Line 6 Helix Effect Models

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Distortion Models

Model Subcategory Based on Minotaur Mono, Stereo Klon® Centaur Compulsive Drive Mono, Stereo Fulltone® OCD Valve Driver Mono, Stereo Chandler Tube Driver Top Secret OD Mono, Stereo DOD® OD-250 Scream 808 Mono, Stereo Ibanez® TS808 Tube Screamer® Hedgehog D9 Mono, Stereo MAXON® SD9 Sonic Distortion Vermin Dist Mono, Stereo Pro Co RAT Arbitrator Fuzz Mono, Stereo Arbiter® Fuzz Face® Triangle Fuzz Mono, Stereo Electro-Harmonix® Big Muff Pi® Industrial Fuzz Mono, Stereo Z.Vex Fuzz Factory Tycoctavia Fuzz Mono, Stereo Tycobrahe® Octavia Megaphone Mono, Stereo Megaphone Added with firmware 1.06 Teemah! Mono, Stereo Paul Cochrane Timmy® Overdrive Benadrian Kowloon Walled Bunny Dis- KWB Mono, Stereo tortion Bitcrusher Mono, Stereo Line 6 Original Added with firmware 2.0 Wringer Fuzz Mono, Stereo Garbage’s special BOSS® FZ-2 Added with firmware 2.10 Stupor OD Mono, Stereo BOSS® SD-1 Overdrive Added with firmware 2.20 Darkglass Electronics® Microtubes B7K Obsidian 7000 Mono, Stereo Ultra bass preamp/overdrive/EQ Wounded Paw Battering Ram bass over- Clawthorn Drive Mono, Stereo drive Added with firmware 2.30 Kinky Boost Mono, Stereo Xotic® EP Booster Thrifter Fuzz Mono, Stereo Line 6 Original Added with firmware 2.60 Deranged Master Mono, Stereo Dallas Rangemaster Treble Booster BOSS© DS-1 distortion pedal (classic Deez One Vintage Mono, Stereo Made-in-Japan version) BOSS© DS-1 distortion pedal (Keeley Deez One Mod Mono, Stereo mod version) Added with firmware 2.80 Dhyana Drive Mono, Stereo Hermida Zendrive Analogman Prince of Tone (basically half Heir Apparent Mono, Stereo a King of Tone) Analogman King of Tone V4 (basically Tone Sovereign Mono, Stereo two Prince of Tones in one) ZeroAmp Bass DI Mono, Stereo Tech 21® SansAmp Bass Driver DI V1 Ampeg Scrambler Mono, Stereo Ampeg® Scrambler Bass Overdrive Added with firmware 2.90 Alpaca Rouge Mono, Stereo Way Huge® Red Llama (modded) Carvin VLD1 Legacy Drive (high gain Legendary Drive Mono, Stereo channel) Xenomorph Fuzz Mono, Stereo Subdecay Harmonic Antagonizer Added with firmware 3.00 Horizon Devices Precision Drive. In- cludes an extra Gate Range parameter Horizon Drive Mono, Stereo that, when set to „Extended,“ drops the gate‘s threshold down to -90dB BOSS® HM-2 Heavy Metal Distortion Swedish Chainsaw Mono, Stereo (Made in Japan black label) Pocket Fuzz Mono, Stereo inspired by the Jordan Boss Tone Fuzz 1973 Electro-Harmonix® Ram‘s Head Bighorn Fuzz Mono, Stereo Big Muff Pi Ballistic Fuzz Mono, Stereo Euthymia ICBM Fuzz Added with firmware 3.10 Ratatouille Dist Mono, Stereo 1984 Pro Co RAT • Gain—Sets the amount of distortion • Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values) • Level—Sets the overall level of the block Dynamic Models

