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Helix effect models

Line 6 Helix Effect Models

Guitar Pro

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

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
Added with firmware 3.10
Ratatouille DistMono, Stereo1984 Pro Co RAT
Added with firmware 3.50
Pillars ODMono, StereoEarthquaker Devices Plumes distortion
Vital DistMono, StereoEarthquaker Devices Life pedal (Amplitude side)
Vital BoostMono, StereoEarthquaker Devices Life pedal (Magnitude side)

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
Added with firmware 3.15
Ampeg Opto CompMono, Stereobased on the Ampeg Opto Comp compressor pedal

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
Doubler
Added with firmware 2.90
Pebble PhaserMono, StereoElectro-Harmonix® Small Stone phaser
Added with firmware 3.00
Poly DetuneMonoLine 6 Original
Added with firmware 3.10
Retro ReelMonoLine 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 LiquifierMono, Stereobased on the Ampeg Liquifier chorus pedal
Added with firmware 3.50
4-Voice ChorusMono, StereoLine 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
FlexoVibeMono, StereoLine 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

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
Poly Sustain Settings
    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
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, StereoLine 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
HeliosphereMono, StereoLine 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
ADTMono, StereoLine 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
CrisscrossMono, StereoLine 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
TesselatorMono, StereoLine 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
  1. Assign Tesselator to a stomp footswitch. It’s bypassed by default.
  2. 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
RatchetMono, StereoLine 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
  1. Assign Ratchet to a stomp footswitch. It’s bypassed by default.
  2. 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

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
Added with firmware 3.10
Dynamic HallMono, StereoLine 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 SpringsMono, StereoLine 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 PlateMono, StereoLine 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 RoomMono, StereoLine 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
ShimmerMono, StereoLine 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 AmbienceMono, StereoLine 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

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
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 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
Added with firmware 3.50
BoctaverMono, StereoBOSS® OC-2 Octaver

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
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

  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.

Split

ModelBased on
Added with firmware 2.90
DynamicLine 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.

TypeModelDescription
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.
Added with firmware 3.15
DistortionBronze Masterbased 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
DistortionKiller Zbased 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
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.
Added with firmware 3.15
ModulationTape EaterLine 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
ModulationWarble-MaticLine 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
ModulationRandom S&HLine 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
ModulationSweeperLine 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
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.
Added with firmware 3.15
DelayPhaze EkoLine 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
DelayBubble EchoLine 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/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.
Added with firmware 3.15
Pitch/SynthSynth LeadLine 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
Pitch/SynthString TheoryLine 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/SynthSynth FXLine 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/SynthBuzz WaveLine 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/SynthRez SynthLine 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/SynthSaturn 5 Ring ModLine 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/SynthDouble BassLine 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/SynthSeismik SynthLine 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/SynthAnalog SynthLine 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
Pitch/SynthSynth HarmonyLine 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
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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66 comments
    • 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.

  • Nice list sorted by firmware versions. Thanks for the effort in compiling and sharing this information!
    Cheers!

  • 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?
    Regards!

  • 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

  • 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

  • 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:
      https://line6.ideascale.com/

      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.

  • Amazing set of pedals, eh hope they add one day bo metalcore pedal, and randal satan amp and peavy 6150.
    Heh

  • 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?
    Thanks!

  • 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” 😉

  • 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!

  • 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.

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