Digital_Igloo

Helix Stadium 1.3.1 (released March 26, 2026) updates the Proxy cloning source signals to improve accuracy with some target devices, especially when rolling down the input level. IMPORTANT! The Helix Stadium app (macOS/Windows) remains at 1.3. Helix Stadium 1.3 (released March 24, 2026) includes 5 new Agoura amp channels from 2 new amps, Line 6's new Proxy cloning engine, additional features, improvements, and bug fixes and is strongly recommended for all Helix Stadium users. IMPORTANT! As always, you must also install the latest version of the Helix Stadium app, available here: macOS: https://line6.com/software/readeula.html?rid=13543 Windows: https://line6.com/software/readeula.html?rid=13542 New Amps in 1.3 5 new Agoura amp channels bring the Agoura channel count to 55. If you count the 111 HX channels (and you should), that's 166 amp channels total. Amp > Matchstick 30 (Ch 1, Ch2, and Jumped channels), based on* the Matchless® DC30 Channel—Selects the amp channel or which input is connected. Choose "Ch 1," "Ch 2," or "Jumped." Ch1 Drive—Controls the amount of Channel 1 gain applied to the signal, which influences the level of distortion. Bass—Controls the low frequency EQ of Channel 1. Treble—Controls the high frequency EQ of Channel 1. Ch2 Drive—Controls the amount of Channel 2 gain applied to the signal, which influences the level of distortion and overall tone. Ch2 Tone—Selects one of six settings for varying the width of the tone envelope on Channel 2. Lower values result in thinner sounds; higher values result in thicker sounds. High Cut—Increasing this parameter attenuates high frequencies, effectively reducing the amp's brightness. Level—Controls the overall level of the Amp block. Unlike Master Volume, it has no effect on the block's tone. Master—Controls the Master Volume of the amplifier. As with the real thing, higher values can introduce power amp saturation that affects intensity and sag. Sag—Controls the amount of sag, or how much the power supply compresses or "droops" in response to striking the strings hard. Higher values provide more touch dynamics, sustain, and organic feel that's inherent in vintage tube amps; lower values offer a "tighter" responsiveness for a more modern feel. Ripple—Controls how much AC ripple interacts with your tone. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal when the power supply is being pushed hard. Much like Hum, Ripple provides a bit of non-musical distortion to the power amp at distorted settings. "Stock" represents the stock location, which changes from amp to amp. Z PrePost—Determines the location of speaker impedance characteristics in the power amp, primarily due to negative feedback. Higher values mean the effects of the interaction appear at the output of the power amp (Post) and lower values mean more of the effect is fed back to the input of the power amp (Pre). Hype—Depending on the amp and/or amp settings, increasing Hype may subtly or dramatically adjust various behind-the-scenes parameters to make the amp sound and feel smoother, fuller, punchier, tighter, and/or more forgiving, but at the expense of accuracy. Amp > Mandarin Rock 3 (Normal and Overdrive channels), based on* the Orange® Rockerverb 100 MKIII Channel—Selects the amp's channel. Choose "Normal" or "Overdrive." Drive—Controls the amount of gain applied to the signal, which influences the level of distortion. Bass—Controls the low frequency EQ of the tonestack. Mid—Controls the midrange frequency EQ of the tonestack. Treble—Controls the high frequency EQ of the tonestack. OD Master—Controls the Master Volume of the Overdrive channel of the amplifier. As with the real thing, higher values can introduce power amp saturation that affects intensity and sag. Attenuator—Attenuates the signal between the amp's phase-inverter and power tubes. Level—Controls the overall level of the Amp block. Unlike Master Volume, it has no effect on the block's tone. Sag—Controls the amount of sag, or how much the power supply compresses or "droops" in response to striking the strings hard. Higher values provide more touch dynamics, sustain, and organic feel that's inherent in vintage tube amps; lower values offer a "tighter" responsiveness for a more modern feel. Ripple—Controls how much AC ripple interacts with your tone. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal when the power supply is being pushed hard. Much like Hum, Ripple provides a bit of non-musical distortion to the power amp at distorted settings. "Stock" represents the stock location, which changes from amp to amp. Z Pre Post—Determines the location of speaker impedance characteristics in the power amp, primarily due to negative feedback. Higher values mean the effects of the interaction appear at the output of the power amp (Post) and lower values mean more of the effect is fed back to the input of the power amp (Pre). Hype—Depending on the amp and/or amp settings, increasing Hype may subtly or dramatically adjust various behind-the-scenes parameters to make the amp sound and feel smoother, fuller, punchier, tighter, and/or more forgiving, but at the expense of accuracy. *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 1.3 Proxy Cloning Engine 1.3 introduces Phase 1 of Line 6’s all new Proxy cloning engine, which lets you capture the virtual DNA of your favorite gear. The following types of devices can be cloned: Amp+Cab—Clone an amp including a speaker cabinet and microphone. You can also add one or more drive pedals before the amp to clone entire gain-based signal flows Amp—Clone an amp with no speaker cabinet. This requires the use of a load box Preamp—Clone a standalone preamp or the preamp portion of an amplifier. IMPORTANT: The amp or preamp must have a PREAMP OUT or FX SEND Distortion—Clone an overdrive, distortion, or fuzz pedal Cloning an Amp+Cab, Amp, Preamp, or Distortion IMPORTANT! Detailed cloning instructions can be found in the Helix Stadium User's Manual. Before cloning, do the following: Save your current preset to retain any edited settings. Disconnect any MIDI and USB cables from Helix Stadium to eliminate potential noise and interference. Connect Stadium’s main 1/4″ or XLR OUTPUTS to a monitoring system or the PHONES jack to headphones. Turn the Volume knob to adjust the 1/4″, XLR, or PHONES Output level for monitoring. Ensure your audio connections are as noise-free as possible for optimal cloning. If necessary, toggle the Ground Lift on your external devices, or use a line isolator or hum eliminator to reduce ground noise. Before creating an Amp+Cab type clone using a microphone on a speaker cab, first set Global Settings > Ins/Outs > Mic In Phantom Power On or Off, depending on whether your microphone requires phantom power. Please refer to your mic manufacturer’s specifications for its requirements. Tap Menu and then New Clone. Tap the type of device you want to clone and then tap Next >. Amp+Cab only: A dialog appears, warning you it might get loud (below left). Tap Continue. Amp only: A dialog appears, warning you to use a load box (below right). If you don't, both your amp and Helix Stadium can be damaged! Tap I Understand. Closely follow the hookup instructions to connect your amp, preamp, or pedal to Helix Stadium and tap Next >. Note that each clone type provides different hookup instructions and there are slight differences in connections between Helix Stadium XL and Helix Stadium as well. (L-R: Amp+Cab, Amp, Preamp, Distortion.) Depending on the type of clone, an Amp and/or Cab block may be automatically added to provide context when monitoring; these blocks are for monitoring purposes only; they are not captured as part of the clone. (For example, you probably don't want to hear an amp without a cab or a distortion pedal without both an amp and cab, but if you're playing 80s industrial songs, who are we to judge?) Tap these block(s), choose the type of amp and/or cab, and adjust them to taste. Play your instrument and Turn the Upper Knob to adjust the Level slider so that the light green meter peaks within the dark green area. Once you have a good level, tap Next >. (L-R: Amp+Cab, Amp, Preamp, Distortion.) The keyboard appears. Type in the name of your clone and tap Done (below left). Tap the Brand, Product, and Notes panels to add descriptive info, such as your amp’s Channel, Gain, EQ settings, intended use, groan-worthy dad jokes, and any other details for reference (below right). This info is also utilized by Stadium’s Search function. When you're ready, tap Clone! The cloning process happens automatically, and various dialog boxes display the current status. When cloning is complete, the Compare screen appears. Press FS11 to toggle between the original device and your new clone. If you're happy with the clone, tap Save. A dialog tells you where to find it: Selecting a Clone IMPORTANT! Details on selecting and managing clones can be found in the Helix Stadium User's