FREE SOFTWARE DOWNLOADS

Go
  • Beta
  • Archived

Here are your search results:

Drivers      

Line 6 POD Go Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.96.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 13 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

HX Edit      

HX Edit

HX Edit 3.51 Release Notes

HX Edit 3.51 (released November 29, 2022) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to HX Edit and Helix Native software; there is currently no 3.51 firmware planned for Helix and HX hardware.
 

Bug Fixes in 3.51

  • Modulation > FlexoVibe and 4-Voice Chorus’ Rate parameters do not display a tempo sync toggle—FIXED
  • When adjusting the new Cab > Dual block’s Delay parameter with a mouse wheel, HX Edit can crash—FIXED
  • When using an Apple Magic Mouse 2, the scroll wheel resolution (and to a lesser extent, a 2-finger scroll on the Mac’s touchpad) is much more coarse in 3.50 than in 3.15—FIXED
  • Other minor fixes and improvements

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 35 MB )
Get Download

HX Edit      

HX Edit

HX Edit 3.51 Release Notes

HX Edit 3.51 (released November 29, 2022) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to HX Edit and Helix Native software; there is currently no 3.51 firmware planned for Helix and HX hardware.
 

Bug Fixes in 3.51

  • Modulation > FlexoVibe and 4-Voice Chorus’ Rate parameters do not display a tempo sync toggle—FIXED
  • When adjusting the new Cab > Dual block’s Delay parameter with a mouse wheel, HX Edit can crash—FIXED
  • When using an Apple Magic Mouse 2, the scroll wheel resolution (and to a lesser extent, a 2-finger scroll on the Mac’s touchpad) is much more coarse in 3.50 than in 3.15—FIXED
  • Other minor fixes and improvements

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 98 MB )
Get Download

Helix Native      

Helix Native

Helix Native 3.51 Release Notes

Helix Native 3.51 (released November 29, 2022) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to Helix Native and HX Edit software; there is currently no 3.51 firmware planned for Helix and HX hardware.

Bug Fixes in 3.51

  • Modulation > FlexoVibe and 4-Voice Chorus’ Rate parameters do not display a tempo sync toggle—FIXED
  • When adjusting the new Cab > Dual block’s Delay parameter with a mouse wheel, HX Edit can crash—FIXED
  • When using an Apple Magic Mouse 2, the scroll wheel resolution (and to a lesser extent, a 2-finger scroll on the Mac’s touchpad) is much more coarse in 3.50 than in 3.15—FIXED
  • Helix Native—While sending MIDI to Helix Native while its window is closed, the DAW can crash—FIXED
  • Other minor fixes and improvements

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 100 MB )
Get Download

Helix Native      

Helix Native

Helix Native 3.51 Release Notes

Helix Native 3.51 (released November 29, 2022) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to Helix Native and HX Edit software; there is currently no 3.51 firmware planned for Helix and HX hardware.
 

Bug Fixes in 3.51

  • Modulation > FlexoVibe and 4-Voice Chorus’ Rate parameters do not display a tempo sync toggle—FIXED
  • When adjusting the new Cab > Dual block’s Delay parameter with a mouse wheel, HX Edit can crash—FIXED
  • When using an Apple Magic Mouse 2, the scroll wheel resolution (and to a lesser extent, a 2-finger scroll on the Mac’s touchpad) is much more coarse in 3.50 than in 3.15—FIXED
  • Helix Native—While sending MIDI to Helix Native while its window is closed, the DAW can crash—FIXED
  • Other minor fixes and improvements

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 124 MB )
Get Download

Drivers      

Line 6 Helix Driver2

This driver version includes a Windows 10 bug fix and is for Windows 10 and newer.

Windows 7 and Windows 8 customers should continue to use driver version 1.96.

Bug Fixes

  • Driver2 1.97 driver causes Cakewalk to freeze/crash on Windows 10 22H2 -fixed

Compatible OS: Windows 10, Windows 11
( 13 MB )
Get Download

Drivers      

Line 6 HX Stomp Driver2

This driver version includes a Windows 10 bug fix and is for Windows 10 and newer.

Windows 7 and Windows 8 customers should continue to use driver version 1.96.

Bug Fixes

  • Driver2 1.97 driver causes Cakewalk to freeze/crash on Windows 10 22H2 -fixed

Compatible OS: Windows 10, Windows 11
( 13 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

Drivers      

Line 6 Catalyst Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.96.0.2.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

Drivers      

Line 6 Driver2

This driver version includes Windows bug fixes and is for Windows 10 and newer.
Windows 7 and Windows 8 customers should continue to use driver version 1.95.

Bug Fixes

  • [BSOD] after disconnecting audio device


Compatible OS: Windows 10, Windows 11
( 7 MB )
Get Download

HX Edit      

HX Edit

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 98 MB )
Get Download

HX Edit      

HX Edit

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

Updating Helix Native

  1. Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. Click the gear icon in the lower left, select the Presets/IRs tab, and then click Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they have only one setlist. In these cases, at the top of the preset list, click the yellow EXPORT to export the setlist.
  2. Quit your DAW and download and install Helix Native 3.50:
    • Helix Native 3.50 (macOS): link
    • Helix Native 3.50 (Windows): link
  3. Open your DAW and open an instance of Helix Native.
  4. OPTIONAL: The only way to hear 3.50's new factory presets is to restore them. IMPORTANT! MAKE SURE YOU'VE EXPORTED A BUNDLE (OR ANY IMPORTANT SETLISTS) FIRST, AS RESTORING FACTORY SETLISTS WILL ERASE ALL YOUR WORK! Click the gear icon in the lower left, select the Presets/IRs tab, and then click Restore Factory Setlists. Click Yes.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 35 MB )
Get Download

Helix Native      

Helix Native

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

Updating Helix Native

  1. Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. Click the gear icon in the lower left, select the Presets/IRs tab, and then click Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they have only one setlist. In these cases, at the top of the preset list, click the yellow EXPORT to export the setlist.
  2. Quit your DAW and download and install Helix Native 3.50:
  3. Open your DAW and open an instance of Helix Native.
  4. OPTIONAL: The only way to hear 3.50's new factory presets is to restore them. IMPORTANT! MAKE SURE YOU'VE EXPORTED A BUNDLE (OR ANY IMPORTANT SETLISTS) FIRST, AS RESTORING FACTORY SETLISTS WILL ERASE ALL YOUR WORK! Click the gear icon in the lower left, select the Presets/IRs tab, and then click Restore Factory Setlists. Click Yes.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 100 MB )
Get Download

Helix Native      

Helix Native

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

Updating Helix Native

  1. Before updating Helix Native, it is highly recommended that you export a preset/setlist bundle. Click the gear icon in the lower left, select the Presets/IRs tab, and then click Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they have only one setlist. In these cases, at the top of the preset list, click the yellow EXPORT to export the setlist.
  2. Quit your DAW and download and install Helix Native 3.50:
  3. Open your DAW and open an instance of Helix Native.
  4. OPTIONAL: The only way to hear 3.50's new factory presets is to restore them. IMPORTANT! MAKE SURE YOU'VE EXPORTED A BUNDLE (OR ANY IMPORTANT SETLISTS) FIRST, AS RESTORING FACTORY SETLISTS WILL ERASE ALL YOUR WORK! Click the gear icon in the lower left, select the Presets/IRs tab, and then click Restore Factory Setlists. Click Yes.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 124 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 24 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 26 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 26 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 26 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 24 MB )
Get Download

Firmware      

 

Helix/HX 3.50 (released November 3, 2022) includes 24 new cabs running on an all new cab engine, 5 new amps, 7 new effects, new features, additional improvements, and bug fixes, and is strongly recommended for all users.

