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#1515 Frequency Response Graphs For Hd500 Eqs

Posted by pfsmith0 on 08 May 2013 - 11:26 AM

In the process of trying to figure out what a 4 Band Shift EQ is, I put my HD500 on the test bench and measured the frequency response of ALL the EQs in the HD500. I thought you'd find it useful so I'm sharing the results here. For example, what does a 100% shift mean? What does 0% Q mean? And just where is Freq = 38% in the Parametric EQ? Did you know when you set 2.2kHz of the Graphic EQ to -12dB you'll get a +12dB boost (!) at 1kHz before it dips down at 2.2kHz? No wonder it didn't work very well to eliminate a pesky feedback problem, but caused another one instead. Using these can give you insight into which EQ you really want to use.


I've attached the most pertinent pictures here (zipped together to make it easy). The only potential problem is the 4 Band Shift Hi Freq which has mismatched L/R channels (~3dB at 1kHz)! Every other EQ and every other setting has perfect L/R balance (less than .1dB mismatch) but this one does not. I've contacted Line 6 support before submitting this here but they see nothing out of the ordinary (i.e., it sounds fine, which may be true, but there's still a mismatch, big enough to be called a bug in my opinion). I've labeled those two graphs channel 1 & 2 because that's what my test equipment calls them. Unfortunately I didn't have the forsight to find out which was left and which was right before I tore down the setup. But the fact of a mismatch remains.


Some things you need to know to properly interpret these:

  1. An Audio Precision APx525 was used to generate the sound source and measure frequency response.
  2. Output = S/PDIF
  3. Input 1 = Mic. Input 2 = same. Mic level on back adjusted to give -20dBFS output with the Graphic EQ
  4. Unless otherwise indicated, the gain of all the other EQs were set to nominally give -20dBFS. The gains were recorded so you can see which EQs have built-in gain or loss compared to the Graphic EQ.
  5. There were no other FX or amps in the signal chain.
  6. Sample rate = 44.1kHz (factory default)

I have more complete files that contain the actual data (not just pictures) as well as more settings than shown in these few pictures attached here. Until I can find a better place to put it, you can download the entire 160M set of Excel files from: https://dl.dropboxus...easurements.zip. I am open to ideas of where to put this on a more permanent basis.


Enjoy! I hope you find these as useful as I have.


I took the HD500 back into the lab and verified that it's the Left Channel that has the odd frequency response in the Hi Freq portion of the 4 Band Shift EQ. I re-uploaded the Excel files to indicate this and re-uploaded the new 4 Band Shift EQ figures here.


I measured the frequency response of the Q Filter (per meambobbo's post) and attached it here. I also updated the giant zip of Excel files. I think this could emulate a pretty Morley wah if you make toe = hi Freq/hi Q/hi Gain and heel = low Freq/low Q/ low Gain. Also, mix attempts to add the filtered signal to the straight signal, which it does. But the filtered signal has some processing delay so the mix includes some notches in the 4k-8kHz region you may not be expecting. You can see this in the attached graphs. For the signal levels I was using (-20dBFS thru the Graphic Equalizer) you can also see some gain compression with the Q filter. So if you want it clean, stick to the lower Gain levels.


Added a PDF file that lists the frequencies (in Hz) represented by the Parametric Frequency )in %).

Attached Files

  • 26

#136851 Online Helix Reference Guide for Models

Posted by jshimkoski on 10 February 2016 - 10:40 AM

Hey guys,

I wanted a place to visit that listed all of the models inside the Helix as well as the product each of them were based on. I couldn't find anything on the web so I made something:


The site is current with firmware 1.06.0 and I'll continue to update it and add features as time progresses.

I'm not affiliated or associated with Line 6 or any of the products modeled by them. This is just a fan site.

I hope you find it convenient and useful.
  • 23

#109464 windows 10 no sound

Posted by AlanFall on 30 July 2015 - 12:08 AM

Found a solution! Just go to the playback devices and properties. Go the advanced tab and play with the options, the one that worked for me was 16 bit 48000 dvd quality!

  • 21

#88783 Updated Printable MeAmBobbo's High-Gain Guide

Posted by meambobbo on 23 March 2015 - 08:28 PM

Big thanks to Joel Fairman for taking the time to do this.  I got tired of updating the Word (.docx) and PDF versions of my Tone Guide every time there was a change, so to update it, I would simply copy paste the HTML pages.  Thus, the links all pointed to the web rather than to locations internal to the document.  Joel fixed all these links as well as added all the graphics and charts that were only available on the web.  This makes the printed guide more complete, as well as making the downloadable files easier to work with.


He also organized the patches a little differently.  And now everything - guide and patches are all available as a single zip or 7z file.


The links are on the front page of the tone guide site:



And here's the direct link for zip:



and 7z:


  • 18

#150548 Helix Amp Model Gallery - Real Controls vs Invented

Posted by riffyrafemetal on 20 April 2016 - 09:09 AM



Pod HD model packs amps adds and Helix Amp sim:
Fender Champ (US Small Tweed)
No Master-->100%, No Presence--> 0%, No Mid*, No Bass, No Treble

*In the tweed champ, the bass and treble are after the amp modeling, but the midrange control is between the two preamp gain stages. The midrange knob can become a cool drive feature.

The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982. An updated version was introduced in 2006 as part of the "Vintage Modified" line.
The Champ had the lowest power output and the simplest circuit for all of the Fender tube amps. The Champ had only one power tube, which meant that the circuit is single-ended and class A, single-ended (single 6V6 tube). Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios.
Tweed amplifiers typically break up earlier than later "cleaner" models and are known for their warm-sounding overdrive.
Bogner Shiva (German Mahadeva)
based on 6L6 Model, channel 2

6L6 models are 60 watts and have a touch more lowend/highend extension that's more American-style.
The beauty of the Shiva is that it takes what Marshall did in the ‘70s and ‘80s and adds some modern appointments so that the user can achieve tones ranging from classic rock to heavy metal (the utilization of the boost feature works wonders here).

One thing is constant, though: Swirling notes. It is hard to describe, but the Shiva has a midrange character that results in what sounds like a light swirling of each note and chord that creates a very harmonically rich tone.