Model Subcategory Based on Deluxe Comp Mono, Stereo Line 6 Original Red Squeeze Mono, Stereo MXR® Dyna Comp LA Studio Comp Mono, Stereo Teletronix® LA-2A® Noise Gate Mono, Stereo Line 6 Original Hard Gate Mono, Stereo Line 6 Original Added with firmware 2.20 3-Band Comp Mono, Stereo Line 6 Original multiband compressor Autoswell Mono, Stereo Line 6 Original Added with firmware 2.30 Kinky Comp Mono, Stereo Xotic® SP Compressor Added with firmware 2.90 Ashly® CLX-52 and created in conjunc- Rochester Comp Mono, Stereo tion with Billy Sheehan Added with firmware 3.00

Horizon Devices Precision Drive‘s gate circuit. Includes an extra Gate Range Horizon Gate Mono, Stereo parameter that, when set to „Exten- ded,“ drops the gate‘s threshold down to -90dB. Works best before an amp.

Eq Models

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

Modulation Models

Model Subcategory Based on Optical Trem Mono, Stereo Fender® optical tremolo circuit 60s Bias Trem Mono, Stereo Vox® AC-15 Tremolo Script Mod Phase Mono, Stereo MXR® Phase 90 Ubiquitous Vibe Mono, Stereo Shin-ei Uni-Vibe® Gray Flanger Mono, Stereo MXR® 117 Flanger Harmonic Flanger Mono, Stereo A/DA Flanger Courtesan Flange Mono, Stereo Electro-Harmonix® Deluxe EM Chorus Mono, Stereo Line 6 Original 70s Chorus Mono, Stereo BOSS® CE-1 Trinity Chorus Stereo DyTronics Tri-Stereo Chorus Bubble Vibrato Mono, Stereo BOSS® VB-2 Vibrato Vibe Rotary Stereo Fender® Vibratone 122 Rotary Stereo Leslie® 122 145 Rotary Stereo Leslie® 145 AM Ring Mod Mono, Stereo Line 6 Original Pitch Ring Mod Stereo Line 6 Original Added with firmware 1.06 Dynamix Flanger Mono, Stereo Line 6 Original Deluxe Phaser Mono, Stereo Line 6 Original Tremolo Mono BOSS® PN-2 Tremolo/Autopan Stereo BOSS® PN-2 Added with firmware 2.0 Harmonic Tremolo Mono, Stereo Line 6 Original Added with firmware 2.20 PlastiChorus Mono, Stereo modded Arion SCH-Z chorus Added with firmware 2.30 Bleat Chop Trem Mono, Stereo Lightfoot Labs© Goatkeeper Double Take Mono, Stereo Line 6 Original doubler Added with firmware 2.90 Pebble Phaser Mono, Stereo Electro-Harmonix® Small Stone phaser Added with firmware 3.00 Poly Detune Mono, Stereo Line 6 Original

Added with firmware 3.00 Line 6 Original effect that simulates playing a signal back from an analog Retro Reel Mono tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. • 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 Flut- tr 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

Delay Models

Model Subcategory Based on Simple Delay Mono, Stereo Line 6 Original Mod Chorus Echo Mono, Stereo Line 6 Original Multitap 4 Stereo Line 6 Original Multitap 6 Stereo Line 6 Original Ping Pong Stereo Line 6 Original Sweep Echo Mono, Stereo Line 6 Original Ducked Delay Mono, Stereo TC Electronic® 2290 Transistor Tape Mono, Stereo Maestro® Echoplex EP-3 Harmony Delay Stereo Line 6 Original Bucket Brigade Mono, Stereo BOSS® DM-2 Adriatic Delay Mono, Stereo BOSS® DM-2 w/ Adrian Mod Electro-Harmonix® Deluxe Memory Elephant Man Mono, Stereo Man Added with firmware 1.04.1 New Line 6 Original stereo delay with separate time, feedback, and mix per Dual Delay Stereo channel. Includes high and low cut filters and Chorus or Vibrato modulation New Line 6 Original; whatever you play Reverse Delay Mono, Stereo in comes back at you backwards (up to four seconds mono, two seconds stereo) Added with firmware 2.0 Vintage Digital Mono, Stereo Line 6 Original Added with firmware 2.10 Pitch Echo Mono, Stereo Line 6 Original Added with firmware 2.20 Vintage Swell Mono, Stereo Line 6 Original Adriatic Swell Mono, Stereo Line 6 Original Added with firmware 2.30 Cosmos Echo Mono, Stereo Roland® RE-201 Space Echo Added with firmware 2.50 (New HX Effects) Line 6 Original bandpass-filtered multi- Multi Pass Mono, Stereo tap delay Added with firmware 3.00 Line 6 Original performance delay that lets you freely manipulate the repeats‘ Glitch Delay Mono, Stereo 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 backward • 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 Poly Sustain Mono Line 6 Original. 1. Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain ap- pears 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 Momen- tary; 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 by- passing 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 • Level - Controls the overall output level of the block