 

How do I update to 3.50?

IMPORTANT! The 3.50 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes significant improvements to Helix Core and thousands of IR files.

 

Updating Helix/HX Hardware

  1. With Helix/HX connected to your computer, launch HX Edit (3.01 or higher), and make sure you're signed in. HX Edit knows when a new update is available and will walk you through the entire update procedure for both hardware and software, including backing up everything to your computer. IMPORTANT! If you're running HX Edit 3.00 or older, download HX Edit 3.50 and repeat step 1.
  2. Helix Floor/Rack/LT only: Halfway through the update to 3.50, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there.
    • MoveAlong.jpg.178f5fc3b9e6bdeec47d4a5935e47444.jpg
    • HX Edit will display a message indicating the device must be reset. Click resume and wait for the second part of the update to complete.
  3. Perform a factory reset. IMPORTANT! MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!
    • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
    • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
    • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
    • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
    • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp
  4. OPTIONAL: Performing a factory reset loads the new 3.50 Factory Presets, but restoring from your backup will overwrite these. Spend some time exploring these and export the factory presets you want to keep (or drag them to your desktop). If you have unused setlists in Helix Floor/Rack/LT, you can also export the entire FACTORY 1 bundle for loading into an unused setlist later.
  5. From the top File menu, select Restore From Backup... If you don't have any important presets in Setlist 1, click the disclosure triangle next to Presets and uncheck the first setlist's box; this will retain 3.50's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup.

NOTE: Presets created in 3.50 are not compatible with earlier firmware versions.

 

I updated but why don't I see [Model X] in HX Edit?

HX Edit can't magically pull new model names and graphics from your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.50?" above).

 

My Helix/HX is at version X.XX. Can I go straight to 3.50?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice and will take notably longer than 30 minutes. This is normal.

 

 

All New Cab Engine/New Cabs in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

image.png

 

Thousands of impulses were captured with Sound Design's all new IR capture system and consolidated into 20 guitar cabs and 4 bass cabs. As such, cab subcategories have been updated:

  • Single—One new cab
  • Dual—Two new cabs
  • Legacy Single—One older Hybrid cab
  • Legacy Dual—Two older Hybrid cabs

Amp+Cab subcategories have been updated as well:

  • Guitar—Guitar Amp+new cab
  • Bass—Bass Amp+new cab
  • Guitar+Legacy—Guitar Amp+older Hybrid cab
  • Bass+Legacy—Bass Amp+older Hybrid cab

 

With Cab > Dual blocks, you can now also choose whether changing the first cab automatically recalls a matching cab for the second.

  1. From the Global Settings menu, select the Preferences page.
  2. Press PAGE> until you see Link Dual Cabs. When set to "On" (default), changing the first cab automatically loads a matching cab for the second. Choose this option if you want to emulate the sound of two different mics (or two of the same mic with different angles or positions) on the same cab. When set to "Off," both cabs are completely independent of one another.
  3. Alternatively, in HX Edit (and Helix Native), click the Link Dual Cabs icon. Off (left) and On (right):

 

Cab_Link.jpg

 

New Guitar Cabs

Cabs_Gutiar.jpg

 

Cab > 1x10 US Princess (Single, Dual), captured from* the 1x10" Fender Princeton Eminence Copperhead

Cab > 1x12 Grammatico (Single, Dual), captured from* the 1x12" Grammatico LaGrange P12Q

Cab > 1x12 US Deluxe (Single, Dual), captured from* the 1×12″ Fender® Deluxe Oxford

Cab > 1x12 Cali EXT (Single, Dual), captured from* the 1x12" Mesa Boogie Extension Cab

Cab > 2x12 Blue Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30 Fawn Blue

Cab > 2x12 Double C12N (Single, Dual), captured from* the 2×12″ Fender Twin C12N

Cab > 2x12 Jazz Rivet (Single, Dual), captured from* the 2×12″ Roland® JC-120

Cab > 2x12 Mail C12Q (Single, Dual), captured from* the 2×12″ Silvertone® 1484

Cab > 2x12 Mandarin 30 (Single, Dual), captured from* the 2x12" Orange PPC212 V30

Cab > 4x10 Tweed P10R (Single, Dual), captured from* the 4×10″ Fender Bassman® P10R

Cab > 4x12 Greenback25 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12 M25

Cab > 4x12 1960A T75 (Single, Dual), captured from* the 4×12″ Marshall 1960A T75

Cab > 4x12 Blackback 30 (Single, Dual), captured from* the 4×12″ Park® 75 G12 H30

Cab > 4x12 Brit V30 (Single, Dual), captured from* the 4×12″ Marshall® 1960AV V30

Cab > 4x12 Cali V30 (Single, Dual), captured from* the 4×12″ MESA/Boogie® 4FB V30

Cab > 4x12 Mandarin EM (Single, Dual), captured from* the 4×12″ Orange Eminence

Cab > 4x12 MOO)))N T75 (Single, Dual), captured from* the 4x12" Sunn Cab w/G75T

Cab > 4x12 Uber T75 (Single, Dual), captured from* the 4×12″ Bogner® Uberkab T75

Cab > 4x12 Uber V30 (Single, Dual), captured from* the 4×12″ Bogner Uberkab V30

Cab > 4x12 XXL V30 (Single, Dual), captured from* the 4×12″ ENGL® XXL V30

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab
  • Pan (Dual only)—Moves the signal left or right across the stereo sound field. For example, if you're running a stereo playback system with two or more speakers, panning the first cab to Left 100 and the second cab to Right 100 can make your tone sound notably wider. Press the knob to return to Center
  • Delay (Dual only)—Although the new cabs in 3.50 perfectly line up with one another, there may be situations where you want to delay one side very slightly, to perhaps impart a bit of phase incoherence or at higher values, to increase the apparent stereo spread. A little goes a long way here

New Bass Cabs

Cabs_Bass.jpg

 

Cab > 1x15 Ampeg B-15 (Single, Dual), captured from* the 1×15″ Ampeg® B-15

Cab > 2×15 Brute (Single, Dual), captured from* the 2×15″ MESA/Boogie® 2×15 EV

Cab > 4×10 Garden (Single, Dual), captured from* the 4x10" Eden D410XLT

Cab > 8x10 SVT AV (Single, Dual), captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

 

New Amps in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > PV VitriolCrunch, based on* the crunch channel of the Peavey Invective (Master boost off). Peavey designed this 6L6 tube-powered monster in collaboration with Misha Mansoor of Periphery, with the goal of offering no-compromise, high-gain performance and flexibility.