Bogner around noon (50%) are dark, it's like turning the treble way down on a Marshall. The treble knob at 50% on a Bogner is equivalent to the treble knob at 10% on a Marshall. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi.
A-30 Fawn (Vox AC-30 Fawn)
No Master, No Presence, No Mid, No Bass, No Treble

Vox redesigning the initial preamp of the AC-30. The troublesome EF-86 tube was replaced with a battery of ECC83 (12AX7) tubes. A third channel was also added. By the end of 1960, the initial AC-30 was phased out in favor of the new AC-30 fawn.
The Beatles first recordings in the Abbey Road studio used a fawn.
The early version of this AC-30 was covered in a tan or "fawn" vinyl that was as thin as wallpaper.
A single tone control rolled off the treble on all three channels simultaneously. Individual treble and bass controls were not included in the stock version of the AC-30/ Fawn. An optional factory installed, rear panel mounted "Top Boost" circuit became available in 1961. This circuit added a treble and bass control to the "Brilliant" channel, but not in this fawn model.
The amp also featured two 12 "Celestion Alnico Blue speakers. The Celestion Alnico speakers in the earliest production of the AC-30 Fawn might not have a magnet cover and might be tan, rather than blue.

Normal Channel
Brillant Channel


On-top-boost model. Both the bright channel and the normal channel each, only hit one preamp stage before going to the phase inverter in the power amp. All of the saturation of this amp comes from the power amp, and it can get pretty dirty.
The bright channel is pretty bright when run clean, but that brightness when driving the power amp results in a wonderfully rich and harmonically complex overdrive. It's quite responsive to saturation with picking dynamics and
volume knob control.

Turning up the Bias knob reduces crossover distortion the best, but there are no wrong knob settings. If you like the sound coming out, the knobs are set right for you.

Orange OR80 (Mandarin 80)
No Master, HF drive=Presence

Controls: FAC(mid range tone control by 6 pos switch) - Bass - Treble - H.F Drive(presence) - Gain

Year: 1974-75
Model: OR80
Output: 80 Watts
Preamp tubes: 12AX7
Power tubes:EL34
Bias: Fixed bias
Rectifier: solid state
Phase Inverter: Cathodyne type: 1/2 x 12ax7

The F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that offers many variations on the Orange sound. Experiment with different settings for a variety of sounds. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. In other words, it cuts bass increasingly with each click clockwise.

The HF drive is a presence contol, that boost/atennuates very high frequencies, comparing to other amplifiers. It's in between gain stages (2 to 3), so it does afect drive. You can call it a drive control, like the Eq, that is between stage 1 and 2.
Peavey 5150 Block Logo (PV Panama)


The Peavey 5150 is an all-tube guitar amplifier 1992 on, initially as a signature model for Eddie Van Halen.

The Peavey 5150 has four Tube 6L6 Power Tubes, and five 12AX7 Tubes in the preamplifier staging (with one as a phase inverter.) Despite its shared "plain" PCB, each component was generally high quality, allowing manufacturing ease while providing high quality tone.

A defining attribute largely responsible for the 5150 sound is the fixed bias, set to a lower value which resulted in the Power Tubes running at a lower energy commonly known as "cold-biased", resulted in a more controllable gain setting, allowing such a heavy amount of gain to be applied without sacrificing tonal definition.

Excellent frequency response (largely attributable to the vacuum tube amplification), and clarity with heavy gain. Its cultural significance in Hard Rock, later Metal, as a unique product with a unique tone.

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

Roland JC 120 Jazz Chorus (Jazz Rivet 120)
No Master → 100%
No Presence → Exception, neutral in this case should be 50% instead of 0.

Roland Jazz Chorus is a solid-state instrument amplifiers produced in Japan since 1975. Its name comes from its built-in analog chorus effect. The Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes because of its clean yet powerful sound, durability and relatively low cost when compared to the more commonly used amplifiers of the time such as Marshall or Fender. It also found favour amongst funk players in America. It also became popular to use for clean tones in heavy metal, with the most famous users being James Hetfield and Kirk Hammett from Metallica.

The Jazz Chorus is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King, Andy Summers (The Police), Robert Smith of The Cure and Siouxsie and the Banshees and Pat Metheny.

Engage the Bright switch to add some bite, add a chorus after the amp to simulate the stereo chorus.
Ampeg SVT (SV Beast) - Bass Amp
No Master, No Presence


The Ampeg SVT is a bass amplifier made by Ampeg. The SVT, which stands for Super Valve Technology, was designed by Bill Hughes and introduced in 1969. The SVT bass head produced 300 watts at a time when most amplifiers made less than 100. The SVT has been through many design changes over the years but is still in production today. The SVT head was initially coupled with a pair of sealed 8x10" speaker enclosures because one cabinet could not handle the power of the SVT. Later on Ampeg updated the speakers in the enclosures so that one cabinet was sufficient.


For 30 years now, we’ve heard the tone and felt the power of the mighty Ampeg® SVT® that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT®  of pure tube magic. The SVT® set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. We selected a 1974 Ampeg® SVT®, and we’ve also given you a 70’s SVT 8x10 speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you had to pray that your bandmates would help you move it! Thanks to line6, you can now get big classic rock bass tone without frequent visits to the chiropractor.

Channel Normal
Channel Bright
Gallien-Krueger GK 800RB (G Cougar 800) - Bass Amp
No Presence, Crossover freq

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


What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on “Late Night With David Letterman”. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’t really distort. Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known for producing what we call the “mid 80’s metal bass” tone. It’s the perfect choice when you’re ready for a little Pyromania....

Low cut, contour, and high boost switches
Boost with jack, and LED crossover with switch
High and low master

  • 16

#193447 Helix FW 2.20 (The "Get Low" Update) OUT NOW

Posted by Digital_Igloo on 19 January 2017 - 11:23 AM

Helix FW 2.20 (The "Get Low" Update)

