white, indicating a loop is in memory. Press again to restart.
  8. While the loop is playing or stopped, press and hold the switch. The recording is deleted and the LED lights dim white.


ModelBased on
Added with firmware 2.90
DynamicLine 6 Original
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.

DistortionTube DriveA sweet, singing sustain craved by guitarists worldwide. Inspired by* the tone of a Chandler Tube Driver®.
DistortionScreamerInspired by the smooth medium-gain tones of the collectable original, Screamer is based on* an Ibanez® Tube Screamer®.
DistortionOverdriveInspired by* a DOD® Overdrive/Preamp 250, which was designed to slam the input of a tube amp forcing it to distort violently.
DistortionClassic DistAngry and aggressive, Classic Distortion is inspired by* a ProCo Rat.
DistortionHeavy DistThe industry-standard heavy metal distortion of the late ’80s. Inspired by* a Boss® Metal Zone.
DistortionColordriveColordrive will transport you back to the breeding ground of British guitar heroes. Inspired by* a Colorsound® Overdriver.
DistortionBuzz SawTake a deep breath and repeat: “I can’t get no (duh, duh, duh) Satisfaction.” Inspired by* a Maestro® Fuzz Tone.
DistortionFacial FuzzBottom-heavy distortion inspired by* the Arbiter Fuzz Face, which is associated with the tones of Jimi Hendrix and Eric Johnson.
DistortionJumbo FuzzJumbo 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.
DistortionFuzz PiFuzz Pi delivers plenty of thick distortion and oceans of sustain inspired by* the tone of an Electro-Harmonix® Big Muff Pi®.
DistortionJet FuzzPart fuzz/part phaser, Jet Fuzz delivers the best of both. Inspired by* the Roland® Jet Phaser.
DistortionLine 6 DriveIf 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.
DistortionLine 6 DistortionCompletely saturated and over the top, Line 6 Distortion is massive and totally crazy.
DistortionSub Oct FuzzBiting fuzz with an octave below! Excellent for bass guitar. Inspired by* the PAiA Roctave Divider.
DistortionOctave FuzzWhite-hot fuzz with an octave above! This classic fuzz+octave effect was used by Jimi and other pioneering players. Inspired by* the Tycobrahe® Octavia.
DynamicsTube CompTube-style compression with added low-end warmth inspired by* the characteristic color of the Teletronix® LA-2A® compressor, a studio standard.
DynamicsRed CompRed Comp evens out your volume and adds plenty of sustain. Ideal for slow leads. Inspired by* the MXR® Dyna Comp stompbox compressor.
DynamicsBlue CompInspired by* the Boss® CS-1 Compression Sustainer (with the treble switch off), Blue Comp delivers warm, percussive qualities that are great for cleaner tones.
DynamicsBlue Comp TrebInspired by* the Boss® CS-1 Compression Sustainer with the treble switch on.
DynamicsVetta CompTaken 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.
DynamicsVetta JuiceA 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.
DynamicsBoost CompA punchy boost of gain inspired by* an MXR® Micro Amp. The compressor can add hang time to your sustain and fill out your leads.
ModulationPattern TremoloEngage up to four tremolo patterns to play in sequence. This is a truly original textural effect inspired by* a Lightfoot Labs Goatkeeper.
ModulationPannerThis effect pans back and forth between your left and right channels. If you run it in mono, it’s basically tremolo.
ModulationBias TremoloBias Trem is inspired by* the 1960 Vox® AC-15 Tremolo, which got its pulse by literally varying the bias of the power amp tubes.
ModulationOpto TremoloOpto Trem is inspired by* the optical tremolo circuit that was used in the blackface Fender® amps like the ’64 Deluxe Reverb®.
ModulationScript PhaseJust 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.
ModulationPanned PhaserA 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.
ModulationBarberpoleA 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!
ModulationDual PhaserDual Phaser delivers a big jet sound inspired by* a Mu-Tron® Bi-Phase.
ModulationU-VibeInspired by* the pulsing push of the now-legendary Uni-Vibe®. One listen to “Machine Gun” and you’ll be hooked!
ModulationPhaserPhaser 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.
ModulationPitch VibratoInspired 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.
ModulationDimensionInspired 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.
ModulationAnalog ChorusInspired by* the big and warm tones of a Boss® CE-1 Chorus Ensemble, the original stompbox chorus.
ModulationTri ChorusTri Chorus is inspired by* the larger-than-life sound of a Song Bird/DyTronics Tri-Stereo Chorus.
ModulationAnalog FlangerInspired by* the classic MXR® Flanger, which was made classic on Van Halen’s Fair Warning and Women and Children First.
ModulationJet FlangerCompared 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.
ModulationAC FlangerThe variety of vibey effects available from AC Flanger are inspired by* the classic tones of the MXR® Flanger
Modulation80A FlangerThe gritty and spacey sweeps of 80A Flanger are inspired by* the distinctive sound of the A/DA Flanger.
ModulationFrequency ShiftShift frequencies up or down and set the mix to 100% for an otherworldly tone. Or dial it back to add interesting colors to leads.
ModulationRing ModulatorPerfect for those late-night jams when only the weirdest, wildest sounds will do.
ModulationRotary DrumInspired by* the Fender® Vibratone. This rotating speaker effect was popular with SRV. Think “Cold Shot.”