 

Amp_HX_Gtr_Vitriol_Crunch.jpg

 

Amp/Preamp > PV Vitriol Lead, based on* the lead channel of the Peavey Invective (Master boost off)

 

Amp_HX_Gtr_Vitriol_Lead.jpg

 

 

New Effects in 3.50

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

Distortion > Pillars OD (Mono, Stereo), based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Vital Dist (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Amplitude side)

 

HX_DIST_Vital_Dist.jpg

 

  • Gain—Sets the amount of distortion
  • Filter—Applies a high cut (or low pass) filter to the signal, letting you remove treble frequencies. At 0.0, no filter is applied
  • Level—Sets the overall level of the block
  • Clipping—Chooses the type of clipping circuit—Opamp, Asymmetrical, or Symmetric[al]
  • Octave—Blends in a signal one octave up. At 0.0, no octave signal is heard. Works best when playing single notes

 

Distortion > Vital Boost (Mono, Stereo), based on* the Earthquaker Devices Life pedal (Magnitude side)

 

HX_DIST_Vital_Boost.jpg

 

  • Boost—Sets the output level of the boost circuit

 

Modulation > 4-Voice Chorus (Mono, Stereo), Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > FlexoVibe (Mono, Stereo), Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Reverb > Dynamic Ambience (Mono, Stereo), Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies 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
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver (Mono, Stereo), based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

 

New Features in 3.50

IR > Dual Block

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

 

DualIR.jpg

 

3.50 renames the Impulse Response > Mono subcategory as "Single" and adds a new subcategory: Dual. The IR > Dual block can accommodate two 1024-point IRs, you can pan them independently, flip the polarity of either one, and even slightly delay one vs. the other to account for any phase inconsistencies between IR developers.

  • [A] IR Select—Selects the IR file for the first (A) slot
  • [A] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [A] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [A] Level—Sets the level of the first (A) IR
  • [A] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [A] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [B] IR Select—Selects the IR file for the first (A) slot
  • [B] Low Cut—Applies a low cut (high pass) filter to the IR, letting you remove the signal below a certain frequency
  • [B] High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the signal above a certain frequency
  • [B] Level—Sets the level of the first (A) IR
  • [B] Pan—Pans the IR left or right between stereo speakers. Press the knob to reset to Center
  • [B] Polarity—Flips the polarity of the IR's waveform. If your IR block suddenly makes everything sound thin, try setting this to "Inverted" to see if it helps
  • [Both] Delay—Some IR files don't line up perfectly, especially when mixing and matching files from two different developers. This can result in phase incoherence or a thin, unfocused tone. Turning this knob clockwise delays the B side IR by a tiny bit; turning it counterclockwise delays the A side by a tiny bit. Press the knob to return Delay to "None"
  • [Both] Mix—Controls the wet/dry mix of the IR block. For Cab IRs, you should leave this set to 100%, but when utilizing body resonance IRs for acoustic guitars, you may want to find the right blend between the IR and dry signal

 

New Cabs and IRs now use 66-80% Less DSP

Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects [IRs only], HX Stomp, HX Stomp XL

 

350_DSP.jpg

 

Due to further improvements to Helix Core, new Cabs and 1024-point IRs use roughly 66% less DSP as in 3.15 or earlier. Even the new IR > Dual block uses less DSP than a single IR block in 3.15. 2048-point IRs use roughly 80% less DSP, although they still use a lot of memory, so they're still limited to one instance per path. NOTE: Older Hybrid cabs use the same amount of DSP as in earlier firmware.

 

Disable Snapshot Control over Parameter Assignments

Helix Floor, Helix Rack/Control, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Prior to 3.50, when assigning a parameter to a physical control (EXP 1, footswitch, etc.) or MIDI, Snapshots are also always assigned. In 3.50, they still are, but there's an additional "Snapshot Control" parameter on the Controller Assign page that lets you bypass this behavior.

  1. From the Controller Assign menu, select the desired parameter and turn Knob 2 (Controller) to select any value other than "None" or "Snapshots." A second page appears.
  2. Press PAGE> and turn Knob 1 (Snapshot Control) to "Off." It's set to "On" by default for all parameters.

 

320_DisableSnapshotControl.jpg

 

 

Other Changes and Improvements in 3.50

  • Encoder ballistics have been drastically improved. For example, tonestack values can go from 0.0 to 10.0 with one turn
  • Helix Floor/Rack/LT only—SHORTCUT: While the Model List is open, pressing [AMP] jumps to highlight the Amp category without having to scroll down to it
  • Helix Floor/Rack/LT only—The Impulse Response category's name has been shortened to "IR" (now matches that of HX Stomp/XL) to accommodate a wider subcategory column in the model list as well as accommodate longer IR names in the inspector header

 

 

Bug Fixes in 3.50

  • Reverb > Shimmer's Pitch parameter was inconsistent between hardware and HX Edit—FIXED
  • Reverb > Dynamic Room's Mot Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Stereo > ADT's Mod Rate value range was inconsistent between hardware and HX Edit—FIXED
  • Delay > Tesselator and Ratchet's Operation is set to "Mute All," the signal would be muted even when bypassed—FIXED
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 (SAVE+EXIT) while in Pedal Edit mode did not always save edited parameters when controlled by snapshots—FIXED
  • After loading a preset containing a Command Center > Instant > Ext Amp command, EXP Pedal 1 could sometimes stop functioning properly—FIXED
  • When a snapshot is reloaded, a duplicate MIDI PC message was not sent—FIXED
  • When many Command Center commands are assigned, snapshot names could sometimes disappear—FIXED
  • While in tuner view, attempting to restore globals could sometimes cause Helix to crash—FIXED
  • When assigning block bypass to an expression pedal, Behavior > "Heel Down" or "Toe Down" could sometimes revert to "Toggle"—FIXED
  • HX Stomp/HX Stomp XL only—Upon receiving MIDI CC73, changing views was not functioning as expected—FIXED
  • HX Stomp/HX Stomp XL only—Overly long favorite names could result in graphical glitches—FIXED
  • HX Stomp XL only—After changing presets using footswitches, capacitive sensing could become disabled until pressing a stomp switch—FIXED
  • HX Stomp XL only—When a Command Center > Snapshot Up or Down command is assigned to Footswitch 7 or 8, an extra Snapshot Up/Down message could occur—FIXED
  • HX Edit only—Copying and pasting an IR with more than 31 characters in the name would truncate the IR's name—FIXED
  • HX Stomp w/ HX Edit only—After restoring from a 3.01 backup, if path B exists, blocks move 1 position to the right—FIXED
  • Many other minor fixes and improvements

 

 

Known Issues in 3.50

  • In some cases, the Input block's Variax Tone Knob setting is not recalled across preset changes
  • In some cases, sending MIDI CC49-59 (footswitch emulation control) to engage stomp switches assigned to snapshot commands can result in inconsistent behavior. Instead, send Helix CC69 messages (values 0-7) to recall snapshots
  • In rare cases, attempting to fill all 128 user IR locations can result in a "Failed to get impulse names" -8207 error and the device will appear to be frozen on "Transferring data." In the meantime, load 127 or fewer IRs at a time
  • If Global Settings > Footswitches > Stomp Select is set to "Press" or "Touch+Press," engaging multiple block bypasses assigned to the same switch (set to momentary) can sometimes appear to lag
  • In the Command Center, any MIDI notes assigned to a footswitch can sometimes unexpectedly trigger upon snapshot changes.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 3 MB )
Get Download

Line 6 Updater      

Line 6 Updater

This update includes minor bug fixes.

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 71 MB )
Get Download

Line 6 Updater      

Line 6 Updater

This update includes minor bug fixes.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 50 MB )
Get Download

Drivers      

Line 6 Helix Driver2

This driver version includes Windows 10 bug fixes and is for Windows 10 and newer.

Windows 7 and Windows 8 customers should continue to use driver version 1.96.

Compatible OS: Windows 10, Windows 11
( 13 MB )
Get Download

Drivers      

Line 6 HX Stomp Driver2

This driver version includes Windows 10 bug fixes and is for Windows 10 and newer.

Windows 7 and Windows 8 customers should continue to use driver version 1.96.