New Amps (6)
Line 6 Badonk, all new Line 6 original inspired by the original high gain Big Bottom model
Del Sol 300, based on* the Sunn® Coliseum 300 bass amp
Woody Blue, based on* the Acoustic® 360 bass amp
Busy One Ch1, based on* channel 1 of the Pearce BC-1 bass preamp
Busy One Ch2, based on* channel 2 of the Pearce BC-1 bass preamp
Busy One Jump, based on* channel 1 and 2 (jumped) of the Pearce BC-1 bass preamp
New Hybrid Cabs (7)
1x12 Match H30, based on* the Matchless® DC-30 cab (12” G12H30 speaker)
1x12 Match G25, based on* the Matchless® DC-30 cab (12” Greenback 25 speaker)
1x12 Cali IV, based on* the MESA/Boogie® Mk IV 12” cab
1x12 Cali EXT, based on* the MESA/Boogie® 12” extension cab (EVM12L speaker)
1x12 Del Sol, based on* the Sunn® Coliseum 300 bass cab (12” speaker)
1x18 Del Sol, based on* the Sunn® Coliseum 300 bass cab (18” speaker)
1x18 Woody Blue, based on* the Acoustic® 360 18” bass cab
New Effects (9)
- Distortion > Obsidian 7000 (Mono, Stereo), based on* the Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
- Distortion > Clawthorn Drive (Mono, Stereo), based on* the Wounded Paw Battering Ram bass overdrive
- Dynamics > 3-Band Comp (Mono, Stereo), Line 6 Original multiband compressor
- Dynamics > Auto Swell (Mono, Stereo), Line 6 Original
- Modulation > PlastiChorus (Mono, Stereo), based on* the modded Arion SCH-Z chorus
- Delay > Vintage Swell (Mono, Stereo), Line 6 Original
- Delay > Adriatic Swell (Mono, Stereo), Line 6 Original
- Pitch/Synth > 3 Note Generator (Mono, Stereo), Line 6 Original
- Pitch/Synth > 4 OSC Generator (Mono, Stereo), Line 6 Original
* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.
New Features
- Global Settings > MIDI/Tempo > Send MIDI Clock—Helix can now transmit MIDI clock to synchronize the tempo of external pedals, rack gear, and software. Select “Off” (Helix does not transmit clock), “MIDI” (Helix transmits clock from only the MIDI OUT jack), “USB” (Helix transmits clock only via USB), or “MIDI+USB” (Helix transmits clock from both MIDI and USB)
- Global Settings > MIDI/Tempo > Receive MIDI Clock—Helix can now synchronize its time-based effects (such as delay and modulation) to incoming MIDI clock from external DAW software, drum machines, keyboard workstations, or other modelers. Select “Off” (Helix ignores MIDI clock), “MIDI” (Helix responds to clock received at its MIDI IN jack), “USB” (Helix responds to clock received via USB), or “Auto” (Helix uses its internal tempo generator until receiving clock from either MIDI or USB)
Variax Workbench HD Support—Variax can now communicate directly with Variax Workbench HD software (Mac/PC) through Helix via USB.
- Global Settings > MIDI/Tempo > MIDI PC Send/Receive has been split into two separate parameters—MIDI PC Receive and MIDI PC Send—and moved to Page 2. In addition, you may choose whether Helix sends or receives MIDI PC (program change) messages to/from MIDI, USB, both, or neither
Clear Bypass Assignment—Individual blocks’ bypass assignments can now be cleared. From the Bypass Assign screen, select the block whose bypass assignment(s) you wish to clear. Press ACTION and then Knob 1 (Clear Assignments).
- Line 6 Allure Pack IRs—Dan Boul of 65 Amps has created a pack of six user impulse responses for use with Helix or any other modeler or software that supports them. Download the free Allure Pack here: http://line6.com/allure/
- Optimized GUI engine speeds up navigation and model selection
- Receive MIDI Clock and Send MIDI Clock have also been added to the Tempo panel shortcut. At any time, touch TAP to open the Tempo panel.
- When slaved to external MIDI clock, TAP’s scribble strip text grays out and its switch LED ring flashes blue
- Reverb > Plate, Room, Chamber, Hall, Echo, Tile, Cave, Ducking, and Octo have all been optimized to be less DSP-intensive
- Pitch > Pitch Wham, Twin Harmony, Simple Pitch, Dual Pitch, and 3 OSC Synth have all been optimized to be less DSP-intensive
- Non-selected Pedal Edit parameter switches now reflect dim block color
- Inactive Looper function switches now appear as dim white
- Additions to and improvements made to the existing factory preset bundle
Bug Fixes
- In very rare cases, corrupted presets containing a Volume/Pan > Volume Pedal block can cause volume to drop to 0% - FIXED
- Certain Roland keyboards constantly spit out active sensing MIDI messages (with no way to disable them), which could affect Helix’s MIDI transmission - FIXED
- The Channel Volume taper for the Archetype amp model was incorrect - FIXED
- Many other minor bug fixes and optimizations
Known Issues
- If a Variax guitar is connected to Helix, MIDI channel 16 should never be used, as channel 16 is how Variax Workbench communicates with the guitar. This is by design. On a related note, Variax Workbench should never be used while MIDI tracks are armed or playing back in your DAW
- In rare cases, Helix may freeze when very rapidly changing presets while receiving MIDI clock
- Helix’s blue TAP LED flashes but tempo is not actually synced unless an audio device is selected in Ableton Live
- Subtle stepping may be heard when adjusting the main VOLUME knob while audio is present
- If a user fails to read and follow the update instructions, Helix will engage Snapshot 2 in preset 8 Templates > 32D every day at 4:30 AM

  • 15

#143865 Helix Vs. AX8

Posted by chuskey on 18 March 2016 - 04:48 PM



Had a fun time comparing a buddy of mine's AX8 today to my Helix! We've each only had our respective units for a very short amount of time so there are things about each we're still learning. However I've been a LONG TIME Line 6 user and he's been an Axe FX user for several years. So not completely new territory. 

Spoiler alert: If you can't get a good tone out of either one of these units, it's your fault. Plain and simple. It's not that your ears are that discerning, you just don't know what you're doing. Sorry, maybe guitar playing isn't your calling. 

With that out of the way let me move on. 

The signal path was Crate Powerblock into Friedman 2x12 with one Vintage 30 and one Creamback. It produced about as much "amp in the room" sound as you could ask for. All tones done on each unit were amp only with no speaker modelling. 

As a side note, also in the room was a Friedman Dirty Shirley with matching 1x12 cabinet, so there was a high end tube amp there for reference. 

Admittedly I felt like bringing a Line 6 product into a room with a Fractal product for a comparission put me as the underdog. From everything I've read online the Helix has the competition beat on features, but what about pure amp tone?

I'm here to say that the Helix held it's own and then some. At no point did I feel like the Helix was a step behind the AX8. Just dialed up an amp and it sounded amazing right out of the gate. Something Line 6 has MASSIVELY struggled with in the past. I've owned literally every incarnation of Line 6's product line and this is the first time they've produced a product that doesn't demand a ton of tweaking to find the magic sweet spot. 

This opinion was echoed by my friend who is a long time Fractal user. So not just my opinion in a vacuum. 