ModulationRotary Drm/HornInspired by* a Leslie® 145 tube-driven cabinet with a rotating speaker. Guitarists have always loved its signature shimmer.
DelayPing PongTwo separate channels of delay. The output of each channel bounces into the other to create the ping pong effect.
DelayDynamicDynamic 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.
DelayStereoThe 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!
DelayDigitalA great workhorse effect, this straight-up digital delay has a transparent and pristine echo-echo-echo-echo…
DelayDig w/ ModDigital Delay w/ Mod adds a juicy chorus effect to your digital delay.
DelayReverse!seltaeB eht dna xirdneH imiJ ekil tsuJ – Whatever you play comes out backwards.
DelayLo ResInspired by the unique grunge and noise of early digital delay units. Many of which had only 8-bit resolution.
DelayTube EchoLike peanut butter and chocolate, tubes and tape are a great combination. Tube Echo is inspired by* a Maestro® EP-1.
DelayTape EchoTape Echo is inspired by* the unmistakable depth and sweetness of the Maestro® EP-3 Echoplex, which used transistor sound electronics instead of tubes.
DelaySweep EchoAdd a sweeping warble to the Tube Echo repeats and you’ve got Sweep Echo. This unique tone adds a tangy flavor to your delays.
DelayEcho PlatterInspired 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.
DelayAnalog EchoAnalog Echo is inspired by* the warm and distorted delays of a Boss® DM2 Analog Echo.
DelayAnalog w/ ModInspired 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.
DelayAuto-Volume EchoTwo effects in one! A volume fade-in swell and an echo complete with tape-style wow-and-flutter modulation.
DelayMulti-HeadMulti-Head delay is inspired by* the sound created by the multiple playback heads of the Roland® RE-101 Space Echo.
Pitch/SynthBass OctaverThis 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/SynthSmart HarmonyTurn 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/SynthOcti SynthNot 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/SynthSynth O MaticSynth-O-Matic features waveforms from a mouth-watering collection of vintage analog synths.
Pitch/SynthAttack SynthInspired by* a waveform and wave-shaping functions of a Korg® X911 Guitar Synth
Pitch/SynthSynth StringA monophonic synth sound inspired by* the Roland® GR700 Guitar Synth.
Pitch/SynthGrowlerNamed Growler for a reason, this model produces a sinister “Grrrrrrrrr” that’s inspired by* a Roland® GR700 Guitar Synth and a Mu-Tron® III.
FilterVoice BoxLet your guitar Come Alive with the sound of a classic talk box. Inspired by vocoders, vocal tracts and surgical tubing.
FilterV TronYour guitar “speaks” with an almost human voice in response to your playing. Inspired by* Voice Box and a Mu-Tron® III.
FilterQ FilterYour very own parked wah! Let your solos soar with the colorful “honk” that became a signature tone of Mark Knopfler and Brian May.
FilterSeekerUp 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.
FilterObi WahObi Wah creates sequential changes in tone by emphasizing random frequencies. Inspired by* the Oberheim® Voltage Controlled sample-and-hold filter.
FilterTron UpPart Auto Wah and part triggered filter, Tron Up delivers a seriously funky vibe. Inspired by* the Mu-Tron® III envelope follower.
FilterTron DownPart Auto Wah and part triggered filter, Tron Down delivers a seriously funky vibe. Inspired by* the Mu-Tron® III envelope follower.
FilterThrobberPerfect for a multitude of cool electronica-style sounds and textures, Throbber is inspired by* the Electrix® Filter Factory.
FilterSlow FilterThis triggered filter rolls off your high-end with adjustable speeds.
FilterSpin CycleThis 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.
FilterComet TrailsSpooky and otherworldly, Comet Trails provides an enchanting pulse for you to add to your tone.

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Helix Amp Models Helix Cabinet Models Helix Microphone Models

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    • 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.

  • 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!!

    • 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.

  • 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.

  • Hello,
    Nice page!!!
    Thank you!!!
    Is it normal that Blue Comp, Blue Comp Treb and Vetta Comp have the same description?

  • 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.

  • 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

    • 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

  • 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.

    • 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.

  • 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.

  • Hi how about having an guitar effect that would mimic a 12 string guitar, like a Mosaic pedal by Digitech?

    • 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:

      I use the Line 6 Variax Guitar for such effects.

      • 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.

  • 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?

  • 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?

  • 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?

  • 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!

  • Such an incredible resource! I reference your Helix pages weekly. Thank you for your efforts to keep them updated. You’re a saint!

    • 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” 😉

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