Added with firmware 3.10 Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces Euclidean Delay Mono, Stereo taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one‘ll require diagrams and charts and whatnot.

• 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

Reverb Models

Model Subcategory Based on Plate Stereo Line6 Original Room Stereo Line6 Original Chamber Stereo Line6 Original Hall Stereo Line6 Original

Echo Stereo Line6 Original Tile Stereo Line6 Original Cave Stereo Line6 Original Ducking Stereo Line6 Original Octo Stereo Line6 Original 63 Spring Stereo Line6 Original Spring Stereo Line6 Original Particle Verb Stereo Line6 Original Added with firmware 2.50 (New HX Effects) Glitz Mono, Stereo Line 6 Original Ganymede Mono, Stereo Line 6 Original Searchlights Mono, Stereo Line 6 Original Plateaux Mono, Stereo Line 6 Original Double Tank Mono, Stereo Line 6 Original Added with firmware 3.10 Dynamic Hall Mono, Stereo Line 6 Original Hall Reverb • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it „ForEVER ever?“ • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals • Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you‘ll hear a small bump when changing it. Therefore, we don‘t recommend assigning Room Size to snapshots or other controllers • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal • Low Freq—Sets the frequency below which the Low Gain parameter is applied • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies • Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency • Level—Controls the overall output level of the block • Trails—When on, reverb decay continues to ring out after the block is bypassed Hot Springs Mono, Stereo Line 6 Original Spring Reverb • 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 nu- merous 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

Pitch / Synth Models Model Subcategory Based on Pitch Wham Mono, Stereo DigiTech Whammy® Twin Harmony Mono, Stereo Eventide® H3000 3 OSC Synth Stereo Line 6 Original Added with firmware 1.06 Simple Pitch Mono, Stereo Line 6 Original Dual Pitch Mono, Stereo Line 6 Original Added with firmware 2.20 3 Note Generator Mono, Stereo Line 6 Original 4 OSC Generator Mono, Stereo Line 6 Original Added with firmware 3.00 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 (unless you‘re running Helix Native with Hardware Compatibility Mode turned off). Don‘t say we didn‘t warn you... Poly Pitch Mono Line 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 no- tes (such as in a solo), monophonic pitch-shifting is often preferred. See the Tra- cking parameter below for more information.

• 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 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). At the knob‘s extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the target pitch. 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). At the knob‘s extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the original pitch. The default is „Linear“ • Tracking - Determines how the poly pitch engine reacts to your playing. Leave this set to „X Stable“ (the default, with the fewest artifacts when pitch shifting complex chords) and only select a different setting if you experience too much latency when playing fast lead lines • 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. The higher the value, the more EQ is applied at the shift end points; when set to 0.0, no compensation EQ is applied • Mix - Controls the wet/dry mix of the pitch-shift • Level - Controls the overall output level of the block Line 6 Original, works equally well on Poly Wham Mono guitar and bass Line 6 Original, works equally well on Poly Capo Mono guitar and bass Line 6 Original 12-string guitar emulati- 12 String Mono on

Filter Models

Model Subcategory Based on Mutant Filter Mono, Stereo Musitronics® Mu-Tron® III Mystery Filter Mono, Stereo Korg® A3

Added with firmware 1.06 Autofilter Mono, Stereo Line 6 Original Added with firmware 2.80 Moog® Moogerfooger® MF-105M MIDI Asheville Pattrn Mono, Stereo MuRF Filter (with both MuRF and Bass MuRF voicings)

Volume / Pan Models

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

Wah Models

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

Model Subcategory Based on Added with firmware 2.60 Line 6 original (doesn’t leave Stomp Switch Looper Mono, Stereo mode) Added with firmware 3.00 Shuffling Looper Mono, Stereo Line 6 Original. Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you real-time 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.