Compatible OS: Windows 10, Windows 11
( 13 MB )
Get Download

Firmware      

 

Spider V Firmware 2.01 Release Notes

Spider V Firmware 2.01.0 is a FREE firmware update that includes new features, fixes, stability improvements, and optimizations for Spider V and Spider V MkII amplifiers. It is highly recommended that all Spider V users perform this update.

This update will not affect any presets that have been modified by the user. If you wish to reload the factory presets, this can be performed by pressing and holding the FX2 and FX3 button and then pressing the save button (the unit will soft reboot).

Thank you for using Spider V!

New Features:

  • Classic Speaker Mode – Added a new parameter within cabinet settings called "Speaker". The value "Classic" overrides the selected cabinet model and routes the processed guitar signal to only the woofer, which has been re-voiced for each model of Spider V. This allows Spider V to deliver a more familiar combo amp experience. This can also be set to "Full Range" which operates as it did before –with the selected cabinet and mic modeling. USB audio will still route to the full range speaker system as before.
  • New Presets – New presets for vintage amps by a renowned tube amp builder that take advantage of the new classic speaker mode. The entire preset bundle has been revised to take advantage of this new feature with the exception of the Bass/Acoustic Guitar presets which still utilize the full range speaker mode. New and revised artist presets are also included. To get these new presets, we recommend to first create a backup of your existing presets, then perform the Factory Reset.
  • Preset Labels – Each preset now has a contextual label that is helpful for identifying the purpose of the preset or its author.

Improvements:

  • All Amp model default values have been revised.
  • All FX model default values have been revised.

Compatible OS: Mac OS X, Windows 7, Mac OS Yosemite, iOS 8, Windows 10, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 2 MB )
Get Download

Drivers      

Intel/M1

This driver provides support for Apple Silicon systems (M1 and greater) for POD POD HD500 family, POD Studio and Toneport devices. This driver is for macOS 11 Big Sur (Intel/Apple Silicon) and greater.

For macOS Catalina or earlier, please use driver 7.6.8.

Installation of this driver will require lowering your system security settings. Please click here for installation instructions.

If you have previously installed the 7.6.8 driver on an Apple Silicon (M1 or greater) system, you will need to remove the 7.6.8 driver by following these instructions.

Compatible OS: Mac OS X, macOS Big Sur, macOS Monterey, macOS Ventura
( 3 MB )
Get Download

Line 6 License Manager      

Line 6 License Manager

This version of Line 6 License Manager adds support for macOS Big Sur and macOS Monterey.

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 2 MB )
Get Download

Firmware      

 

  • Improves charging functionality when the G10TII transmitter is docked in supported receiver devices. 
  • Resolves compatibility issues with certain active instruments (specifically, entering and exiting from sleep mode).
  • Change to G10TII LED behavior – when the G10TII is connected to an instrument and transmitting, the G10TII LED now flashes a faster red (repeating ½ second on then ½ second off). This change allows for easier discernment between when the transmitter is charging vs. transmitting.
  • Once you install the firmware update, we will collect personally identifiable information (PII) data for the purpose of determining which products have been updated. You can find further information at: https://yamahaguitargroup.com/privacypolicy/

Compatible OS: Mac OS X, Windows 7, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 28 KB )
Get Download

Firmware      

 

  • Improves charging functionality when the G10TII transmitter is docked.
  • Once you install the firmware update, we will collect personally identifiable information (PII) data for the purpose of determining which products have been updated. You can find further information at: https://yamahaguitargroup.com/privacypolicy/

Compatible OS: Mac OS X, Windows 7, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 46 KB )
Get Download

Firmware      

 

  • Improves charging functionality when the G10TII transmitter is docked. 
  • Known issue – for users of the original G10T transmitter only, the G10S receiver’s battery LED segment will now indicate a solid red LED for the low battery state, without flashing.
  • Once you install the firmware update, we will collect personally identifiable information (PII) data for the purpose of determining which products have been updated. You can find further information at: https://yamahaguitargroup.com/privacypolicy/

Compatible OS: Mac OS X, Windows 7, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 47 KB )
Get Download

Firmware      

 

  • Improves charging functionality when the G10TII transmitter is docked.
  • Once you install the firmware update, we will collect personally identifiable information (PII) data for the purpose of determining which products have been updated. You can find further information at: https://yamahaguitargroup.com/privacypolicy/

Compatible OS: Mac OS X, Windows 7, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 384 KB )
Get Download

Firmware      

 

  • Improves charging functionality when the G10TII transmitter is docked.
  • Once you install the firmware update, we will collect personally identifiable information (PII) data for the purpose of determining which products have been updated. You can find further information at: https://yamahaguitargroup.com/privacypolicy/

Compatible OS: Mac OS X, Windows 7, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 384 KB )
Get Download

Line 6 Updater      

Line 6 Updater

This Line 6 Updater release is recommended for updating firmware of Relay G10TII transmitter, Relay G10 receiver, and Relay G10S receiver.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 50 MB )
Get Download

Line 6 Updater      

Line 6 Updater

This Line 6 Updater release is recommended for updating firmware of Relay G10TII transmitter, Relay G10 receiver, and Relay G10S receiver.

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 71 MB )
Get Download

Firmware      

 

140_Splash.jpg

 

POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.40?

Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40:

 

My POD Go is at version 1.XX. Can I go straight to 1.40?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go.

 

New Amp in 1.40

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

 

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

 

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

 

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Effects in 1.40

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal.

  • Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio)
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Spread—Sets the overall stereo spread of the chorus

 

FX_HX_DELAY_ADT.jpg

Delay > ADT, Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. 
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

TesselatorDiagram.jpg

 

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1
  • Pitch B—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about
  • Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant
  • Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down

 

Bug Fixes in 1.40

  • The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED
  • When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED
  • If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset
  • POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED
  • POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED
  • POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED
  • POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED
  • Other minor fixes and improvements

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 3 MB )
Get Download

POD Go Edit      

POD Go Edit

140_Splash.jpg

 

POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.40?

Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40:

 

My POD Go is at version 1.XX. Can I go straight to 1.40?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go.

 

New Amp in 1.40

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

 

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

 

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

 

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Effects in 1.40

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal.

  • Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio)
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Spread—Sets the overall stereo spread of the chorus

 

FX_HX_DELAY_ADT.jpg

Delay > ADT, Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. 
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

TesselatorDiagram.jpg

 

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1
  • Pitch B—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about
  • Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant
  • Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down

 

Bug Fixes in 1.40

  • The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED
  • When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED
  • If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset
  • POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED
  • POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED
  • POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED
  • POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED
  • Other minor fixes and improvements

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 26 MB )
Get Download

POD Go Edit      

POD Go Edit

140_Splash.jpg

 

POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.40?

Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40:

 

My POD Go is at version 1.XX. Can I go straight to 1.40?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go.

 

New Amp in 1.40

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

 

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

 

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

 

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Effects in 1.40

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal.

  • Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio)
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Spread—Sets the overall stereo spread of the chorus

 

FX_HX_DELAY_ADT.jpg

Delay > ADT, Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. 
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

TesselatorDiagram.jpg

 

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1
  • Pitch B—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about
  • Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant
  • Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down

 

Bug Fixes in 1.40

  • The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED
  • When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED
  • If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset
  • POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED
  • POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED
  • POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED
  • POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED
  • Other minor fixes and improvements

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 38 MB )
Get Download

Firmware      

 

DL4 MkII 1.01 (released July 5, 2022) includes new features, improvements, and bug fixes and is strongly recommended for all DL4 MkII users.

 

How do I update DL4 MkII to 1.01?