As a Helix user I feel compelled to point out the positives of it in this comparison, so that's exactly what I'm going to do. Not to take anything away from the AX8, but this is where I'm coming from. I'll leave room for AX8 users, or my friend with the AX8, to chime in here. 

Here are the pluses for Helix:

The UI: on the Helix it is far and away more advanced than on the AX8. I'm speaking in terms of the on unit UI and not the PC editor. The Helix Editor isn't out yet so no way to compare that. But for using each unit stand alone the Helix UI is hands down the winner. Everything is faster, easier, and more intuative. Assigning pedals and controllers, using pedal edit mode, etc. Not a knock on the AX8, just showing how much design effort went into the Helix UI. 

Flexibility and routing: Again, this is another area that Helix shines. If you can dream it up, you can route it in Helix. And do so very easily thanks to a very intuative UI. Want a signal path with 4 drives, 6 delays, and 3 reverbs? No problem with Helix. Plus the 4 physical send/receives give you loads of flexibility to incorporating outboard gear. Need to route your dry guitar signal one place, your wet guitar signal another, and the looper another? No problem. 

Ease of creating tones: I was surprised that my vote for this would go to Helix. As a long time Line 6 user I'm used to spending hours dialing in the perfect tone. With Helix things just work. We found that amps, and especially effects, were very quick on the Helix. Everything was more or less in place and ready to go. You just had to add it to the signal chain and make adjustments to suit your taste. 

Ease of use: When using this as a live unit I have to give the nod to Helix here. The scribble strips, with customize-able text, were gold. I know exactly what function each pedal is performing. Something that was a challenge on the HD500(X). Along with the very large color screen showing exactly what's going on it's a breeze to use this thing live. The AX8 takes a more basic approach, and is very workable, but not on the same level as Helix. 

Built in expression pedal: Having a built in expression pedal, with a toe switch, is a big deal. At least to me. With an external pedal I'm left to choose one function of the expression pedal instead of two. 

Overall tone: I felt like this could go either way. On this day I think our Helix presets were pretty rockin', but either unit can be tailored to do EXACTLY what you want. They both sound awesome. I can say with all honesty though that the Helix didn't give up an inch tone wise. Which surprised the both of us. 

BTW, the Friedman Dirty Shirley model on the AX8 was spot on and we both felt like bringing the "real" dirty shirley into the equation was pointless. The AX8 simply sounded as good or better than the real deal. Sorry tube snobs, but facts are facts clear.png

Pluses for the AX8:

It did sound really good! There's no denying that, nor any reason to. It's an awesome unit. 

Amp models: In terms of sheer number of amp models there isn't a contest between these two units. The AX8 far outpaces the Helix by a mile. However the question is how many amp models do you need? Maybe I'm playing devil's advocate here, but I don't find that I have trouble covering all the ground I need with Helix's selection. Totally a matter of opinion though. Much respect for the sheer amount of work Cliff has put into modelling this number of amps. If the amount of amp models is most important to you then there is no comparison. 

Form factor: This could go either way. Overall I'll take the Helix because of the built in expression pedal and increased number of ins/outs. But I do like the compactness of the AX8. The Helix is big and heavy. 

I'm a Helix owner so obviously you can tell that I am going to lean towards the Helix. Having said that I can say with COMPLETE honesty that the Helix really shined today when comparing the two. All things being equal I take the Helix all day long and don't regret the purchase for a minute. My buddy was even joking about buying one once he sold off some of his other gear clear.png

Most importantly though is that fact that there are two INCREDIBLE units on the market for, given what they do, not a lot of money. It is an amazing time to be a guitar player. I've been playing way long enough to remember when it wasn't so. I remember playing through a Crate solid state amp.....wow how times have changed!!

So as a community let's be thankful for the tools at our disposal. We live in a great time to be a musician and let's truly appreciate these miracle boxes that can be had for less than the cost of a Marshall half stack "back in the day". Or this day for that matter. 


  • 14

#150514 Helix Amp Model Gallery - Real Controls vs Invented

Posted by riffyrafemetal on 20 April 2016 - 06:23 AM

'65 Marshall JTM-45 [BRIT J-45]

(no master) --> Defualt setting 10
One of the earlier amps that, as mentioned above, found its inspiration in the tweed Fender®Bassman®, but nevertheless managed to sound like something quite different as it took on several constructional twists and design elements that marked the beginning transition from a mellower Fender like tone to the distinctive, bright “crunchy” sound of all Marshall® amps to follow. Hefty, high-quality British transformers and KT66 output tubes (a 6L6 equivalent, but with more power and punch) gave the JTM-45 a huge soundstage and a smoother overdrive tone than the later EL34-based Marshalls that more players are familiar with today. Cranked through a closed-back 4x12” cab with Celestion® G12M “Greenback” speakers, this rig evokes the archetypal Brit-rock and blues-rock guitar tone. Interesting side note: this is the exact same amplifier as the Marshall® “Bluesbreaker” that Eric Clapton made famous, but in head form, rather than housed in a 2x12” combo. This is your starting if you’re looking for that ‘beano’ tone.
Brit J-45 NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.
Brit J-45 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter

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

'65 Marshall “Plexi 1959” Super Lead 100 (BRIT PLEXI)

(No Master)

Tthe stack four inputs, EL34 tubes Both the Normal and Bright inputs of this legendary Marshall® 100 watt beast. First produced in 1965 (note that the “1959 “ is a model number and does not indicate the date of manufacture) is often referred to as the “original” Plexi, featuring two channels and four inputs. It was utilized by Pete Towsend, Eric Clapton, and most famously, by Jimi Hendrix at his Woodstock performance.

Brit Plexi Nrm : The Normal channel, as you might expect, offers a flatter EQ response and a bit lower gain, well-suited for rhythm playing.
Brit Plexi Brt: The Bright channel features a boosted, brighter tone, which is ideal for a more cutting lead tone

Brit Plexi Jump: Normal channel + Bright channel jumped from imput.

Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the  Plexi Jump  model to give you a sound based on of this setup.
Modeled after* the infamous '68 Marshall® 'Plexi' Super Lead. By the time this amp was built (ca. 1968), Marshall® had completely changed the circuitry away from the Fender® 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get the sound you'd have to crank your Super Lead — just the thing to help you really make friends with the neighbors. Hendrix used Marshall®s of this era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls®.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls. You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this model is set up to do pretty darned near the same thing.