Manual. Each clone type appears in its respective model category. (Amp+Cab clones appear in the Amp category.) From the Model List, select the proper category (Amp, Preamp, or Distortion) and tap Clone in the sidebar to quickly scroll down to the bottom of the list. Tap the clone item to select it. Tap the "<EMPTY>" file selection box to open the list of clones for that clone type. Tap a clone to select it. Cab IRs Per Snapshot As with Helix/HX, different Cab IRs in Stadium can now be recalled per snapshot. From the Cab IR file browser, tap Snapshot Ctrl in the sidebar. Off (default)—The same Cab IR will be used for all snapshots On—A different Cab IR can be recalled with each snapshot. In previous versions, this value was disabled Song Flag Automation Previous to 1.3, recalling presets, snapshots, external amp channels, MIDI PCs/CCs, etc. behaved like a simple event sequencer; that is, the message/change was only engaged when the playhead reached the flag's location. With 1.3, select flags now behave like true automation, where Showcase knows where you are in the song and automatically recalls the proper preset, snapshot, amp channel, MIDI PC/CC, or screen without needing the playhead to pass that flag's location. This allows you to freely jump around the song and know the proper sounds and states will show up at the right times, regardless of whether a flag is at that specific location or not. For example, say we want to recall presets and/or snapshots during the song via Marker flags. (You can also accomplish this from the Start flag or dedicated Preset/Snap flags.) In earlier versions, tapping anywhere between markers (or navigating the song with your feet) wouldn't update any messages until the playhead reached a flag's location (say, recalling a preset/snapshot from the Marker > Verse 2 flag below). With 1.3, tapping anywhere between markers (or navigating the song with your feet) will now automatically recall the proper messages that should be active at that point in the song (say, the preset/snapshot assigned to the Marker > Chorus 1 flag below). MIDI Note Flags MIDI flags can now generate MIDI note messages to trigger synths, samplers, or drum machines. If your band is of the ambitious variety, you could even send MIDI notes to control certain video playback devices and/or MIDI-to-DMX lighting controllers. From Song view, tap Add Flag and drag a MIDI flag to the song's timeline where you want it to occur. Turns knobs 1-3 (Bar, Beat, Tick) to fine-tune its location. Turn Knob 4 (Type) to "Note" and adjust the note's settings: MIDI Channel—Sets the MIDI channel for the note message (1-16) Velocity—Sets the velocity for the note message (1-127) Length (Bars)—Sets the length of the MIDI note in bars. If less than a bar, leave this at 0 Length (Beats)—Sets the length of the MIDI note in beats. If less than a beat, leave this at 0 Length (Ticks)—Sets the length of the MIDI note in ticks (240 ticks per beat) MIDI Recall of Playlists, Songs, and Markers Playlists and songs can now be recalled via MIDI CC, and Stadium makes it really easy to see what messages to send. From Song view, tap the song's name to open the Song List. The sidebar displays the MIDI CC messages used to recall the current playlist and song: Playlist—CC63, values 0-127 (SONG LIBRARY is value 0; each subsequent playlist is value 1-127) Song—CC10, values 0-127 In addition, markers can be selected/cued via MIDI as well: Marker—CC46, values 0-127 (Song Start is value 0, Marker 1 is value 1, Marker 2 is value 2, etc.) MIDI Control of Song Playback Additional MIDI CCs have been added for emulating Transport mode (controlling song playback) from external devices: Return to Zero—CC47, any value Cycle Clear—CC48, values 0-63 Cycle Start/End/Continue—CC48, values 64-127 Previous Song—CC49, values 0-63 Next Song—CC49, values 64-127 Previous Marker—CC50, values 0-63 Next Marker—CC50, values 64-127 Play/Pause—CC51, any value Global Settings > Songs > Song Play A new Global Setting determines what happens when playing a cued song, by either pressing the Play button, stepping on the Transport > Play switch, pressing the FS12 (Play) switch, tapping the Transport panel play icon, or now with 1.3, sending Helix Stadium a song select message (CC0, values 0-127, see MIDI Recall of Playlists and Song above). Now you can select songs without engaging playback. Play (default)—Engaging Play on a cued song (if Select Song is set to "Cue") or selecting a song (if Select Song is set to "Skip") plays instantly, like normal Load—Engaging Play on a cued song (if Select Song is set to "Cue") or selecting a song (if Select Song is set to "Skip") loads the song, but does not play it or load any preset/snapshot recalled with that song's Start flag. Pressing Play again plays the song and loads the Start flag's preset/snapshot (if enabled) Load+Preset—Engaging Play on a cued song (if Select Song is set to "Cue") or selecting a song (if Select Song is set to "Skip") loads the song, does not play it, but DOES load any preset/snapshot recalled with that song's Start flag. Pressing Play again starts the song. Global Settings > Songs > Looper Stops With Song A new Global Setting determines whether the Looper stops when a Song is paused or stopped. NOTE: This parameter only applies to Looper flags added to songs; manual looper control (e.g. pressing looper switches) is not affected by this setting. Off (default)—Stopping/pausing the song does not affect looper playback On—Stopping/pausing the song or playing a different song (but not cueing a different song) stops the Looper Improvements/Changes in 1.3 Helpful how-to videos have been embedded into 10 chapters of the Helix Stadium Owner's Manual. They're all meat, no filler, and after 24 minutes total, you'll be up and running with Helix Stadium. Stop doomscrolling and learn something new! Top Panel and Footswitches (4:33) Main Volume/Matrix Mixer (2:18) Favorite Blocks (2:11) Presets, Setlists, and Templates (2:50) Preset Info and Clip (1:57) Creating and Editing Tones (1:44) Focus View (1:51) Bypass and Controller Assignment (2:16) Snapshots (3:05) Global EQ (1:23) Certain Agoura amp and cab combinations are now more accurate at the top of the cab's passband (typically 3-6 kHz) and in a few cases, at a low frequency resonant peak (around 100 Hz). This does not affect any default amp/cab combinations Several Agoura amps have been further optimized to use less DSP Marker names now appear on the Song screen's ruler, which help indicate where you are in the song (see screenshot in Song Flag Automation above) To help avoid confusion, the Home screen's action panel's "Snapshot Bypass" item has been renamed "Snapshots Set Bypass" (It remains on by default.) Drag icons have been added to the Song Settings' tracks to make it obvious they can be reordered Helix Stadium app—Zones added to Focus view Helix Stadium 1.3.1—Updates the Proxy cloning source signals to improve accuracy with some target devices, especially when rolling down the input level Bug Fixes in 1.3 In certain instances, the login screen would display a blank QR code and the sequential code "1 2 3 4 5 6" ("That's amazing! I've got the same combination on my luggage!")—FIXED In certain circumstances, switching between two presets with the same mono Looper block while a loop is playing could cause a brief audio gap—FIXED Changing the Channel parameter on Amp > Cali 2C+ could result in an audible pop—FIXED If Delay > Legacy > Reverse's Time value is set to 0.0 ms, Stadium could stop passing audio—FIXED Setting an Input block to "None" could sometimes display the previously assigned input type's parameters in the inspector—FIXED If an Input block was assigned to Return 1/2, no other input block could be assigned to Return 1, Return 2, or Return 1/2—FIXED If a 1 Switch or Shuffling Looper is manually reassigned to a different stomp switch, switch operation could not work as expected—FIXED A handful of preset clips would not reset when tapping the RTZ (Return To Zero) icon—FIXED If a preset clip's Start and End values are set so the clip length is shorter than 5 seconds, playback could stop working—FIXED The preset clip's Start value could appear to overlap its End value—FIXED Moving a clip's End flag left and then right again wouldn't always return it to the true end of the clip—FIXED If many dozens of setlists, each containing many dozens of presets are created, deleting setlists and/or presets can lag—FIXED Saving a block as a User Model Default could turn off Snapshot Bypass (called "Snapshots Set Bypass" in 1.3)—FIXED In rare cases, pressing a Stomp A or Stomp B switch could engage the same switch in the other layer—FIXED When multiple block bypasses are assigned to a single stomp switch, the switch state could change after saving the preset—FIXED When FS1+FS7 is assigned to Preset Up/Down, Preset Down behavior would differ from Preset Up—FIXED From Combo mode, pressing FS1 or FS7 