1. Add the 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 backward • 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: As- sign 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 the looper signal below a certain frequency • High Cut - Applies a high cut (or low pass) filter to the loop, letting you remove the looper signal above a certain frequency • Want to change it up? While the loop is playing, press the switch to rando- mize its slice sequence. • Quickly double-press the switch. Playback/recording stops, and the LED lights white, indicating a loop is in memory. Press again to restart. • While the loop is playing or stopped, press and hold the switch. The recording is deleted, and the LED lights dim white.

IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands Split

Model Subcategory Based on Added with firmware 2.90 Dynamic Line 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

• Threshold - Signals below the Threshold are routed to Path A; signals above the Threshold are routed to Path B • Attack - Determines how fast the signal routes to Path B once reaching the Threshold • Decay - Determines how fast the signal returns to Path A once falling below the Threshold • Reverse - Swaps dynamic path routing. When set to „On“, signals below the Threshold are routed to Path B and signals above the Threshold are routed to Path A

Legacy Effects (with firmware 2.50)

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

Type Model Description A sweet, singing sustain craved by guita- Distortion Tube Drive rists worldwide. Inspired by* the tone of a Chandler Tube Driver®. Inspired by the smooth medium-gain tones of the collectable original, Screamer Distortion Screamer is based on* an Ibanez® Tube Screa- mer®. Inspired by* a DOD® Overdrive/Preamp 250, which was designed to slam the Distortion Overdrive input of a tube amp forcing it to distort violently. Angry and aggressive, Classic Distortion Distortion Classic Dist is inspired by* a ProCo Rat. The industry-standard heavy metal dis- Distortion Heavy Dist tortion of the late ’80s. Inspired by* a Boss® Metal Zone. Colordrive will transport you back to the breeding ground of British guitar hero- Distortion Colordrive es. Inspired by* a Colorsound® Over- driver. Take a deep breath and repeat: “I can’t Distortion Buzz Saw get no (duh, duh, duh) Satisfaction.” Ins- pired by* a Maestro® Fuzz Tone. Bottom-heavy distortion inspired by* the Arbiter Fuzz Face, which is associated Distortion Facial Fuzz with the tones of Jimi Hendrix and Eric Johnson. Jumbo Fuzz delivers a bright bite remi- niscent of the fuzz tones heard all over Distortion Jumbo Fuzz the first two Led Zeppelin records. Inspi- red by* a Vox® Tone Bender. Fuzz Pi delivers plenty of thick distortion and oceans of sustain inspired by* Distortion Fuzz Pi the tone of an Electro-Harmonix® Big Muff Pi®. Part fuzz/part phaser, Jet Fuzz delivers Distortion Jet Fuzz the best of both. Inspired by* the Ro- land® Jet Phaser.

If we could go back to the 60s and be a part of the fuzz revolution, this is what Distortion Line 6 Drive we’d design. Inspired by* the Color- sound® Tone Bender. Completely saturated and over the top, Line 6 Distor- Distortion Line 6 Distortion is massive and totally tion crazy. Biting fuzz with an octave below! Ex- Distortion Sub Oct Fuzz cellent for bass guitar. Inspired by* the PAiA Roctave Divider. White-hot fuzz with an octave above! This classic fuzz+octave effect was used Distortion Octave Fuzz by Jimi and other pioneering players. Inspired by* the Tycobrahe® Octavia.