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


'71 Park 75 [BRIT P-75]

(no master), brightness=presence?
Were manufactured by Jim Marshall from the mid ’60s until the late ’70s as a means of circumventing an exclusive English distribution deal for the amplifiers bearing his own name. It got its name from the dealer Johnny Jones’ wife’s maiden name, Park. These amps have become legendary in their own right, but none has quite attained the status of the
beefy Park® 75. Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Our specimen comes paired with a 1973/74 speaker cabinet loaded with four Rola Celestion
G12H speakers. Add it all up, and it’s a sizzling, crunchy plexi-style tone like nothing you’ve ever heard before, equally adept at classic British blues-rock and contemporary grind.

Brit P-75 NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.
Brit P-75 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter.


'82 Marshall JCM-800 [BRIT 2204]

As Marshall amplifiers evolved through the course of the ’80s, the JCM-800 (1981-’90) came to stand out as the new flagship of the range. While the 2210 version—previously modeled by Line 6—was enjoyed by many for its 100 watts of power and two foot switchable channels, the 2204 50-watter EL34 came to be known as the flag-bearer of classic Marshall tone.
With its one, dual-input channel, added versatility of its Pre-Amp Volume and Marshall’s new Master Volume control, the JCM-800 2204 was otherwise not a stone’s throw from the hallowed “plexi” and “metal” panel 1987 Lead Models of the late ’60s and early ’70s, although its front-end gain could be tapped more easily without blowing your head off.
Cranked through a closed-back 4x12” with Celestion® G12T-75 speakers, this is the pure sound of ’80s rock, the amp that propelled countless hits from that decade and beyond.

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

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


2002 Bogner Uberschall [GERMAN UBERSONIC]
Plenty of amps have fought it out to be baddest of the bad in the high-gain stakes, but the Bogner® Uberschall is as heavy, mean, and downright evil sounding as they come. With a whopping four 12AX7s worth of preamp gain, plus two more for FX loop and phase inverter, rammed through a quad of EL34 output tubes, the Uberschall (German for “super sonic”) was designed to be Armageddon in a box. A take-no-prisoners distortion machine for the most aggressive shred and nu-metal players on the planet. In addition to its unprecedented levels of highly saturated gain, this amp packs the eviscerating bass response needed to put this kind of music across on the big stage.

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

Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%.
Keep the Master volume low (5 or less). Turn up Presence, add Mids
Bogner manual: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam"

2001 Mesa Boogie Dual Rectifier Solo [CALI RECTIFIRE]
Mesa/Boogie® almost single-handedly, and simultaneously, established the “custom amp (aka boutique)” and “high-gain” crazes in the early ’70s, and has continued to set the pace for nearly four decades. As the new standard for grunge and alt-rock amplification, the Dual Rectifier® pushed this pedigree forward to the new millennium, and its high-gain third channel established the tone to beat for the ’90s and early ’00s guitar rock. With broad control over its drive and level, and a versatile tone stack, it can go from thundering, scooped crunch to soaring lead tones with a creamy midrange, all with crushing volume and authority. Others have come and gone, but the Dual Rectifier continues to earn its place on the big stage, and to exert its authority over lesser amplification efforts.
Class AB, 6L6. Modern setting.
Amp Model is based on* a 2001 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end.
We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively.

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


2009 ENGL Fireball 100 [ANGL Meteor]
Mid boost
Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL® Fireball 100 (German) Designed to redefine the stereotypical “shred” sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal. Using a quad of 6L6 output tubes for mammoth lows and gut-thumping punch, and four 12AX7 preamp tubes for scorched-earth gain levels, the Fireball 100 nevertheless brings great refinement and articulation to this aggressive genre, boasts surprising versatility, and has earned its keep in the rigs of Ritchie Blackmore and Steve Morse.

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

'93 Soldano SLO-100 [SOLO LEAD]

Noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel,100w, 6L6 tubes.
Now considered a modern American classic, have made it the heart and soul of many of Rock, Metal, and Electric Blues, Mike Soldano created his flagship Super Lead Overdrive 100 (SLO-100) amplifier in 1987 and continues to hand-build it to this day. The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes,
Lou Reed, and Eddie Van Halen. Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities, making it an extremely versatile head. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel. We loved the different characteristics of this amp so much that we created three separate models!

Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones.
Solo Lead Crunch: Here we’ve modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive.
Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities

Mike Soldano first came to fame as the guy who could do all the really cool mods to your Marshall®. It wasn't long before he started building his own 'hot-rod' amps — sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components.
While primarily known for its high gain personality, the SLO-100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100.

Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter. Many people find SLOs too bright. It was designed as a large stage/stadium amp. Running one at your local pub is going to give results that are very thin and buzzy, best tones achieved by increasing the master and backing off the preamp, just like the real deal. The key to an SLO100 is to run the MV high so that the mids thicken up. Otherwise it's a shrill mess. In certain contexts with the right IR it can be a cool sound.
Rectifier preamp is a derivative of the SLO-100.
Many times the knobs aren't "centered". If you put the Treble knob at noon it isn't actually at 50%, in the case of an SLO100 it is intentional. On an SLO100 all the way down is around 8:00 and all the way up is 6:00 so 50% is around 1:00 not noon."


'60s Ampeg B-15NF Portaflex [Tuckn' Go] -Bass Amp

(no mid, no presence, no master)
Get sweet and lowdown with this model of the honorable ‘60s Ampeg® B-15F bass amp, complete with the Custom Design, CTS 15 inch speaker. The unique Portaflex® design consisted of the tube amp’s electronics being mounted on a chassis that “flipped over” (hence our nifty model name) to secure as part of the speaker cabinet, intended to offer the portability of a combo, without the over-heating and rattling problems associated with combo amps of the period. Ampeg® founder Everett Hull was not a fan of Rock ‘n Roll music, and thus conservatively rated this amp at 30 watts, to encourage its users to keep the volume at “sensible” levels to avoid distortion. But we think this versatile low-ender sounds just as great turned up for some throaty growl.