would not properly queue banks—FIXED From Combo mode, pressing FS1+FS7 would not enter Snapshot mode—FIXED Importing specific Helix/HX presets with very specific boundaries could cause Stadium to crash—FIXED Copying and pasting a Volume Pedal block would correctly retain default bypass and controller assignments, but they appeared as "None" in the Bypass/Control menu—FIXED Copying, pasting, and then clearing a block with MIDI parameter assignments could clear assignments from the first block—FIXED The Focus view background image for Amp > Solid 100 displayed a Depth knob, which isn't present in our version of the original amp (nor the model)—FIXED Quickly tapping different Mute buttons on the Matrix mixer screen could sometimes cause the visible mute state to invert—FIXED Enabling Snapshot control for a Command Center param can cause its value to stop changing if a subsequent parameter's Snapshot Control is enabled—FIXED If a stomp switch is assigned to Utility > Save, it scribble strip and switch LED would not always properly reflect the current dirty state—FIXED In rare cases, Stomp B mode scribble strips could display the wrong text—FIXED Turning Snapshot Control on and then off for select Cab > IR parameters would not disable snapshot control—FIXED If a stomp is assigned to both block bypass and select Command Center command(s), clearing the stomp would not always clear all assignments—FIXED In certain situations, the Home screen block, inspector, and Stomp switch could display different bypass states—FIXED If the same model is placed in the same path location in multiple presets, that block's inspector's apparent bypass state (or if a Delay or Modulation effect, its ms/Hz and note division toggle) could be retained in the other presets—FIXED If one of several screens was visible, touching a stomp switch wouldn't always jump to its assigned item—FIXED Copying and pasting effects auto-assigned to expression (like Wah, Pitch Wham, Volume Pedal, etc.) wouldn't always properly reflect the correct bypass state based on the current EXP 1/2 setting—FIXED Tuner Trails would not properly gray out when Tuner Output was set to "Processed"—FIXED If an external momentary switch is assigned to block bypass, assigning a Command Center command could clear the block bypass assignment—FIXED If a Command Center MIDI Note command's Note parameter is set to Snapshot Control, subsequent snapshot recalls could cycle between note on and note off—FIXED Command Center > Instant > MIDI command's Command parameter incorrectly displayed a Snapshot Control toggle—FIXED In rare cases, if Stadium was powered down shortly after transferring audio files, the files would not store properly and the song would exhibit no output—FIXED Adjusting a Hotkey flag while a song is playing could cause the UI to reboot—FIXED While Song view is active, snapshots could sometimes not be recalled correctly—FIXED In some instances, the onscreen Transport panel's pause button would require two taps to pause playback—FIXED If a song contained several Looper flags, looping could sometimes eventually fall out of sync with the audio, especially in songs with faster tempi—FIXED While a cycle is repeating a section of a song, any Looper flags between the Cycle Start and End points were ignored—FIXED When a Marker's Pause at Marker is turned on, any assigned preset and/or snapshot would be recalled when playback reached that Marker flag; it should only be recalled when engaging that Marker—FIXED After manually changing presets, cueing an Marker flag earlier in the song could sometimes not recall that Marker's preset—FIXED Changing a Start flag's Setlist, Preset, or Snapshot parameter was sluggish—FIXED If Start, Marker, and/or Preset/Snap flags appear very close together at the beginning of a song, in certain cases, a preset or snapshot recall could fail to engage—FIXED Selecting a preset from any Start, Marker, or Preset/Snap flag would always display them in banks of 4 (A, B, C, and D) instead of reflecting the Global Settings > Preferences > Preset Numbering value—FIXED From the Song List, tapping any song's End of Song icon and then pressing Song could leave the End of Song panel visible—FIXED If Global Settings > MIDI > Send PC w/ Preset is enabled and Start, Marker, and/or Preset/Snap flags appear very close together at the beginning of a song, the same Preset and/or Snapshot CC values could be sent twice—FIXED Start and Time flag Time Signatures could have a numerator set to values lower than 1, which could cause Stadium to crash—FIXED Adding a Utility > Tuner On or Tuner Off flag to bars 5 or 6 in a new song could cause Stadium to crash—FIXED Stadium Floor only—Holding FS6 (MODE) would not automatically switch to display More mode in Play view—FIXED Stadium Floor only—If an expression pedal is assigned to multiple parameters, assignment would not always be visible from Play view—FIXED Stadium Floor only—When in Play view while Combo footswitch mode was active, certain operations could cause the UI to reboot—FIXED Stadium Floor only—Command Center > Looper command values would not change per snapshot—FIXED Stadium Floor only—Pressing FS1+FS7 from Snapshot mode to enter Preset mode could disable FS6 (MODE)—FIXED Helix Stadium app—Editing Global EQ from the editor could not be reflected visually on the hardware's Global EQ screen—FIXED Helix Stadium app—In certain cases, saving a preset could cause the IR in a Cab > IR block to not load properly—FIXED Helix Stadium app—When importing very long impulse responses (like stupid long, like "American Pie" long), the Helix Stadium app could sometimes not truncate them properly, resulting in unpredictable behavior—FIXED Helix Stadium app—Saving a preset by clicking the Save icon correctly maintains the current setlist whereas saving the preset by selecting Edit > Save Preset (or pressing Alt/Command-S) would switch back to the USER PRESETS folder—FIXED Helix Stadium app—Changing Command Center > MIDI Note's Momentary/Latching setting from the editor would not update the same setting in the hardware—FIXED Helix Stadium app—Clicking the Helix Stadium icon in the dock would not automatically open a device window—FIXED Many other fixes and improvements

Helix Stadium 1.2.1 (released January 20, 2026) includes important bug fixes and stability improvements and is strongly recommended for all Helix Stadium users. IMPORTANT! Please read Bug Fixes in 1.2/1.2.1 below! Helix Stadium 1.2 (released December 17, 2025) includes 7 new Agoura amp channels from 3 new amps, the new Showcase playback and automation engine, and numerous improvements and bug fixes and is strongly recommended for all Helix Stadium users. IMPORTANT! As always, YOU MUST ALSO install the latest version of the Helix Stadium app, available here: macOS: https://line6.com/software/readeula.html?rid=13434 Windows: https://line6.com/software/readeula.html?rid=13433 New Amps in 1.2 7 new Agoura amp channels bring the Agoura channel count to 50. If you count the 111 HX channels (and you should), that's 161 amp channels total. Amp > US Super Black (Normal and Vibrato channels), based on* the Fender® Super Reverb® Channel—Selects the amp channel or which input is connected. Choose "Normal" or "Vibrato." Drive—Controls the amount of gain applied to the signal, which influences the level of distortion. Bright—When this switch is on, applies a high frequency boost. Bass—Controls the low frequency EQ of the tonestack. Mid—Controls the midrange frequency EQ of the tonestack. Treble—Controls the high frequency EQ of the tonestack. Master—Controls the Master Volume of the amplifier. Level—Controls the overall level of the Amp block. Unlike Master Volume, it has no effect on the block's tone. Sag—Controls the amount of sag, or how much the power supply compresses or "droops" in response to striking the strings hard. Higher values provide more touch dynamics, sustain, and organic feel that's inherent in vintage tube amps; lower values offer a "tighter" responsiveness for a more modern feel. Ripple—Controls how much AC ripple interacts with your tone. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal when the power supply is being pushed hard. Much like Hum, Ripple provides a bit of non-musical distortion to the power amp at distorted settings. Z Pre Post—Determines the location of speaker impedance characteristics in the power amp, primarily due to negative feedback. Higher values mean the effects of the interaction appear at the output of the power amp (Post) and lower values mean more of the effect is fed back to the input of the power amp (Pre). Hype—Depending on the amp and/or amp settings, increasing Hype may subtly or dramatically adjust various behind-the-scenes parameters to make the amp sound and feel smoother, fuller, punchier, tighter, and/or more forgiving, but at the expense of accuracy. Amp > Cali 2C+ (Normal and Lead channels), based on* the MESA/Boogie® Mark IIC+ Channel—Selects the amp's channel. Choose "Normal" or "Lead." Drive—Controls the amount of gain applied to the signal, which influences the level of distortion. This parameter affects both Normal and Lead channels. Bright—When this switch is on, applies a high frequency boost. Bass—Controls the low frequency EQ of the tonestack. Mid—Controls the midrange frequency EQ of the tonestack. Treble—Controls the high frequency EQ of the tonestack. Presence—Boosts upper mid and high frequencies in the power amp, resulting in additional punch and bite. Deep—When this switch is on, boosts the bass frequencies before the graphic EQ. Level—Controls the overall level of the Amp block. Unlike Master Volume, it has no effect on the block's tone. BassShift—When this switch is on, boosts the bass frequencies at the first gain stage. TrebShift—When this switch is on, shifts the treble frequencies of the tone stack lower. Bright—When this switch is on, applies a high frequency boost. This parameter interacts with the Drive parameter and affects both Normal and Lead channels. LeadDrive—Controls the amount of gain applied to the signal, which influences the level of the distortion in the Lead channel. LeadBrite—When this switch is on, applies a high frequency boost. This parameter interacts with the LeadDrive parameter and affects only the Lead channel. LeadMaster—Controls the Master Volume of the Lead channel of the amplifier. Master—Controls the Master Volume of the amplifier. This parameter affects both Normal and Lead channels. Power—Selects the topology of the power amp. Choose "Class A" or "Simulclass" Graphic EQ (80 Hz, 240 Hz, 750 Hz, 2200 Hz, 6600 Hz)—The amount of boost and cut is not equal for all bands. This is consistent with the real amp. Sag—Controls the amount of sag, or how much the power supply compresses or "droops" in response to striking the strings hard. Higher values provide more touch dynamics, sustain, and organic feel that's inherent in vintage tube amps; lower values offer a "tighter" responsiveness for a more modern feel. Ripple—Controls how much AC ripple interacts with your tone. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal when the power supply is being pushed hard. Much like Hum, Ripple provides a bit of non-musical distortion to the power amp at distorted settings. Z Pre Post—Determines the location of speaker impedance characteristics in the power amp, primarily due to negative feedback. Higher values mean the effects of the interaction appear at the output of the power amp (Post) and lower values mean more of the effect is fed back to the input of the power amp (Pre). Hype—Depending on the amp and/or amp settings, increasing Hype may subtly or dramatically adjust various behind-the-scenes parameters to make the amp sound and feel smoother, fuller, punchier, tighter, and/or more forgiving, but at the expense of accuracy. Amp > Brit Jujube (Rhythm, Rhythm Clip, and Lead channels), based on* the Marshall® Silver Jubilee (2555X) Channel—Selects the amp's channel. Choose "Rhythm," "Rhythm Clip," or "Lead." Drive—Controls the amount of gain applied to the signal, which influences the level of distortion. Bass—Controls the low frequency EQ of the tonestack. Mid—Controls the midrange frequency EQ of the tonestack. Treble—Controls the high frequency EQ of the tonestack. Presence—Boosts upper mid and high frequencies in the power amp, resulting in additional punch and bite. LeadMaster—Controls the gain level of the Lead channel. This level is after the Drive control and before the Master Volume. Level—Controls the overall level of the Amp block. Unlike Master Volume, it has no effect on the block's tone. Master—Controls the Master Volume of the amplifier. Sag—Controls the amount of sag, or how much the power supply compresses or "droops" in response to striking the strings hard. Higher values provide more touch dynamics, sustain, and organic feel that's inherent in vintage tube amps; lower values offer a "tighter" responsiveness for a more modern feel. Ripple—Controls how much AC ripple interacts with your tone. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal when the power supply is being pushed hard. Much like Hum, Ripple provides a bit of non-musical distortion to the power amp at distorted settings. Z Pre Post—Determines the location of speaker impedance characteristics in the power amp, primarily due to negative feedback. Higher values mean the effects of the interaction appear at the output of the power amp (Post) and lower values mean more of the effect is fed back to the input of the power amp (Pre). Hype—Depending on the amp and/or amp settings, increasing Hype may subtly or dramatically adjust various behind-the-scenes parameters to make the amp sound and feel smoother, fuller, punchier, tighter, and/or more forgiving, but at the expense of accuracy. *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 1.2 Showcase 1.2 introduces Phase 1 of Line 6’s all new ShowcaseTM live automation engine (patents pending). Controlling a single guitar or bass rig is so 2015; Helix Stadium can now act as the centerpiece of the entire stage, with automated preset and snapshot recall, automated looper functions, automated MIDI remote control and tempo sync of everything on stage, MIDI, hotkey, or SMPTE audio track-to-video/lighting, and up to eight stereo tracks of audio playback. It’s like having a guitar tech, bass tech, keyboard tech, playback tech, video tech, and lighting tech at your beck and call. Showcase helps your band or solo act turn smaller gigs or livestreams into engaging, buzzworthy events and keeps you focused on playing instead of tap dancing on switches all night. IMPORTANT! Showcase won’t change your strings or chip in for beer. Although it sounds complex, Showcase—at least in 1.2—is quite simple. It consists of three basic concepts: 8-track song player—Songs with 1 to 8 stereo audio tracks can be transferred to Helix Stadium via Wi-Fi from the Helix Stadium app. Song tracks can be mixed differently for the 1/4", XLR, and Phones outputs from the Matrix mixer. Event sequencer (Flags)—One or more events (called flags) can be dragged onto a song's timeline, which tell Helix Stadium (and/or external devices) to accomplish certain tasks, such as recalling a preset or snapshot, engaging a looper function, controlling external stompboxes and synths, switching your real amp's channel, controlling software, and much more. Think of flags like commands from the Command Center screen, except instead of engaged manually, they're triggered automatically at certain points during a song. Collectively, these flags can be used to automate your entire show. Start—Every song has one Start flag at the very beginning that determines the song's time signature and tempo. The Start flag also has the ability to recall a specific preset and snapshot. End—Every song has one End flag at the very end that determines the song's end location, fade out length (if any), and playback behavior for when the song ends. Moving its location trims the end time of the song. Marker—Used to jump to various locations in a song and for rearranging your song on the fly during performance. The flag top on the Song screen displays a small yellow pause icon when its Pause at Marker is set to "On". As with Start flags, Marker flags can also recall a specific preset and snapshot. Cycle—Cycles a section of the song for repeated jamming. Cycle Start and End points can also be entered in real time by pressing Transport mode's Cycle footswitch. Preset/Snap—Used to automatically switch presets and/or snapshots during a song. Note that Start flags and Markers can also recall presets and/or snapshots, so these may be unnecessary. Looper—Used to automate looper functions within Helix Stadium itself. For example, you could place a Looper > Record flag at the beginning of the first chorus, a Looper > Stop flag at the end of the chorus, and a Looper > Play flag at the beginning of the second chorus. Playing the song will automate these functions so you could harmonize with what you played in the first chorus durning the second chorus, without pressing a single footswitch. Utility—A catch-all for additional functions that allow Helix Stadium to control itself, including turning the click on and off, engaging the tuner, starting and stopping the stopwatch, and more. Ext Amp—Used to automatically switch external amps' channels and/or reverb. Same as Ext Amp commands except they happen automatically. MIDI—Transmits a MIDI message from both MIDI DIN and USB. Currently supports Bank/Program, CC, and MMC messages. Can be used to recall presets and control parameters in your external stompboxes, synths, keyboards, or with a MIDI-to-DMX converter, even lighting. Hotkey—Transmits a QWERTY HID command (with or without modifiers, such as Shift, Alt, and Command) via USB. Basically the same thing as a Hotkey message on the Command Center page, except