  1. Make sure you've installed Line 6 Updater 1.25 or later (released April 7, 2022). Earlier versions can't see DL4 MkII.
  2. Shut down all other software, especially those running audio like media players, browsers, DAWs, etc.
  3. If you have an SD card in your DL4 MkII, eject it until after the update has finished. If you don't, changes to the Looper engine while updating may cause any loop stored on the card to not play back correctly.
  4. Connect DL4 MkII to your computer via USB and launch the Line 6 Updater software.
  5. Log into your Line 6 Account. At the Select Device To Update screen, DL4 MkII should be listed and a popup reading "DL4 MkII detected" should appear.
  6. Click "Show Details" for instructions on how to reboot DL4 MkII into update mode.
  7. Reboot DL4 MkII into update mode. (You can leave the USB cable connected.) The Select device to update screen should now list: 
    • NXP0130 - Bootloader
    • Unknown
    • DL4 MkII Unknown version
  8. Click "DL4 MkII Unknown Version."
  9. Click the "Update" button for version 1.01.0.
  10. Review the release notes and click "Continue."
  11. Review the EULA and click "Continue."
  12. Wait for the update to complete and follow the onscreen instructions. (Manually reboot DL4 MkII by turning it off and back on again.)

 

Improvements in 1.01

  • The MIX knob on DL4 MkII 1.00 reflected the behavior of the original DL4 hardware. With 1.01, MIX knob tapers for MkII Delays, Legacy Delay, and Reverbs have been made more linear and the range has been extended closer to the minimum and maximum knob positions.
  • The Looper's "Play Once" function has been made more responsive to rapid button presses.
  • Improved the behavior of Tap Tempo when switching presets or toggling in and out of Looper mode
  • Improved the behavior of EXP control when a connected expression pedal is disconnected during use
  • Numerous Sound Design improvements

 

Bug Fixes in 1.01

  • Although user-selectable note subdivisions were technically saved to the preset, a bug precluded any changes from being recalled when the preset was loaded later–FIXED
  • Previous looper overdubs were not attenuating correctly, sometimes resulting in distorted audio—FIXED
  • In certain conditions when changing playback direction while in Overdub mode, audio could become corrupted—FIXED
  • In rare cases, the SD card could not be detected until ejecting and reinserting it—FIXED
  • When DL4 MkII is resolving to external MIDI clock, in some cases loading a different preset could reset the tempo to the preset's saved value—FIXED
  • In some cases, changing the Delay/Reverb routing could return either (or both) effects to their default states—FIXED
  • Numerous other minor fixes and improvements

 

Known Issues in 1.01

  • On macOS, using Line 6 Updater 1.25, the "There is a new version of Line 6 Updater available" message can interfere w/ the pop-up explaining how to update DL4 MkII. Workaround: Connect DL4 MkII to your Mac after dismissing the update message

Compatible OS: Mac OS X, Windows 7, Mac OS Yosemite, Windows 10, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 948 KB )
Get Download

Metallurgy Collection      

Metallurgy Collection

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Windows 10, Windows 11
( 651 MB )
Get Download

Metallurgy Modern      

Metallurgy: Modern

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Windows 8, Windows 10, Windows 11
( 326 MB )
Get Download

Metallurgy Thrash      

Metallurgy: Thrash

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Windows 8, Windows 10, Windows 11
( 343 MB )
Get Download

Metallurgy Doom      

Metallurgy: Doom

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Windows 8, Windows 10, Windows 11
( 333 MB )
Get Download

Metallurgy Collection      

Metallurgy Collection

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 716 MB )
Get Download

Metallurgy Thrash      

Metallurgy: Thrash

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 355 MB )
Get Download

Metallurgy Modern      

Metallurgy: Modern

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 337 MB )
Get Download

Metallurgy Doom      

Metallurgy: Doom

Metallurgy Collection 1.01 Release Notes

New Features & Improvements

  • Support added for multiple MIDI devices and automatic device detection [Standalone]
  • Coarse / Fine parameter adjustment using the Command (Mac) or Ctrl (Win) keys.

Bug Fixes

  • Several bug fixes and stability enhancements.
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 345 MB )
Get Download

Firmware      

 

This is the initial release of factory firmware for DL4 MkII.

Compatible OS: Mac OS X, Windows 7, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 894 KB )
Get Download

Line 6 Updater      

Line 6 Updater

This release adds support for DL4 MkII

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 50 MB )
Get Download

Line 6 Updater      

Line 6 Updater

This release adds support for DL4 MkII

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 71 MB )
Get Download

Metallurgy Collection      

Metallurgy Collection

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Windows 10, Windows 11
( 651 MB )
Get Download

Metallurgy Thrash      

Metallurgy: Thrash

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Windows 10, Windows 11
( 343 MB )
Get Download

Metallurgy Doom      

Metallurgy: Doom

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Windows 10, Windows 11
( 333 MB )
Get Download

Metallurgy Modern      

Metallurgy: Modern

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Windows 10, Windows 11
( 326 MB )
Get Download

Metallurgy Collection      

Metallurgy Collection

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 716 MB )
Get Download

Metallurgy Thrash      

Metallurgy: Thrash

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 355 MB )
Get Download

Metallurgy Doom      

Metallurgy: Doom

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Download the Pilot's Guide here.

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 344 MB )
Get Download

Metallurgy Modern      

Metallurgy: Modern

A Power Trio of Plugins for Metal Guitarists

The three Metallurgy Collection plugins feature amplifier and effects models drawn from the award-winning HX®family of products—ensuring outstanding sound quality and dynamic responsiveness. Each of the plugins features four amplifier types that may be paired with any of eight speaker cabinets. Two microphones may be selected from a virtual "mic locker" containing eight microphone types, and these may be combined with a stereo room mic array. Up to two third-party impulse responses (IRs) may be substituted for the factory mics. All of the microphones may be positioned in various ways and a 4-band parametric EQ allows you to sculpt the cabinet tone even further. Four pre-amplifier and three post-amplifier effects are also provided—including polyphonic pitch-shifting—as are a noise gate and a chromatic tuner.

Try the Metallurgy Collection for 15 days absolutely free - and discover what it can do for you.

Learn more at https://line6.com/metallurgy-guitar-amp-plugin/

Known Issues

We're dedicated to being as transparent as possible, and here's some not-so-great stuff that you may encounter:

  • Standalone App, Windows: ASIO error is not displayed when audio device is in use by another application.
  • Microphone Position and Distance Parameters cannot be controlled via Automation / MIDI CC
  • Coarse / Fine control of parameters via modifier key will be added in a future update.
  • Dynamic Hall's fader-based parameters behave with varying resistance when controlled via MIDI CC
  • Cannot reach dustcap edge value on MOO)))N 4x12 cabinet using mouse
  • Using mouse wheel to move microphone in Cab View does not remove grill image to expose speakers
  • Pro Tools, Logic Pro: Multi-Mono instances won't "Link" for changing presets or models

Compatible OS: Mac OS X, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 337 MB )
Get Download

Drivers      

Line 6 Catalyst Driver2

This driver provides ASIO support for Catalyst amps.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 7 MB )
Get Download

Catalyst Edit      

Catalyst Edit

fixes and issue with certain characters when entering preset names

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 19 MB )
Get Download

Firmware      

 

This is the official Production release for Catalyst 60,100, and 200 Amplifiers

For users updating from an earlier version:

IMPORTANT!   After the update is complete, you must Power down your Catalyst amplifier, then “RESET” the amplifier by holding down the “B” and “MANUAL” channel buttons while turning the power switch back on.