All-valve bass - 25W RMS , speaker 1 x 15" custom Eminence, preamp 3 x 12AX7, rectifier 1 x 5AR4 or 5U4G, power amp 2 x 6L6GC
It’s tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amp’s sound up in one sentence, we would simply say: Listen to James Jamerson’s bass playing on the Motown®/Tamala records of the 1960’s — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he’s not enough to convince you, how about “Duck” Dunn! Don’t get us started....
Line 6 Elektrik

This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber.
Line 6 Epic
A metal-freindly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease. We did it in small doses throughout the length of the preamp.
It's based on the Soldano lead channel, but with more gain and a smoother transition into clipping on all the gain stages. This means that as sustained notes decay they don't "fall out" of distortion. It's unrealistically smooth. This is why players will still put an overdrive in front of a high gain amp; to get that kind of "liquid lead" sound.
Line 6 Doom

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

Attached Files

  • 13

#88390 Part 2 of my POD HD500X Demonstration Video now uploaded

Posted by PeterJH on 20 March 2015 - 11:10 PM

Hi everyone,


Just to let you know that I've uploaded my second video in the series on the POD HD500X.


I've shared the way that I create my own patches along with some info as to how I eq my tones to fit into a mix and not get lost.


It is a fairly detailed video which I hope will be useful in fine tuning your own patches.


I ended off the video by playing two very short clips of two of the patches created in the video to show how nicely they fit into a mix.


I must stress however that this is the way that I do this. I'm not saying that this is the right or wrong way to do it. It works for me and it might just work for you too.


I will be updating my website in the very near future with a few new patches. This video did take some time to produce so I will get around to that asap. Please bear with me.


Hope you enjoy,









  • 12

#217093 Where is Native?

Posted by Digital_Igloo on 15 June 2017 - 09:13 AM

Ah. You're killing me DI, you're killing me! :D  But seriously, would rather have a working program than just shoveling it out to meet a deadline. Take all the time you guys need. (But hurry. ;))


Helix Native 1.0 is our top priority. Later, Helix FW 2.30 for Floor, Rack/Control, and LT will add new amps and effects and will drop with the new HX Edit application, which is a from-the-ground-up rewrite of the Helix editor that matches Helix Native's UI/UX. Helix Native will also be updated to Helix Core 2.30, and will continue to receive updates until its features are in parity with the hardware. (For example, it won't support snapshots right away.)


Going forward, the plan is to update Helix Floor, Helix Rack/Control, Helix LT, and Helix Native at the same time, so they always have the same models and features. This has required a metric ton of fundamental architectural changes, but in the end, this effort allows us to release firmware and software (and future hardware!) more quickly and efficiently. It also opens the door to some pretty nutty things in the future. Line 6 is ALL IN on Helix.

  • 12

#12299 Pod Hd 500 - 500x *new* Routing Schematics

Posted by perapera on 16 August 2013 - 05:38 AM

I posted this in the old forum months ago,

since many peole found it useful I thought I could re-post it here:



I really think these are important things not stated (or in some cases not clearly stated) in the manual, that you need to know to start seriously programming your POD HD

I ran some serious tests on my Pod HD 500 and here is what I found out (I made my tests on a POD HD500 but this is valid for HD500X and HD Pro and is very similar for the "bean" version too),

I'll try to be as synthetic (but complete and clear) as possible, but this is going to be a long reading so sit down and take your time or just go surfing somewhere else



In short: the "famous" [input-1: guitar / input-2: variax] setting gives you different levels of signal depending on the position of the first *mono* effect block you use (amplifiers included), in particular you LOSE 6dB in the "pre" path in comparison to the path A/B or post path

(note that this is not the same as saying that you gain 6dB with input-2 to "same", read on).


[ if you don't know what I'm talking about just go and read this thread:


then come back here to hear a different opinion on the matter]


first of all, try it out:

- connect a guitar to the guitar input and the Left output to a full-range linear amp (or use your headphones)

- recall a "new tone" default blank patch

- set input-1 to Guitar and input-2 to Variax

- set mixer channel A fader to unity (0.0dB) and pan to center

- set mixer channel B fader to mute

- setup a noise gate* with the threshold set to 0% in "pre" position

(with this setting this IS a unity gain mono fx block)

- play thru it

- now if you bypass it, you'll hear that it looses 6dB of level when it's active (I initially thought this was noise gate's fault, but it's NOT)

- now re-activate the noise gate and move it in A or "post" path

- now if you try to bypass it you'll hear that it does NOT loose any dB

- try moving the block back and forth between pre and A or post paths and you'll hear more level in path A or post than in pre


this was already found out at least by hurghanico here: http://line6.com/sup...e/403287#403287

but it's so important that needs a dedicated and more detailed thread.


[* you can repeat the experiment with other mono effects instead of a noise gate but keep in mind that, if you want to clearly hear a level difference, you need a mono unity gain (www.music-dictionary.org/unity_gain) effect, for example:

- a tube comp with thresh 100% & level 2% settings will work just as the noise gate above

- an fx loop block with a mono cable connected between send and return will work just the same (but also read point 2 below)

- do it with an amp with medium-low gain and, moving it between pre and A or post paths, you'll hear a significant difference in gain/ovedrive/distortion, not only level difference]



OK now that you heard it, let's see it in detail;


these are the REAL schemes of the pod and fx blocks routing, yes it's done by hand and I love it ;-)




As you can see the pre path is a "dual-path"

while A, B and post are all stereo paths;

at the splitting point, where the path A and B are born,

the signal coming from input-1 is splittted to the Left and Right channels of the path A

and the signal coming from input-2 is splittted to the Left and Right channels of the path B;


furthermore all fx blocks have TWO inputs and two outputs and the mono blocks do attenuate by 6dB and sum their inputs, then process the result and then split their mono output to both outputs of the block;


for those who don't know, notice that:

- "splitting" means duplicating one mono signal to two "routes"

- and summing those two identical signals means doubling the level of the original signal (which equals to 6dB more)


[and some side-notes:

- the "stereo dry & mono wet" effects are for example the pitch effects and the "dry" type delays, I'm not considering this type of effects in this post, but they work as expected from the scheme you see above;

- you can find a list of all the fx blocks divided by type here:


where "stereo dry & mono wet" blocks are called "Stereo Thru/Mono Effect" which I personally find less clear

- the mixer control named as "pan" is actually a "balance" control because if you move it to one side (e.g.: left) it acts on the stereo or dual mono signal by doing NOTHING on that side (left) and ATTENUATING the opposite side (right)]