it's automatically sent during song playback. Can be used to start/stop a Quicktime video, advance Powerpoint slides, or if you're really ambitious and bored, type an angry email to your boss. Time—Each song's Start flag determines the song's initial tempo and time signature, but additional Time flags can be added anytime the song's tempo and/or time signature changes. Playlists—Much like in Spotify or Apple music, one or more songs can be organized into playlists, and then recalled and otherwise navigated from Transport footswitch mode, dedicated Transport buttons below the Volume knob, or the Song screen's Transport panel. Helix Stadium can store up to 512 songs in the Song Library folder (determined by song length, number of tracks, and microSD card size), and up to 127 playlists can be created, each containing up to 128 songs from the Song Library folder. For more information on Showcase, see the Helix Stadium Owner's Manual. Bug Fixes in 1.2/1.2.1 1.2.1—In some cases, recalling snapshots could not correctly recall all block bypass and/or parameter change values—FIXED IMPORTANT! For presets made before 1.2.1, if a specific block bypass or parameter change continues to not recall as expected: Block Bypass: Tap the block and toggle Snapshot Bypass off and then on again (On [default] means the block's bypass state is controlled by snapshots) Parameter Change: Tap the parameter in the inspector and in the sidebar, tap Snapshot Ctrl off and then on again 1.2.1—Snapshot switching time has improved significantly in 1.2.1 1.2.1—Switching snapshots could result in volume spikes, jumps, or dips. 1.2.1 improves this considerably and further improvements are coming in 1.3 1.2.1—Global EQ settings could not be retained after a firmware update—FIXED IMPORTANT! As this fix applies to 1.2.1 and later, you will need to reprogram your Global EQ(s) after updating. Subsequent updates will not require this 1.2.1—Opening and closing the Global EQ screen could cause the parameters to appear to have been reset, even though they were still active—FIXED 1.2.1—After a power cycle, individual Global EQ bands could sometimes not process audio correctly—FIXED 1.2.1—When not logged into one's account, attempting to update the firmware can display an "Error -16" message—FIXED, but as this was added with 1.2.1, it won't be apparent until subsequent updates 1.2.1—Several Hotkey flag > Keystroke values were incorrect. Setting the value to "-" was actually a space bar, and subsequent values were off by 1—FIXED 1.2.1—On rare occasions, the display could continually restart, requiring a reboot—FIXED 1.2.1—IRs could incorrectly load when more than one was used on a path—FIXED 1.2.1—Global Settings > MIDI > Send PC w/ Preset setting would also affect Command Center MIDI commands and a song's MIDI flags—FIXED 1.2.1—When the Learn Assignment panel open, touching a command-assigned stomp switch could cause the touchscreen to reboot—FIXED 1.2.1—In certain cases, setting a Cab block to "No Cab" could cause the touchscreen to reboot—FIXED 1.2.1—Double-tapping the second cab icon could sometimes change the first cab—FIXED 1.2.1—Clearing a controller could remove visual indication of snapshot control, even though it still worked—FIXED 1.2.1—Changing Global Settings > Displays > TAP LED to "Off" would make the TAP LED stop blinking but it could remain on—FIXED 1.2.1—Depending on pedal position, one or more expression pedal-assigned blocks' bypass states could become inverted—FIXED 1.2.1—A stomp switch may not behave as expected when assigned to toggle between multiple parameters' min and max values—FIXED 1.2.1—Once Stomp A footswitch mode is filled, a block auto-assigned to Stomp B mode could affect that same switch's assignment in Stomp A mode—FIXED 1.2.1—If a user isn't logged in, attempting to access Menu > Downloads results in an error message—FIXED 1.2.1—Importing longer WAV files (example: convolution reverb impulses) as Cab IRs could cause the unit to freeze on the splash screen—FIXED 1.2.1—Clearing a command could lead to loss of snapshot control of block bypass states—FIXED 1.2.1—Connecting to certain types of products over S/PDIF could result in minor pops and clicks—FIXED 1.2.1—Focus zone defaults for Amp > Cali 2C+ have been improved 1.2.1—Many other fixes and stability improvements Helix Stadium App 1.2.1—In some cases, block bypass state could become out of sync with hardware or snapshot changes—FIXED Helix Stadium App 1.2.1—In some cases, block bypass state could become out of sync when three or more blocks are assigned to the same Stomp A or Stomp B switch—FIXED Helix Stadium App 1.2.1—After swapping snapshots,visual indication was updated only after relaunching the software—FIXED Helix Stadium App 1.2.1—After adding multiple songs, memory usage could increase dramatically—FIXED Helix Stadium App 1.2.1—In some cases, block bypass state could become out of sync with hardware—FIXED Helix Stadium App 1.2.1—In rare cases, if a stomp was assigned to Ext Amp (with snapshot control on), cycling snapshots could cause a crash—FIXED Helix Stadium App 1.2.1—Many other fixes and stability improvements Helix Stadium App 1.2.1 (Windows only)—Installing the Helix Stadium App 1.2.1 for Windows bundles the latest ASIO driver that adds support for DirectSound and WDM (WASAPI) drivers. Previously, Audacity could fail to record properly—FIXED 1.2—In some cases, Global Settings > Ins/Outs > 1/4" Output Level and XLR Output Level would appear set to "Line" but were actually outputting Instrument/Mic level—FIXED 1.2—Global Settings > Ins/Outs > Mic In Gain was set lower than intended under the hood—FIXED IMPORTANT! Manual adjustment is required for the fix to take effect. Be careful as this will result in the level increasing 1.2—Presets could occasionally load at a lower output level than expected—FIXED 1.2—In some cases, enabling snapshot control of parameters and then adjusting them from Focus view would not be recalled correctly by Snapshots—FIXED 1.2—With some presets imported from Helix/HX, changing snapshots could cause the main LCD to reboot—FIXED 1.2—In some situations, main LCD and scribble strip displaying of tempo could be inconsistent—FIXED 1.2—If a Looper block is auto-assigned to a Stomp switch, it can become unresponsive—FIXED 1.2—Overwriting a preset can append "(1)" to the preset name—FIXED 1.2—In certain cases, assigning a MIDI CC to an expression pedal via the Command Center could cause the screen to reboot—FIXED Helix Stadium App 1.2—In rare cases, selecting models from the editor could exceed DSP limits, risking a crash—FIXED Helix Stadium App 1.2—None block could show editable parameters—FIXED Helix Stadium App 1.2—Adjusting Input > Instrument 1+2 and Inst 2 > Input Z value would not update the hardware—FIXED Helix Stadium App 1.2—Exporting a preset and then re-importing it could sometimes fail to correctly recall which block is selected—FIXED Helix Stadium App 1.2—When assigned from the editor, some snapshot bypass assignments are not always recalled—FIXED Helix Stadium App 1.2—In rare cases, when importing various presets from Helix/HX, blocks' snapshot bypass state was not always recalled correctly—FIXED Helix Stadium App 1.2—When duplicating a large number of setlists in the editor, an error could occur—FIXED Helix Stadium App 1.2—We have addressed some issues that could prevent logging in to the Helix Stadium application Known Issues in 1.2.1 Wi-Fi connection appears established on the device but is not actually connected to the internet. In this case, disconnect and reconnect to the network on Stadium to reestablish connection In some environments, the Helix Stadium application can become disconnected from the hardware After sitting for an extended period of time, the DSP may become unresponsive. Power-cycling restores functionality so for now, restart Helix Stadium between each session After importing many IRs, the next time Helix Stadium is turned on, boot time is much slower. Subsequent power ups boot as normal. The click may briefly appear out of sync when beginning song playback If Marker > Pause at Marker is turned on, any preset and/or snapshot assigned to the marker is recalled, even though it shouldn't until Play is engaged If Showcase Start or Time flags have time signatures with an 8 or 16 denominator, the click may appear uneven On the Song screen, Visual position may unexpectedly go out of range when zooming or adjusting marker position Helix Stadium app—The following Edit Menu key commands/shortcuts are not yet implemented: Undo, Redo, Cut, Copy, Paste Helix Stadium app—Editing Global EQ from the editor may not be reflected visually on the hardware's Global EQ screen