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

Engage up to four tremolo patterns to Pattern Tre- play in sequence. This is a truly original Modulation molo textural effect inspired by* a Lightfoot Labs Goatkeeper. This effect pans back and forth between Modulation Panner your left and right channels. If you run it in mono, it’s basically tremolo. Bias Trem is inspired by* the 1960 Vox® AC-15 Tremolo, which got its Modulation Bias Tremolo pulse by literally varying the bias of the power amp tubes. Opto Trem is inspired by* the optical tremolo circuit that was used in the Modulation Opto Tremolo blackface Fender® amps like the ’64 Deluxe Reverb®. Just add the “brown” sound and you’re emulating one of rock’s most celebra- Modulation Script Phase ted guitar tones! Inspired by* an MXR® Phase 90. Speed control only, just like the original. A hypnotizing phaser that slithers from Panned Pha- side to side. Inspired by* the sound of an Modulation ser Ibanez® Flying Pan, which is a four-sta- ge phase shifter with a panner built in.

A classic effect from the world of modu- lar synths. Depending on how you set it, Modulation Barberpole this phaser either sounds like it’s always going up or always down. Set to stereo you get both!

Dual Phaser delivers a big jet sound ins- Modulation Dual Phaser pired by* a Mu-Tron® Bi-Phase. Inspired by* the pulsing push of the Modulation U-Vibe now-legendary Uni-Vibe®. One listen to “Machine Gun” and you’ll be hooked! Phaser is inspired by* the sound of an MXR® Phase 90 but it’s got a few extra Modulation Phaser parameters to bring you there and back again. Inspired by* the Boss® VB-2, which contained a circuit that produced a bub- bly vibrato. This pedal (and this model) Modulation Pitch Vibrato feature a “rise time” control that when engaged speeds up to where you last set it. Inspired by* the Roland® Dimension D, one of the first true-stereo chorus units. Modulation Dimension It’s relatively subtle in nature and became an industry standard for double- track effects. Inspired by* the big and warm tones of a Analog Cho- Modulation Boss® CE-1 Chorus Ensemble, the origi- rus nal stompbox chorus. Tri Chorus is inspired by* the larger- Modulation Tri Chorus than-life sound of a Song Bird/DyTronics Tri-Stereo Chorus. Inspired by* the classic MXR® Flanger, Analog Flan- which was made classic on Van Halen’s Modulation ger Fair Warning and Women and Children First. Compared to Analog Flange, Jet Flanger is more dramatic with a different wave Modulation Jet Flanger shape. Inspired by* the signature jet-like sweep of an A/DA Flanger. The variety of vibey effects available Modulation AC Flanger from AC Flanger are inspired by* the classic tones of the MXR® Flanger

The gritty and spacey sweeps of 80A Modulation 80A Flanger Flanger are inspired by* the distinctive sound of the A/DA Flanger.

Shift frequencies up or down and set the Frequency mix to 100% for an otherworldly tone. Modulation Shift Or dial it back to add interesting colors to leads. Perfect for those late-night jams when Ring Modula- Modulation only the weirdest, wildest sounds will tor do. Inspired by* the Fender® Vibratone. Modulation Rotary Drum This rotating speaker effect was popular with SRV. Think “Cold Shot.” Inspired by* a Leslie® 145 tube-driven Rotary Drm/ cabinet with a rotating speaker. Gui- Modulation Horn tarists have always loved its signature shimmer.

Two separate channels of delay. The Delay Ping Pong output of each channel bounces into the other to create the ping pong effect. Dynamic Delay features a ducking control to keep the delays from overwhel- Delay Dynamic ming what you’re playing. Inspired by* a T.C. Electronic® 2290 Dynamic Digital Delay. The secret to the “Big L.A. Solo” sound of the ’80s! Set one side as a fast echo Delay Stereo with many repeats, and the other side as a slow delay with few repeats. Voilà, you’re famous! A great workhorse effect, this straight- Delay Digital up digital delay has a transparent and pristine echo-echo-echo-echo… Digital Delay w/ Mod adds a juicy chorus Delay Dig w/ Mod effect to your digital delay. !seltaeB eht dna xirdneH imiJ ekil tsuJ Delay Reverse – Whatever you play comes out backwards. Inspired by the unique grunge and noi- Delay Lo Res se of early digital delay units. Many of which had only 8-bit resolution. Like peanut butter and chocolate, tubes Delay Tube Echo and tape are a great combination. Tube Echo is inspired by* a Maestro® EP-1.