So, summarizing, if you only activate input-1, in the pre path, the first mono effect is attenuating the input 1 and 2 and summing them, but, since input-2 is actually silence, you loose 6dB;

in A, B and post paths the effects are receiving a doubled signal on L/R, so the mono blocks, attenuating and summing the two signals, receive the right signal level to process


so using "same" or "guitar" for input-2 does not mean to gain anything, but having a constant doubled signal wich is compensated by a 6dB attenuation in each mono summing it encounters in his flow

please note that I am NOT saying that using only input-1 is wrong, you just need to know that this can give you different gain results depending on the position of the first mono effect


with only input-1 active (Guitar/Variax) and the same parameter values, this:



is giving you more distortion than that:



now, if you use those two setups with "Input-1: Guitar / Input-2: Same", you get EXACTLY the same sound with both


and this is something that can not be ignored

...don't know how to be more clear than that

  • 12

#197712 Amp Room. Every amp in a setlist for a Strat and a Les Paul

Posted by brue58ski on 13 February 2017 - 05:50 AM

I have created a setlist that has every amp in it including the bass amps. Each amp has the same blocks in them although for some amps I had to drop a block to fit them in. The standard block line up is


Volume Pedal-Chrome Wah-Minotaur-Amp-Cab-IR-Parametric EQ-Trinity Chorus-Transistor Tape-Chamber.


Here's a pic

Attached File  Helix.jpg   24.6KB   47 downloads


I separated the amp and cab so I could experiment with different cabs.  The parametric EQ already has each parameter assigned to snapshots to make it easy to compare different settings using snapshots.

The Distortion Chorus Delay and Reverb are assigned to footswitches 8-11 respectively. Each patch starts with no effects on. I have a Variax. Each amp has a patch created for it with a Strat bridge pickup and a Les Paul bridge pickup. Each amp is labeled with it's real name and an St for Strat and LP for Les Paul to indicate what guitar is programmed into it.

Each patch has 4 snapshots that are assigned to the amp's drive from 10 to less dist to less dist to clean, as much as I could. Some amps never lose the distortion and some amps are always clean. I went through several processes to determine what those settings were. So the different snapshot levels may not be perfect but you can easily change them to suite your own taste. Each snapshot is labeled with the amp's drive setting. You need to set your global settings to have the Snapshots on the top row and the Effects on the bottom row. Now you can just select a snapshot to get a quick idea of what each amp is capable of drive wise.

The output levels are set for the XLR's. The XLR Global setting is on Mic. The Volume knob is Full. The Global EQ's overall level is at -14.0 dB. This should get you a mic level signal at the XLR's outputs. This took awhie to do. I can see why people decide to charge for a bunch of patches but I left all the effects and amps at their default settings so it was more grunt work than creativity. Just changed the drive and channel settings.. So ther you go. A room full of amps with FX, a Strat and a Les Paul hooked up to each one.


In order to attach this file to this post I had to change the extension to txt. Be sure to change it back to hls to load it.

Attached Files

  • 11

#171896 GearBox on Mac OSX El Capitan

Posted by manchatz2 on 03 September 2016 - 11:37 AM

The solution is easy and doesn't require any additional computer, you can solve it directly in you own:


Step 1: Mount your dmg file double clicking on it.




Step 2: Open the mounted file (as shown in 1 in the pic), then right click on the file GearBox.mpkg (as shown in 2 in the pic)




Step 3: Click in the option "Show the content of the file" (or something similar in english, my computer is in polish :) )




Step 4: You will see a folder called "Contents" ( red 1 in the pic), inside it some file and among them the folder "Packages", open it, then you will see the installator files, double click on GearBox.pkg (red 2 in the pic) and voilá! you can install the program in your brand new mac.





Good luck and keep playing!

  • 11

#164595 Anyone Else Underwhelmed?

Posted by radatats on 14 July 2016 - 07:21 PM

Yes.  Yes you are.

  • 11

#133739 Wow Just got Helix....sound study vs Fractal

Posted by rstepan on 25 January 2016 - 09:38 PM

The Line 6 genius collective created the most versatile and beautiful pedal...Helix
I have the Fractal FX II and making a comparison with the new Helix
The user interface on the Helix is second to none....period
You don't need to read the manual...it's like an IPad...completely intuitive .
The large screen is really a work of genius....and building new patches takes less than a minute
Light years ahead of any floor pedal
theFractal is very, very good...but the Helix delivers on par or better sound without the hours needed to build an amp from scratch......I would rather be playing guitar than programming patches......
Line 6 really improved their amp modeling and the real test is turning down your guitar volume....the Helix responds like a real amp and cleans up beautifully .....very sensitive to your picking...very amp like...
Here is my first week summary of this new guy....
2. Sonic realism and clean signal with latest and greatest chip set....
A. The Main Processors - Analog Devices ADSP-21469 SHARC Processors
3. Touch capacitive footswitches......brilliant
4 scribble pad for each footswitch. ...the best idea for live playing...no more tape-sharpie
5. Effects are better than TC Electronics and more sonically matched to the modern guitar
6. IR cab capabilities ....future cool
7. 4 sends. 4 receives all assignable.....what look out Fractal you've been served!
8. More ins and outs on the back for any possible setup
9."phantom powered mic input....
10. Create multiple everything....different signal paths....
11. Huge main User interface
12. I Can see the tuner from 100 ft away

It is easy to believe they spent 6 years developing this Flagship processor
They really designed this with the working guitarist professional in mind and have loaded it with
So many positives....and the sound is beautiful.....I have mine patched to my Mesa head and Orange Th30,
Marshall 40c and Hughes and Kettner 38 all at the same time....using different signal paths....at gigs
It sounds so 3 dimensional and warm,
  • 11

#122498 Links to original modeled FX manuals and specs

Posted by PiFromBRC on 04 November 2015 - 02:26 PM

I'm printing up the manual and cheat sheet for the Helix (c'mon....27th).  I'm a documentation junkie with a serious highlighter addiction. My understanding (as read from other threads) is that the interface for specific amps and stomp boxes are modeled on the interface for the originals.  


In another thread I suggested that we compile a list of links for the original stomps, amps, etc., that are modeled in the Helix. Here is what I have so far.  Please note that Line 6 originals are not part of this list.


I've done my level best finding actual source content.  I've included notes where I felt they were needed.  Feel free to jump on correcting anything or adding items.