DL4 MkII 1.10 Release Notes DL4 MkII 1.10 (released 8. October 2024) includes important bug fixes, and is recommended for all users of DL4 MkII and DL4 MkII 25th Anniversary Limited Edition. NEW FEATURES New Global Setting—Tap Pitch With certain delay types, adjusting delay time via Tap Tempo generates cool pitch artifacts; this behavior is accurate to the original gear. However, you can now set DL4 MkII to minimize these artifacts for more transparent tempo changes: Hold ALT/LEGACY and press TAP to enter Global Settings. Turn the model encoder to PITCH ECHO. Press ALT/LEGACY to select the desired setting: Authentic (Red, default)—Pitch artifacts are heard during tempo changes, such as heard on vintage tape and mechanical echo machines Transparent (White)—Tempo changes are more transparent and pitch artifacts are minimized Press any footswitch to exit Global Settings. New Global Setting—LED Ring Brightness When a preset is bypassed, you may now choose whether the LED ring is dim or off: Hold ALT/LEGACY and press TAP to enter Global Settings. Turn the model encoder to GLITCH. Press ALT/LEGACY to select the desired setting: Off/Bright (Red)—The LED is off when bypassed and bright when enabled (This is the same as the original DL4) Dim/Bright (White, default)—The LED is dim when bypassed and bright when enabled Press any footswitch to exit Global Settings. Euclidean Delay—16 Steps Euclidean Delay now supports a 16-step (was 8-step) sequence for more flexibility, which is the same range as in Helix. REPEATS controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set this to 0% TWEAK adjusts the number of total Steps (from 1 to 16) to be filled in by the TWEEZ KNOB TWEEZ adjusts Fill, which is the number of echoes heard within the number of selected steps TIP: To more easily hear the results of your changes, try sustaining a chord while adjusting the TWEAK and TWEEZ knobs. CHANGES The MIDI CC4 (Preset Bypass) value ranges have been swapped to maintain consistency with other Line 6 pedals. Now values 0-63 bypass the preset and values 64-127 enable the preset (prior to 1.10, 0-63 would enable the preset and 64-127 would bypass the preset) The DL4 MkII Owner’s Manual has been updated to 1.10: [URL] BUG FIXES With certain combinations of overdub, reverse, and 1/2-speed, loop playback can become fragmented—FIXED When using delay models with a shorter max delay time at a very slow tempo, the TAP LED may flash out of sync—FIXED In certain rare cases, an expression pedal assignment might swap min and max values—FIXED With Bypass Trails on and Dry Path set to Analog, dry signal may no longer be heard on Preset A—FIXED While in Looper mode, setting the simultaneous delay to a subdivision may reference 120 BPM instead of the current tempo—FIXED In rare cases with Glitch Delay, quickly turning the Time knob to minimum may cause the delay signal to disappear—FIXED MIDI OUT/THRU only passes thru MIDI messages on the DL4 MkII’s global MIDI channel—FIXED If Global Settings were accessed while the classic 4-switch Looper was active, the 1 Switch Looper could become inoperable—FIXED In rare cases, tempo may not be stored and recalled correctly with every preset—FIXED If DL4 MkII was bypassed via built-in footswitch, sending it a Loop Record MIDI message may not successfully record a loop—FIXED Other minor improvements and fixes

POD Go 2.50 (released January 23, 2025) includes 11 new guitar amps, 2 new bass amps, 11 new guitar cabs, 2 new bass cabs, 2 new effects, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry. How do I update to 2.50? Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware. If you run into trouble, read this KB article: 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 to 2.50 as well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=12956 Windows https://line6.com/software/readeula.html?rid=12955 My POD Go has a really old version installed. Can I go straight to 2.50? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 2.50 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! While holding footswitches C and D, turn on POD Go/POD Go Wireless. New Guitar Amps in 2.50 The six Original Amp Designs in POD Go 2.50 (Clarity, Aristocrat, Carillon, Voltage, Kinetic, and Oblivion) are taken from Line 6's popular line of Catalyst guitar amps. Each boasts a unique, integrated boost circuit optimized specifically for that amp. You can assign the Boost parameter to a stomp switch: Select one of the six Original Amp Design models below. From the Edit screen, press and hold the Boost knob. POD Go jumps to the Bypass/Control screen. Press Knob 5 (Learn) and then press the desired stomp switch. POD Go automatically assigns it. If you like, adjust Min Value and Max Value to dial in how much boost you want. Press HOME to exit. Wonder to yourself "wait, it's that easy to assign any parameter in POD Go to a stomp switch? Why haven't I done this before?"—OR—ponder "I'm a power user who knows all the shortcuts. I should assign parameters to switches more often." Amp/Preamp > Line 6 Clarity, Original Amp Design inspired by classic clean solid-state and tube amps. Lots of clean headroom with just a touch of overdrive at the very end of the Drive knob's range. Amp/Preamp > Line 6 Aristocrat, Original Amp Design inspired by rare, unobtainable boutique mid-gain black-panel amps. Features aren’t limited by what can be done with analog circuits. Amp/Preamp > Line 6 Carillon, Original Amp Design inspired by modern and vintage versions of a popular EL84 driven tube amp with added grit at higher gain settings. We kept the good quirks and eliminated the ugly ones, while also making the tone controls more flexible. Amp/Preamp > Line 6 Voltage, Original Amp Design inspired by the classic British "plexi" amp, but with an additional gain stage and more tonal versatility. Amp/Preamp > Line 6 Kinetic, Original Amp Design where all the preamp stages clip at roughly the same time, allowing the amp to go from mostly clean to heavily distorted using the guitar's volume control. Amp/Preamp > Line 6 Oblivion, Original Amp Design built to cover both modern metal and old-school '80s thrash. We took out a lot of the noise associated with high gain, retaining just enough so that it doesn’t sound sterile or artificial. Amp/Preamp > US Super Nrm, based on* the Fender® Super Reverb (normal channel) Amp/Preamp > US Super Vib, based on* the Fender® Super Reverb (vibrato channel) Amp/Preamp > Brit 2203, based on* the Marshall JCM800 2203 (Stock). TIP: Use snapshots (or a Stomp switch) to change the 2203's Input parameter between Low and High Amp/Preamp > German Xtra Red, based on* the Bogner Ecstasy 101B (EL34) (red channel) Amp/Preamp > German Xtra Blue, based on* the Bogner Ecstasy 101B (EL34) (blue channel) New Bass Amps in 2.50 Amp/Preamp > US Dripman Nrm, based on* the Fender Bassman (Silver Panel) Should I use US Dripman Nrm as a bass amp or a guitar amp? Yes. Amp/Preamp > Mandarin Bass200, based on* the Orange AD200 MkIII bass amp New Guitar Cabs in 2.50 Cab > Soup Pro Ellipse (Single, Dual), captured from* the 1x6×9″ Supro® S6616 Cab > 1x8 Small Tweed (Single, Dual), captured from* the 1×8″ Fender® Champ Cab > 1x12 Fullerton (Single, Dual), captured from* the 1x12" Fender® 5C3 Tweed Deluxe Cab > 1x12 Cali IV (Single, Dual), captured from* the 1x12" MESA/Boogie® Mk IV combo Cab > 2x12 Interstate (Single, Dual), captured from* the 2×12″ Dr Z® Z Best V30 Cab > 4x10 US Super (Single, Dual), captured from* the Fender® Super Reverb Cab > 4x12 WhoWatt 100 (Single, Dual), captured from* the 4×12″ Hiwatt® AP Fane® Cab > 4x12 Greenback 30 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12H-30 Cab > 4x12 Cartog Guv (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Eminence Governor speakers) Cab > 4x12 Cartog C90 (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Mesa C90 speakers) Cab > 4x12 SoloLead EM (Single, Dual), captured from* the Soldano SLO 4x12 cabinet New Bass Cabs in 2.50 Cab > 2x15 Dripman (Single, Dual), captured from* the 2x15" Fender® Bassman JBL D130 Cab > 6x10 Cali Power (Single, Dual), captured from* the 6×10″ MESA/Boogie® Power House New Effects in 2.50 Distortion > Regal Bass DI, based on* the Noble Preamp bass DI Bass—Adds a 150Hz bass boost to the signal. 0.0 is flat. Treble—Adds a 3.5kHz treble boost to the signal. 0.0 is flat. Low Cut—Applies a 90Hz low cut (high pass) filter to the signal (6dB/octave). Volume—Controls the overall output level of the DI. Wah > Teardrop Bass Q, based on* the Dunlop 105Q bass wah Position—Sets the position of the wah's pedal position. By default, this is assigned to Expression Pedal 1. You may set the Min and Max value parameters to set the wah's frequency sweep range from the Controller Assign menu Q Trim—Controls the Q or bandwidth of the effect. Lower values boost a wider frequency band and higher values boost a narrower frequency band Vol Trim—Emulates the actual pedal's side volume trim knob Mix—Controls the wet/dry mix of the wah effect. When set to 0%, no wah effect is heard; when set to 100%, no dry signal is heard Level—Sets the overall (transparent) level of the block *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.