This will update all the presets to the new default settings

 

Compatible OS: Mac OS X, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11, macOS Ventura
( 1 MB )
Get Download

Line 6 Updater      

Line 6 Updater

This version of Line 6 Updater adds support for Catalyst amplifiers.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 50 MB )
Get Download

Catalyst Edit      

Catalyst Edit

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra
( 19 MB )
Get Download

Catalyst Edit      

Catalyst Edit

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 81 MB )
Get Download

Firmware      

 

Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

 

How do I update to 3.15?

If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware.

 

I updated but why don't I see [Model X]?

HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15:

 

 

My Helix/HX is at version X.XX. Can I go straight to 3.15?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
  • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
  • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
  • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
  • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

 

New Amp in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Helix Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

  • Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Level—Sets the overall level of the block

 

FX_HX_DELAY_Heliosphere.jpg

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

  • Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
  • FeedbackControls the overall number of repeats. To hear only one repeat, set to 0%
  • Rate—Controls the rate or speed of modulation
  • Depth—Controls the depth or amount of modulation
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
  • Rev MixControls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
  • Rev Decay—Sets the decay of the reverb
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_ADT.jpg

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
  • Pitch 2—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

New Legacy Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
  • Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
  • Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

 

New Features in 3.15

Input Block > Per-Preset Guitar Pad

Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL

The Input > Multi and Input > Guitar block now has an additional Guitar Pad parameter that lets you engage the analog guitar pad per preset ("Off" or "On). Or you could leave it set to "Global" and continue to turn the guitar pad on and off from the Global Settings menu. NOTE: For HX Stomp and HX Stomp XL, "Global" refers to the Global Settings > Ins/Outs > Input Level setting. When Pad is on, it's the same as if Input Level is set to "Line"; when off, it's the same as if Input Level is set to "Inst[rument]."

 

Global MIDI Control of Knobs 1-6, <PAGE/PAGE>, and Preset Save

Helix Floor, Helix Rack, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Instead of manually having to assign parameters to incoming MIDI CC messages, Knobs 1-6 for any block on the Home screen (Knobs 1-3 on HX Effects, HX Stomp, or HX Stomp XL) respond to new global MIDI CCs. This turns any programmable MIDI keyboard or tabletop controller into a simple way to edit blocks without having to reach down (for those of you who can't be bothered to use Pedal Edit Mode). In addition, sending Helix/HX a CC74 message will save any changes to the preset. IMPORTANT! We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for this feature. Any parameters you've assigned to CC77-CC81 will have to be remapped. Sorry 'bout that.

Other Changes and Improvements in 3.15

  • HX Stomp XL only: Global Settings > Footswitches > Snapshot Mode adds a third value—Toggle, like the one in HX Effects and POD Go. This remembers whether Preset Mode is in Preset or Snapshot mode and allows for toggling between Stomp and Snapshot mode via the MODE switch
  • The max delay time for several Delay > Legacy models has been increased from 2 seconds to 2.5 seconds
  • Numerous additional minor improvements to Delay > Legacy models
  • Delay > Multitap 6 has been optimized to use less than half the DSP as in pre-3.15 builds
  • MIDI CC69 values are now transmitted upon snapshot change

  • Command Center > HX Snapshot commands are now affected themselves by snapshot changes. This means the same stomp switch could recall a different, specific snapshot (or next or previous snapshot) per snapshot

  • Command Center > HX Snapshot command parameters can now be controlled by Snapshots themselves. For example, imagine that you are on Snapshot 1 and create an HX Snapshot command on FS2. You set it so that pressing that switch recalls Snapshot 3. You then switch to Snapshot 3 and set the same switch to recall Snapshot 6. Recall Snapshot 6 and set the switch to recall Snapshot 2. Finally, you recall Snapshot 2 and set the switch to recall Snapshot 1. Now, you go back to Snapshot 1 and begin pressing the switch. Each successive press recalls the assigned Snapshot and you would cycle Snapshot  1 > 3 > 6 > 2 > 1 > 3 > 6 > 2 and so on for each switch press. NOTE: this assumes that the Snapshot Edits global is set to Recall. If it's set to Discard, you'd have to save the preset after each set in order for the changes to stick

  • Bypass Assign > EXP Pedal 1/2 now has a new Behavior parameter to control how bypassing is handled. The default value "Toggle" behaves as this feature always has - bringing the pedal past threshold will toggle the block's bypass state from what it is currently (i.e. enable if currently bypassed and vice versa). "Toe Down" and "Heel Down" always bypass the block at the designated position, regardless of the block's starting state. So with "Heel Down" selected, the block will always enable when you cross the Position threshold and bypass when you return below it

  • We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for MIDI control of Knobs 1-6 and <PAGE/PAGE>. Any parameters you've assigned to CC77-CC81 will have to be remapped

  • Encoder ballistics have been improved. For parameters with hundreds of values, you can now go from Min to Max in a couple of turns

Bug Fixes in 3.15

  • Amp/Preamp > Das Benzin Lead channel output was set to -36dB instead of -24dB—FIXED
  • Amp/Preamp > Voltage Queen's Master volume only affected one side of the push/pull power amp—FIXED
  • Distortion > Ampeg Scrambler's oversampling wasn't fully implemented—FIXED
  • IR names with more than 54 characters couldn't be copied or exported from HX Edit
  • HX Stomp, HX Stomp XL, HX Effects only: Pressing TAP to reset LFOs now properly works on switch press, not release—FIXED
  • HX Stomp, HX Stomp XL only: Some Preamp blocks would display an Amp block icon in the inspector header—FIXED
  • HX Stomp XL only: Command Center > HX Snapshot commands assigned to Hold would not function properly on FS1 and FS4—FIXED
  • HX Edit only: In rare cases, dragging in an IR from the list to the signal flow could sometimes create a None block instead of an Impulse Response block—FIXED
  • HX Edit only: While Spillover is active, dragging a block across path A/B could occasionally fail—FIXED
  • HX Edit only: After moving a block with Spillover active, changing a block from mono to stereo could occasionally fail—FIXED
  • HX Edit only: While Spillover is active, the bypass state appearance of blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: DSP allocation of poly pitch blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: IRs with names longer than 54 characters couldn't be copied or exported—FIXED
  • HX Edit only: When saving a favorite, the Enter key on extended QWERTY keypads was inoperable—FIXED
  • HX Edit only: Snapshot-controlled Command Center changes would sometimes not be maintained across copy/paste or preset export/import—FIXED

Known Issues in 3.15

  • Copy/pasted blocks retain their favorited status after overwriting an existing favorite
  • When a snapshot is reloaded, a duplicate PC message is not transmitted, regardless of the Global Settings > MIDI/Tempo > Duplicate PC Send setting
  • In some cases, the current Variax tone knob's position may not be recalled across preset changes
  • Delay > Ducked Delay's ducking is inactive is DynAttack is maxed out at 2.000s
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 to save changes in Pedal Edit mode does not save snapshot-controlled parameters
  • After changing a different delay's Time parameter from ms to note values, selecting Delay > Tesselator causes its Knob 1 parameter label changes from "First" to "Time 1"
  • Tesselator and Ratchet's Mute All function mutes the entire path whether the block is active or bypassed.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 5 MB )
Get Download

Firmware      

 

Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

 

How do I update to 3.15?

If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware.

 

I updated but why don't I see [Model X]?

HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15:

 

 

My Helix/HX is at version X.XX. Can I go straight to 3.15?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
  • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
  • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
  • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
  • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

 

New Amp in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Helix Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

  • Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Level—Sets the overall level of the block

 

FX_HX_DELAY_Heliosphere.jpg

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

  • Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
  • FeedbackControls the overall number of repeats. To hear only one repeat, set to 0%
  • Rate—Controls the rate or speed of modulation
  • Depth—Controls the depth or amount of modulation
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
  • Rev MixControls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
  • Rev Decay—Sets the decay of the reverb
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_ADT.jpg

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
  • Pitch 2—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

New Legacy Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
  • Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
  • Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

 

New Features in 3.15

Input Block > Per-Preset Guitar Pad

Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL

The Input > Multi and Input > Guitar block now has an additional Guitar Pad parameter that lets you engage the analog guitar pad per preset ("Off" or "On). Or you could leave it set to "Global" and continue to turn the guitar pad on and off from the Global Settings menu. NOTE: For HX Stomp and HX Stomp XL, "Global" refers to the Global Settings > Ins/Outs > Input Level setting. When Pad is on, it's the same as if Input Level is set to "Line"; when off, it's the same as if Input Level is set to "Inst[rument]."

 

Global MIDI Control of Knobs 1-6, <PAGE/PAGE>, and Preset Save

Helix Floor, Helix Rack, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Instead of manually having to assign parameters to incoming MIDI CC messages, Knobs 1-6 for any block on the Home screen (Knobs 1-3 on HX Effects, HX Stomp, or HX Stomp XL) respond to new global MIDI CCs. This turns any programmable MIDI keyboard or tabletop controller into a simple way to edit blocks without having to reach down (for those of you who can't be bothered to use Pedal Edit Mode). In addition, sending Helix/HX a CC74 message will save any changes to the preset. IMPORTANT! We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for this feature. Any parameters you've assigned to CC77-CC81 will have to be remapped. Sorry 'bout that.

Other Changes and Improvements in 3.15

  • HX Stomp XL only: Global Settings > Footswitches > Snapshot Mode adds a third value—Toggle, like the one in HX Effects and POD Go. This remembers whether Preset Mode is in Preset or Snapshot mode and allows for toggling between Stomp and Snapshot mode via the MODE switch
  • The max delay time for several Delay > Legacy models has been increased from 2 seconds to 2.5 seconds
  • Numerous additional minor improvements to Delay > Legacy models
  • Delay > Multitap 6 has been optimized to use less than half the DSP as in pre-3.15 builds
  • MIDI CC69 values are now transmitted upon snapshot change

  • Command Center > HX Snapshot commands are now affected themselves by snapshot changes. This means the same stomp switch could recall a different, specific snapshot (or next or previous snapshot) per snapshot

  • Command Center > HX Snapshot command parameters can now be controlled by Snapshots themselves. For example, imagine that you are on Snapshot 1 and create an HX Snapshot command on FS2. You set it so that pressing that switch recalls Snapshot 3. You then switch to Snapshot 3 and set the same switch to recall Snapshot 6. Recall Snapshot 6 and set the switch to recall Snapshot 2. Finally, you recall Snapshot 2 and set the switch to recall Snapshot 1. Now, you go back to Snapshot 1 and begin pressing the switch. Each successive press recalls the assigned Snapshot and you would cycle Snapshot  1 > 3 > 6 > 2 > 1 > 3 > 6 > 2 and so on for each switch press. NOTE: this assumes that the Snapshot Edits global is set to Recall. If it's set to Discard, you'd have to save the preset after each set in order for the changes to stick

  • Bypass Assign > EXP Pedal 1/2 now has a new Behavior parameter to control how bypassing is handled. The default value "Toggle" behaves as this feature always has - bringing the pedal past threshold will toggle the block's bypass state from what it is currently (i.e. enable if currently bypassed and vice versa). "Toe Down" and "Heel Down" always bypass the block at the designated position, regardless of the block's starting state. So with "Heel Down" selected, the block will always enable when you cross the Position threshold and bypass when you return below it

  • We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for MIDI control of Knobs 1-6 and <PAGE/PAGE>. Any parameters you've assigned to CC77-CC81 will have to be remapped

  • Encoder ballistics have been improved. For parameters with hundreds of values, you can now go from Min to Max in a couple of turns

Bug Fixes in 3.15

  • Amp/Preamp > Das Benzin Lead channel output was set to -36dB instead of -24dB—FIXED
  • Amp/Preamp > Voltage Queen's Master volume only affected one side of the push/pull power amp—FIXED
  • Distortion > Ampeg Scrambler's oversampling wasn't fully implemented—FIXED
  • IR names with more than 54 characters couldn't be copied or exported from HX Edit
  • HX Stomp, HX Stomp XL, HX Effects only: Pressing TAP to reset LFOs now properly works on switch press, not release—FIXED
  • HX Stomp, HX Stomp XL only: Some Preamp blocks would display an Amp block icon in the inspector header—FIXED
  • HX Stomp XL only: Command Center > HX Snapshot commands assigned to Hold would not function properly on FS1 and FS4—FIXED
  • HX Edit only: In rare cases, dragging in an IR from the list to the signal flow could sometimes create a None block instead of an Impulse Response block—FIXED
  • HX Edit only: While Spillover is active, dragging a block across path A/B could occasionally fail—FIXED
  • HX Edit only: After moving a block with Spillover active, changing a block from mono to stereo could occasionally fail—FIXED
  • HX Edit only: While Spillover is active, the bypass state appearance of blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: DSP allocation of poly pitch blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: IRs with names longer than 54 characters couldn't be copied or exported—FIXED
  • HX Edit only: When saving a favorite, the Enter key on extended QWERTY keypads was inoperable—FIXED
  • HX Edit only: Snapshot-controlled Command Center changes would sometimes not be maintained across copy/paste or preset export/import—FIXED

Known Issues in 3.15

  • Copy/pasted blocks retain their favorited status after overwriting an existing favorite
  • When a snapshot is reloaded, a duplicate PC message is not transmitted, regardless of the Global Settings > MIDI/Tempo > Duplicate PC Send setting
  • In some cases, the current Variax tone knob's position may not be recalled across preset changes
  • Delay > Ducked Delay's ducking is inactive is DynAttack is maxed out at 2.000s
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 to save changes in Pedal Edit mode does not save snapshot-controlled parameters
  • After changing a different delay's Time parameter from ms to note values, selecting Delay > Tesselator causes its Knob 1 parameter label changes from "First" to "Time 1"
  • Tesselator and Ratchet's Mute All function mutes the entire path whether the block is active or bypassed.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 5 MB )
Get Download

Firmware      

 

Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

 

How do I update to 3.15?

If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware.

 

I updated but why don't I see [Model X]?

HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15:

 

 

My Helix/HX is at version X.XX. Can I go straight to 3.15?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
  • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
  • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
  • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
  • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

 

New Amp in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Helix Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

  • Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Level—Sets the overall level of the block

 

FX_HX_DELAY_Heliosphere.jpg

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

  • Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
  • FeedbackControls the overall number of repeats. To hear only one repeat, set to 0%
  • Rate—Controls the rate or speed of modulation
  • Depth—Controls the depth or amount of modulation
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
  • Rev MixControls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
  • Rev Decay—Sets the decay of the reverb
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_ADT.jpg

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
  • Pitch 2—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

New Legacy Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
  • Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
  • Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

 

New Features in 3.15

Input Block > Per-Preset Guitar Pad

Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL

The Input > Multi and Input > Guitar block now has an additional Guitar Pad parameter that lets you engage the analog guitar pad per preset ("Off" or "On). Or you could leave it set to "Global" and continue to turn the guitar pad on and off from the Global Settings menu. NOTE: For HX Stomp and HX Stomp XL, "Global" refers to the Global Settings > Ins/Outs > Input Level setting. When Pad is on, it's the same as if Input Level is set to "Line"; when off, it's the same as if Input Level is set to "Inst[rument]."