If any of the L6 guys happen to feel the love, I'm number 40 in line at MF, my Gear Head is Tom at 3077, and I would LOVE to be bumped up on that list. :P 


Distortion Models


Minotaur:            Klon Centaur




Drive:                    Fulltone OCD                    




Driver:                  Chandler Tube Driver





OD:                        DOD OD-250

(note:  Not much here)



Scream 808:        Ibanez TS808 Tube Screamer




D9:                         MAXON SD9 Sonic Distortion




Disto:                    Pro Co Rat




Fuzz:                      Arbiter FuzzFace




Fuzz:                      Electro-Harmonix Big Muff Pi




Fuzz:                      Z.Vex Fuzz Factory

(note: I’m not sure this is the correct one, but it is the only one I could find)




Fuzz:                      Tycobrahe Ocatavia

(note:  This link is for a replica.  Best I could find.  If somebody can find a link to the actual original, please provide)



Megaphone:      Megaphone

(note:  I’m presuming they are talking about the Voicetone X1.  If not, somebody please correct)






Squeeze:             MXR Dyna Comp



LA Studio

Comp:                   Teletronix LA-2A



http://lcweb2.loc.go...g Amplifier.pdf




10 Band Graphic

EQ:                         MXR Ten Band Graphic EQ






Optical Trem:     Fender Optical Tremolo Circuit

(note:  This is for a feature, so here is a link to an article on the circuit)



60’s Bias

Trem:                    Vox AC-15 Tremolo

(note:  This is for a feature, so here is a link to the amp)




Script Mod

Phase:             MXR Phase 90


(note: It is a flashed-base site so you need to click on the "manual" tab



Vibe:                Shin-ei Uni-Vibe


(note:  I have not been able to find an actual scan of the manual.  This is a site which offers one unit for sale and includes a picture of the manual's text seventh picture from left)



Flanger:               MXR 117 Flanger




Flanger:               A/DA Flanger

http://www.adaamps.c...nal FLNGMAN.pdf



Flange:                 Electro-Harmonix Deluxe EM




Chorus:                                BOSS CE-1


(note:  Click on Manual and/or schematics link to DL pdf)



Chorus:                                DyTronics Tri-Stereo Chorus


(note:  I believe this is  the correct one to that which they modeled)



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#116452 Just canceled my order at MF

Posted by Digital_Igloo on 01 October 2015 - 05:33 PM

LOL! Of course you dont.


With all due respect, who do you work for (rhetorical)? And how important is it to promote the product features in a positive light? And if like many folks you DID prefer the software editor to futzing with your feet, would you really make that statement in public on your employers site?


Im jes' sayin... I can understand the importance of the position you present on the advantages of editing with your feet on a distant screen then up close with your hands looking at a computer monitor. But old timers like me will find it difficult seeing details on the floor while standing. And thats just one of several good reasons why I question the validity of this feature for many folks.


By comparison, putting down your guitar pick and picking up a mouse is a really crappy experience, and completely destroys one's creative flow. There's a reason why so many people prefer stomboxes and an amp, and it's not always because of the sound. Helix replicates much of this experience.


Use one, and then we'll talk.

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#94457 Global EQ Frequency Response Plots

Posted by pfsmith0 on 20 April 2015 - 07:06 PM

I took my HD500 in after upgrading it to 2.62 and measured the frequency responses of the Global EQ. I used an Audio Precision to generate a 100mV RMS signal into the Guitar input (set to Normal) and listen to the SPDIF output. I used a blank patch and panned Paths A/B to full L/R, respectively.


Things aren't nearly as interesting as the FX EQs (plotted herefor reference) because there are no % labels. Line 6 properly labeled the actual filter parameters and, based on my measurements, they did a pretty good job of getting them right. L/R balance is perfect. No surprises, although my measured Q was x2 what their label says. Not a big deal in my book. Still, attached here are half the graphs. Due to upload filesize limits I had to spread the plots out over two messages. The rest of the plots follow below.

Attached Files

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#161194 Adjust your Global EQ..... you may be surprised.

Posted by mileskb on 26 June 2016 - 04:18 PM

So on a whim, and because I have easy access to a Real Time Analyzer and a reference microphone, I spent a few moments sending pink noise into the Helix and adjusting the Global EQ until the RTA showed essentially flat.   I then set the low cut at 72Hz and the High Cut at 9.5 KHz and WOW !!!!!!


Every patch I have now sounds soooo much better.


For speakers I'm using my go to Genz Benz custom cab that's loaded with EV 12's and is ported and a QSC 100 watt solid state stereo amp.


I think it's worth the few moments it takes to do this.   Even if you have an FRFR system, I'm guessing it's not as "flat" as you might expect.


I'll so some audio and some pictures to show what I did.   Don't get me wrong, the rig sounded great before, but it sounds so much better now.  So much more clarity.   I wish the global EQ was more like a 5 band instead of a 3 band, but playing with the freq, q and gain of each band worked well.   I don't think I increased ANY frequencies, it was all a matter of cutting, which is overall better anyway.


This all came about because I got to thinking that any time I set up a PA system, the first thing is to put a reference signal through (admittedly it's sometimes just familiar music) and I adjust the EQ on the mains so that reference sounds good in the room.  As the Helix is designed mainly to feed a PA, if I'm just using a speaker setup, even if it was PA speakers, or especially if it was PA (FRFR) speakers, I would set their EQ to a reference before I sent anything else.  I honestly didn't think it would make a difference, but it sure did.

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#132721 New FW on the way

Posted by Digital_Igloo on 20 January 2016 - 07:17 AM

I agree with the question of why it's not being mentioned in here by L6.

DI or Phil???? Shouldn't those announcements be made here as well if not first?

Dunno. Line 6 has a lot of strict rules and guidelines regarding forum etiquette (which I routinely ignore at my peril), but none of us have anything close to "web ambassador" in our job descriptions, nor does Line 6 request much less expect much less require any of us to participate in any fashion. I jump all over the place (probably 30 or so sites—thanks, Google alerts!) and answer non-leading questions when they're asked. Other Line 6 product manager types avoid forum interaction like the plague; they're a lot smarter than I am.


Besides, if there's a single Helix thread that people read, it's the 18,345-post, 1,414,171-view behemoth on TGP. Trust that within minutes, any notable Helix news will find its way to the Line 6 forums, Facebook, YouTube, and forum.fractalaudio.com. In other cases, stuff is dropped here first and then finds its way elsewhere. This isn't The Washington Post; people don't get yelled at for losing a scoop to the LA Times.


Anyway, if it makes you all happy, here's a marginally juicy morsel, now that we're within spitting distance of NAMM: 1.06 will include 3 new amp models (all based on a single amp) and 9 new effects models.

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