Helix/HX 3.80 (released November 19, 2024) includes 6 new amps, 4 new cabs, 1 new effect, and bug fixes and is strongly recommended for all users of Helix and HX. How do I update to 3.80? (except HX One) Updating Helix/HX Hardware With Helix/HX connected to your computer, launch HX Edit 3.82 (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 3.82 and repeat step 1. HX Edit 3.82 (macOS): https://line6.com/software/readeula.html?rid=12926 HX Edit 3.82 (Windows): https://line6.com/software/readeula.html?rid=12927 If your Helix Floor/Rack/LT is currently running firmware 3.15 or older, halfway through the update to 3.80, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there. 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. 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 OPTIONAL: Performing a factory reset loads the new 3.80 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. 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 3.80's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup. If you run into trouble, check out this link. Updating Helix Native 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. Quit your DAW and download and install Helix Native 3.82: Helix Native 3.82 (macOS): https://line6.com/software/readeula.html?rid=12929 Helix Native 3.82 (Windows): https://line6.com/software/readeula.html?rid=12928 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.80'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. 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 3.80?" above). My Helix/HX is at version X.XX. Can I go straight to 3.80? Yes, but note that if you're starting from 2.80 or lower, the update may appear to happen three times and will take notably longer than 30 minutes. This is normal. New Amps in 3.80 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > US Super Nrm, based on* the Fender® Super Reverb (normal channel) Amp/Preamp > US Super Vib, based on* the Fender® Super Reverb (vibrato channel) Amp/Preamp > German Xtra Red, based on* the Bogner Ecstasy 101B (EL34) (red channel) Amp/Preamp > German Xtra Blue, based on* the Bogner Ecstasy 101B (EL34) (blue channel) Amp/Preamp > EV Panama Blue, based on* the EVH 5150III 100 [6L6] (Blue channel) Amp/Preamp > EV Panama Red, based on* the EVH 5150III 100 [6L6] (Red channel) New Cabs in 3.80 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Cab > 4x10 US Super (Single, Dual), captured from* the Fender® Super Reverb Cab > 4x12 Cartog Guv (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Eminence Governor speakers) Cab > 4x12 Cartog C90 (Single, Dual), captured from* Ben Adrian's Cartographer cabinet (Modified Lee Jackson 4x12 with Mesa C90 speakers) Cab > 4x12 SoloLead EM (Single, Dual), captured from* the Soldano SLO 4x12 cabinet New Effects in 3.80 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL, HX One Wah > Teardrop Bass Q (Mono, Stereo), based on* the Dunlop 105Q bass wah Position—Sets the position of the wah's pedal position. By default, this is assigned to Expression Pedal 1. You may set the Min and Max value parameters to set the wah's frequency sweep range from the Controller Assign menu Q Trim—Controls the Q or bandwidth of the effect. Lower values boost a wider frequency band and higher values boost a narrower frequency band Vol Trim—Emulates the actual pedal's side volume trim knob Mix—Controls the wet/dry mix of the wah effect. When set to 0%, no wah effect is heard; when set to 100%, no dry signal is heard Level—Sets the overall (transparent) level of the block *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 HX One Features in 3.80 HX One only: The On/Off footswitch state is now saved with the preset HX One only: You can now view the preset name instead of the model name in the Home view. Configure this in the new Global > Display setting: Auto (default): Displays the preset name by default. When scrolling through models using the effect encoder, the model name appears and persists for 3 seconds after the last adjustment before reverting to the preset name. When editing model parameters, the preset name briefly switches to the model name, persisting for 3 seconds after the last edit before returning to the preset name Model: Always displays the model name Preset: Always displays the preset name. HX One only: Added support for MIDI control of the Shuffling Looper HX One only: Introduced a new MIDI command for preset navigation (CC72): CC72, value 0-63: Previous preset CC72, value 64-127: Next preset HX One only: The chromatic tuner is now available when HX One is set to True Bypass Bug Fixes in 3.80 Delay > Cosmos Echo would apply the same wow/flutter modulation to the left and right delays, making it appear in certain cases as though the Spread control was inoperable—FIXED If you let your Helix/HX box sit, doing nothing for many hours, certain delay and modulation effects could stop processing audio until the preset was reloaded—FIXED Delay > Poly Sustain could sometimes exhibit glitching audio if Random or Random Speed knobs were maxed out—FIXED If the Amp > Ampeg B-15NF's Bass parameter was set to 10.0, the model could gradually lose volume over the course of 30 minutes or so—FIXED If the Amp > Mandarin Bass 200's Bass parameter was set to 0.0, the model could lose volume over the course of 30 minutes or so—FIXED HX Stomp/XL only: In certain configurations, output USB 5/6 would not always mirror the instrument input—FIXED HX One only: There was an issue with Looper > Shuffling Looper when exiting the preset list by pressing both footswitches—FIXED HX One only: Stereo models could collapse to mono when the insert position was set to Post—FIXED HX One only: Looper undo/redo states could become reversed when controlled via MIDI—FIXED HX One only: Certain Delay effects could result in glitches when receiving MIDI Clock changes while Note sync is disabled—FIXED HX One only: In some cases, Flux Min and Max values may not update after resetting the parameter to its default—FIXED Other minor fixes and improvements Known Issues There is a known issue in HX Edit 3.80 on Apple silicon computers (M1, M2, M3, M4) where some global settings are not properly restored from a backup file. A hotfix for this issue is forthcoming. Windows and Intel Apple computers are not affected by this issue.

HX One FAQ What’s HX One? HX One is a compact stereo stompbox with a massive library of effects. If HX Effects is the spiritual successor to M9 and M13, HX One is the spiritual successor to M5. How many effects can HX One run at once? Ahem… one. It's a stompbox for pedalboard-based guitarists and bassists. It is decidedly not a micro Helix. How many different effects does it include? Every* effect from our Helix, HX, and M-Class product lines, including all the crazy cool stuff like Poly Pitch, Poly Sustain, Retro Reel, ADT, Dynamic reverbs, Shimmer, Tesselator, Shuffling Looper, etc. Over 260 total. HX One ships with firmware 3.60, and when 3.70 drops, you may see even more effects. Ugh, I hate screens on pedals. Is it easy to use? Very. Push-turn the EFFECT knob to quickly select the effect category, turn EFFECT to select the effect, and then turn the three knobs to adjust parameters. Press < or > to see more parameters. That’s 90% of it, so congrats! Reading this one paragraph has made you an expert. What’s up with that TAP | FLUX switch? Hold TAP and it changes to Flux, which acts like a Heel/Toe expression switch, where any (or all) parameters transition to a different value over X seconds/beats with a selectable curve. It’s a ton of fun, especially with tape delay squeals, octave divebombs, distortion swells into the chorus, blooming reverbs, and countless more tricks that are difficult or impossible to pull off live. Or if you set Flux Time to zero, you can seamlessly toggle between two states of the same effect, just like snapshots in Helix. Any other cool things lurking in there? Variable analog impedance circuits on the inputs Always-available input noise gate available from the Setup menu, per preset Every effect can be stored as a user default so it always calls up the way you want (and it even remembers your Flux settings), independent of presets 128 preset locations, selectable from the footswitches or MIDI. All 128 factory presets include one or more parameters preassigned to Flux If you’re willing to sacrifice stereo operation, HX One can be switched into one of two different locations on your pedalboard (or in 4-cable method), per preset—say up front for distortions and pitch effects and toward the end for delays and reverbs High-contrast 128x32-pixel OLED display Switchable instrument or line operation. Sounds great on keyboards and synths too EXP | FS3/4 jack, letting you connect one expression pedal, a pedal and footswitch, or two footswitches. An expression pedal and Flux echo each other’s settings Robust MIDI implementation, including triggering bypass, Flux, and looper functions from synth keys or sequencers It only really works when HX One is the first pedal in your chain, but there’s a tuner lurking in there too So could HX One cover all the effects I wouldn’t necessarily buy a dedicated pedal for? Perhaps, but it also shines for many effects you would buy a dedicated pedal for. Just because HX One has 250+ effects doesn’t mean it can’t rival (or surpass) many dedicated pedals. Why didn’t you make a green delay version, a blue mod version, an orange reverb version, etc.? Because it costs almost nothing to include every effect and we’re not greedy. If you want to dedicate an HX One to just delays, that’s fine—put green stickers on it or something. What’s the USB port for? Connecting to the HX One Librarian for backing up/restoring/importing/exporting/renaming/reordering the 128 presets and for firmware updates via the new Line 6 Central app. As there’s only one effect at a time (and it’s running on an ARM processor, not a SHARC), HX One is unfortunately not compatible with HX Edit software. Can I power this from my pedalboard power distribution? Most likely. HX One requires just under 400mA of clean DC. It also includes a new compact DC-1h power supply. I fancy myself a thegearforum.com grumpopotamus. <snorts> Who would buy this thing? HX One is clearly designed for traditional pedalboard guitarists and bassists, but it could also be ideal for the following customers: Keyboardists/synthesists/tabletop producers People who love Line 6 effects but for whatever reason prefer a competitive modeler or preamp pedal HX Stomp users who want more DSP (for Poly Pitch, etc.) Beginners—HX One is perfect for learning what types of FX you might like before building a pedalboard *Ha! You said it had every effect from Helix, but it clearly doesn’t have the 6 Switch Looper or the Volume/Pan stuff! With a MIDI controller, the 1 Switch and Shuffling loopers can be controlled from 6 switches (or keys on your MIDI keyboard). When is HX One shipping? How much? Mid-December 2023, $299.99 US street. You may be able to afford more than one for your pedalboard and unlike HX Effects, this one’ll fit in your stocking.