 

Global MIDI Control of Knobs 1-6, <PAGE/PAGE>, and Preset Save

Helix Floor, Helix Rack, Helix LT, HX Effects, HX Stomp, HX Stomp XL

Instead of manually having to assign parameters to incoming MIDI CC messages, Knobs 1-6 for any block on the Home screen (Knobs 1-3 on HX Effects, HX Stomp, or HX Stomp XL) respond to new global MIDI CCs. This turns any programmable MIDI keyboard or tabletop controller into a simple way to edit blocks without having to reach down (for those of you who can't be bothered to use Pedal Edit Mode). In addition, sending Helix/HX a CC74 message will save any changes to the preset. IMPORTANT! We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for this feature. Any parameters you've assigned to CC77-CC81 will have to be remapped. Sorry 'bout that.

Other Changes and Improvements in 3.15

  • HX Stomp XL only: Global Settings > Footswitches > Snapshot Mode adds a third value—Toggle, like the one in HX Effects and POD Go. This remembers whether Preset Mode is in Preset or Snapshot mode and allows for toggling between Stomp and Snapshot mode via the MODE switch
  • The max delay time for several Delay > Legacy models has been increased from 2 seconds to 2.5 seconds
  • Numerous additional minor improvements to Delay > Legacy models
  • Delay > Multitap 6 has been optimized to use less than half the DSP as in pre-3.15 builds
  • MIDI CC69 values are now transmitted upon snapshot change

  • Command Center > HX Snapshot commands are now affected themselves by snapshot changes. This means the same stomp switch could recall a different, specific snapshot (or next or previous snapshot) per snapshot

  • Command Center > HX Snapshot command parameters can now be controlled by Snapshots themselves. For example, imagine that you are on Snapshot 1 and create an HX Snapshot command on FS2. You set it so that pressing that switch recalls Snapshot 3. You then switch to Snapshot 3 and set the same switch to recall Snapshot 6. Recall Snapshot 6 and set the switch to recall Snapshot 2. Finally, you recall Snapshot 2 and set the switch to recall Snapshot 1. Now, you go back to Snapshot 1 and begin pressing the switch. Each successive press recalls the assigned Snapshot and you would cycle Snapshot  1 > 3 > 6 > 2 > 1 > 3 > 6 > 2 and so on for each switch press. NOTE: this assumes that the Snapshot Edits global is set to Recall. If it's set to Discard, you'd have to save the preset after each set in order for the changes to stick

  • Bypass Assign > EXP Pedal 1/2 now has a new Behavior parameter to control how bypassing is handled. The default value "Toggle" behaves as this feature always has - bringing the pedal past threshold will toggle the block's bypass state from what it is currently (i.e. enable if currently bypassed and vice versa). "Toe Down" and "Heel Down" always bypass the block at the designated position, regardless of the block's starting state. So with "Heel Down" selected, the block will always enable when you cross the Position threshold and bypass when you return below it

  • We ran out of reserved Global CCs and unfortunately had to steal five user-assignable CCs for MIDI control of Knobs 1-6 and <PAGE/PAGE>. Any parameters you've assigned to CC77-CC81 will have to be remapped

  • Encoder ballistics have been improved. For parameters with hundreds of values, you can now go from Min to Max in a couple of turns

Bug Fixes in 3.15

  • Amp/Preamp > Das Benzin Lead channel output was set to -36dB instead of -24dB—FIXED
  • Amp/Preamp > Voltage Queen's Master volume only affected one side of the push/pull power amp—FIXED
  • Distortion > Ampeg Scrambler's oversampling wasn't fully implemented—FIXED
  • IR names with more than 54 characters couldn't be copied or exported from HX Edit
  • HX Stomp, HX Stomp XL, HX Effects only: Pressing TAP to reset LFOs now properly works on switch press, not release—FIXED
  • HX Stomp, HX Stomp XL only: Some Preamp blocks would display an Amp block icon in the inspector header—FIXED
  • HX Stomp XL only: Command Center > HX Snapshot commands assigned to Hold would not function properly on FS1 and FS4—FIXED
  • HX Edit only: In rare cases, dragging in an IR from the list to the signal flow could sometimes create a None block instead of an Impulse Response block—FIXED
  • HX Edit only: While Spillover is active, dragging a block across path A/B could occasionally fail—FIXED
  • HX Edit only: After moving a block with Spillover active, changing a block from mono to stereo could occasionally fail—FIXED
  • HX Edit only: While Spillover is active, the bypass state appearance of blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: DSP allocation of poly pitch blocks could occasionally not match that of the hardware—FIXED
  • HX Edit only: IRs with names longer than 54 characters couldn't be copied or exported—FIXED
  • HX Edit only: When saving a favorite, the Enter key on extended QWERTY keypads was inoperable—FIXED
  • HX Edit only: Snapshot-controlled Command Center changes would sometimes not be maintained across copy/paste or preset export/import—FIXED

Known Issues in 3.15

  • Copy/pasted blocks retain their favorited status after overwriting an existing favorite
  • When a snapshot is reloaded, a duplicate PC message is not transmitted, regardless of the Global Settings > MIDI/Tempo > Duplicate PC Send setting
  • In some cases, the current Variax tone knob's position may not be recalled across preset changes
  • Delay > Ducked Delay's ducking is inactive is DynAttack is maxed out at 2.000s
  • When Global Settings > Preferences > Snapshot Edits is set to "Discard," holding FS12 to save changes in Pedal Edit mode does not save snapshot-controlled parameters
  • After changing a different delay's Time parameter from ms to note values, selecting Delay > Tesselator causes its Knob 1 parameter label changes from "First" to "Time 1"
  • Tesselator and Ratchet's Mute All function mutes the entire path whether the block is active or bypassed.

Compatible OS: Mac OS X, Windows 7, Windows 8, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, Windows 11
( 5 MB )
Get Download

Firmware      

 

 Helix/HX 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

 

How do I update to 3.15?

If you're running HX Edit 3.01 or higher (released on Feb 2, 2021), just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both HX Edit and your Helix/HX firmware. If you're running an older version of HX Edit, you must update it before updating your Helix/HX hardware.

 

I updated but why don't I see [Model X]?

HX Edit can't magically see new models added to your Helix/HX hardware; you must update HX Edit as well (which you would've done had you followed "How do I update to 3.15?" above). Here's a link to HX Edit 3.15:

 

 

My Helix/HX is at version X.XX. Can I go straight to 3.15?

Yes, but note that if you're starting from 2.80 or lower, the update will appear to happen twice. This is normal.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.15 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  • Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT
  • Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack
  • HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects
  • HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
  • HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

 

New Amp in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Helix Effects in 3.15

Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

  • Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Level—Sets the overall level of the block

 

FX_HX_DELAY_Heliosphere.jpg

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

  • Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
  • FeedbackControls the overall number of repeats. To hear only one repeat, set to 0%
  • Rate—Controls the rate or speed of modulation
  • Depth—Controls the depth or amount of modulation
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
  • Rev MixControls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
  • Rev Decay—Sets the decay of the reverb
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_ADT.jpg

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
  • Pitch 2—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)</