Tape Echo is inspired by* the unmista- kable depth and sweetness of the Maes- Delay Tape Echo tro® EP-3 Echoplex, which used transistor sound electronics instead of tubes.

Add a sweeping warble to the Tube Echo repeats and you’ve got Sweep Echo. Delay Sweep Echo This unique tone adds a tangy flavor to your delays. Inspired by* a Binson EchoRec, which inspired bands like Pink Floyd. Rather Delay Echo Platter than using tape, the EchoRec used a ma- gnetic platter to record and play back. Analog Echo is inspired by* the warm Delay Analog Echo and distorted delays of a Boss® DM2 Analog Echo. Inspired by* the cherished tone of an Electro-Harmonix® Deluxe Memory Analog w/ Delay Man, Analog w/ Mod delivers an orga- Mod nic-sounding analog delay with a ge- nerous dollop of lush, spatial chorus. Two effects in one! A volume fade-in Auto-Volume Delay swell and an echo complete with tape- Echo style wow-and-flutter modulation. Multi-Head delay is inspired by* the sound created by the multiple playback Delay Multi-Head heads of the Roland® RE-101 Space Echo.

This effect gives you a single clean note one octave down. Bassists love it but gu- Pitch/Synth Bass Octaver itarists (including Jeff Beck) are known to bust it out, too. Inspired by* the tone of an EBS OctaBass. Turn that 6-string into a 12-string, rip Smart Harm- some ’80s dual leads and so much more. Pitch/Synth ony This intelligent pitch shifter is inspired by* an Eventide® H3000. Not to be missed, Octisynth provides textures that are equally at home in Pitch/Synth Octi Synth a mad scientist’s laboratory or miles below sea level among its eight-armed namesake. Synth-O-Matic features waveforms from Synth O Ma- Pitch/Synth a mouth-watering collection of vintage tic analog synths.

Inspired by* a waveform and wave-sha- Pitch/Synth Attack Synth ping functions of a Korg® X911 Guitar Synth A monophonic synth sound inspired by* Pitch/Synth Synth String the Roland® GR700 Guitar Synth. Named Growler for a reason, this model produces a sinister “Grrrrrrrrr” that’s Pitch/Synth Growler inspired by* a Roland® GR700 Guitar Synth and a Mu-Tron® III.

Let your guitar Come Alive with the sound of a classic talk box. Inspired by Filter Voice Box vocoders, vocal tracts and surgical tu- bing. Your guitar “speaks” with an almost hu- man voice in response to your playing. Filter V Tron Inspired by* Voice Box and a Mu-Tron® III. Your very own parked wah! Let your solos soar with the colorful “honk” that Filter Q Filter became a signature tone of Mark Knopf- ler and Brian May. Up to nine “parked” wah filters set at varying positions and then used in se- Filter Seeker quence to create a pulsating, hypnotic vibe. Inspired by* the Z-Vex Seek Wah. Obi Wah creates sequential changes in tone by emphasizing random frequenci- Filter Obi Wah es. Inspired by* the Oberheim® Voltage Controlled sample-and-hold filter. Part Auto Wah and part triggered filter, Tron Up delivers a seriously funky vibe. Filter Tron Up Inspired by* the Mu-Tron® III envelope follower. Part Auto Wah and part triggered filter, Tron Down delivers a seriously funky Filter Tron Down vibe. Inspired by* the Mu-Tron® III envelope follower. Perfect for a multitude of cool electroni- ca-style sounds and textures, Throbber Filter Throbber is inspired by* the Electrix® Filter Fac- tory.

This triggered filter rolls off your high- Filter Slow Filter end with adjustable speeds.

This is what headphone mixes were made for! Imagine two wahs panned Filter Spin Cycle left and right working in opposite direc- tions from each other. Inspired by* Craig Anderton’s Wah/Anti-Wah. Spooky and otherworldly, Comet Trails Filter Comet Trails provides an enchanting pulse for you to add to your tone.