POD Go 2.0 (released November 7, 2023) includes an all new Cab engine including 33 new cabs, 6 new amps, 7 new effects, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry. How do I update to 2.0? Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware. If you run into trouble, read this KB article: 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 to 2.0 as well. Here's a link: macOS: https://line6.com/software/readeula.html?rid=12373 Windows: https://line6.com/software/readeula.html?rid=12374 My POD Go is at version 1.XX. Can I go straight to 2.0? Yes. Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 2.0 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! While holding footswitches C and D, turn on POD Go/POD Go Wireless. New Cab Engine/New Cabs in 2.0 Thousands of impulses were captured with Sound Design's IR capture system and consolidated into 26 guitar cabs and 7 bass cabs. As such, cab block subcategories have been updated. From Edit mode, turn the Upper Knob to select the Cab block. Press the Lower Knob to open the Model List. Three subcategories appear: Cab—Cabs using the new improved cab engine Legacy Cab—Cabs using the earlier Hybrid cab engine. Legacy cabs remain in POD Go so your existing presets won't be affected. Legacy cab blocks now show a small Legacy icon in the corner IR—Impulse Responses loaded via POD Go Edit New Guitar Cabs Cab > 1x10 US Princess, captured from* the 1x10" Fender Princeton Eminence Copperhead Cab > 1x12 Grammatico, captured from* the 1x12" Grammatico LaGrange P12Q Cab > 1x12 US Deluxe, captured from* the 1×12″ Fender® Deluxe Oxford Cab > 1x12 Open Cast, captured from* a custom 1x12" open back cabinet EVM12L Cab > 1x12 Open Cream, captured from* a custom 1x12" open back cabinet G12M-65 Cab > 1x12 Cali EXT, captured from* the 1x12" Mesa Boogie Extension Cab Cab > 1x12 Blue Bell, captured from* the 1×12″ Vox® AC-15 Blue Alnico Cab > 2x12 Blue Bell, captured from* the 2×12″ Vox® AC-30 Fawn Blue Cab > 2x12 Silver Bell, captured from* the 2×12″ Vox® AC-30TB Silver Alnico Cab > 2x12 Match H30, captured from* the 2x12" Matchless® DC-30 custom G12H-30 Cab > 2x12 Match G25, captured from* the 2x12" Matchless® DC-30 custom G12M-25 Cab > 2x12 Double C12N, captured from* the 2×12″ Fender Twin C12N Cab > 2x12 Jazz Rivet, captured from* the 2×12″ Roland® JC-120 Cab > 2x12 Mail C12Q, captured from* the 2×12″ Silvertone® 1484 Cab > 2x12 Mandarin 30, captured from* the 2x12" Orange PPC212 V30 Cab > 4x10 Tweed P10R, captured from* the 4×10″ Fender Bassman® P10R Cab > 4x12 Greenback 20, captured from* the 4×12″ Marshall® Basketweave G12M-20 Cab > 4x12 Greenback25, captured from* the 4×12″ Marshall® Basketweave G12 M25 Cab > 4x12 1960A T75, captured from* the 4×12″ Marshall 1960A T75 Cab > 4x12 Blackback 30, captured from* the 4×12″ Park® 75 G12 H30 Cab > 4x12 Brit V30, captured from* the 4×12″ Marshall® 1960AV V30 Cab > 4x12 Cali V30, captured from* the 4×12″ MESA/Boogie® 4FB V30 Cab > 4x12 Mandarin EM, captured from* the 4×12″ Orange Eminence Cab > 4x12 MOO)))N T75, captured from* the 4x12" Sunn Cab w/G75T Cab > 4x12 Uber T75, captured from* the 4×12″ Bogner® Uberkab T75 Cab > 4x12 Uber V30, captured from* the 4×12″ Bogner Uberkab V30 Cab > 4x12 XXL V30, 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 Cut—Applies 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 Cut—Applies 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 New Bass Cabs Cab > 1x12 Epicenter, captured from* the 1x12" Epifani® Ultralight series cabinet Cab > 1x15 Ampeg B-15, captured from* the 1×15″ Ampeg® B-15 Cab > 2×15 Brute, captured from* the 2×15″ MESA/Boogie® 2×15 EV Cab > 4×10 Garden, captured from* the 4x10" Eden D410XLT Cab > 4x10 Ampeg Pro, captured from* the 4x10" Ampeg® PR-410HLF Cab > 8x10 SVT AV, 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 2.0 New Guitar Amps Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100. "The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the POD Go model:" —Ben Adrian, Sound Design Manager Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the POD Go models. On the real amp is says "Volume." Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later. Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop. Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings. Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost. Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing. OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone. OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings. OD Level—This controls the output level of the overdrive circuit. Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect. FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change. PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2. Sag—This is a control that is added to all the POD Go models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable. Hum—This is a control that is added to most of the POD Go models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down. Ripple—This is a control that is added to most of the POD Go models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off. Bias—This control is in most POD Go models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic. Bias X—This is the most difficult parameter to describe in POD Go models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all POD Go amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob. 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/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T Amp/Preamp > Line 6 Elmsley, Line 6 Original "The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades. "The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.” —Sam Hwang, Sound Designer New Bass Amp Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer New Effects in 2.0 Distortion > Pillars OD, based on* the Earthquaker Devices Plumes distortion 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 > Dark Dove Fuzz, based on* the Electro-Harmonix® Russian Big Muff Sustain—Sets the amount of distortion Tone—Sets the overall tonal balance of the distortion Level—Sets the overall level of the block Modulation > FlexoVibe, Line 6 Original Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Intensity—Adjusts the amplitude of the modulation, from mild to deep Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping" Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Modulation > 4-Voice Chorus, Line 6 Original Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast Depth—Adjusts the amplitude of the modulation, from mild to deep Voices—Determines the number of voices in the chorus (2, 3, or 4) Low Cut—Applies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency HighShelf—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency Mix—Controls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Modulation > Triple Rotary, inspired by* the Yamaha® RA-200 rotary speaker (famously implemented on "The Wall"). "The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet. "To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems." —Sam Hwang, Sound Designer Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place Mix—Controls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Drive—Controls the amount of drive into the speaker's power amp Headroom—Adds up to 12.0dB of additional headroom Low Cut—Applies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric. Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors Rotor 2 Lvl—Sets the individual volume of the second rotor Rotor 3 Lvl—Sets the individual volume of the third rotor Reverb > Dynamic Ambience, 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. Room Size—Sets the size of the hall (8, 10, or 12 meters) Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even" Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency Level—Controls the overall output level of the block Trails—When on, reverb decay continues to ring out after the block is bypassed Pitch/Synth > Boctaver, based on* the BOSS® OC-2 Octaver –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. Bug Fixes in 2.0 Pitch/Synth > Pitch Wham would load active instead of bypassed–FIXED Controller Learn would remain active after clearing a block in HX Edit—FIXED POD Go Edit only: In rare cases, the parameter Max slider could jump to minimum and become unresponsive—FIXED Other minor fixes and improvements Known Issues in 2.0 After importing a .wav file into the current empty slot of a Cab > IR block, all audio output can be muted If Modulation > ADT is loaded via the Lower Knob or POD Go Edit, a pitch ramp sound may be heard. This does not happen when engaging ADT via footswitch

Helix/HX 3.70 (released November 16, 2023) includes 10 new amps, 9 new cabs, 5 new effects, new features, and bug fixes. Helix/HX 3.71 (released Jan 10, 2024) includes additional important bug fixes, and is recommended for all users. IMPORTANT! 3.71 does not apply to HX Edit. When running sufficient level into a Reverb > Dynamic Bloom block, audio clipping could occur—FIXED The mono version of Reverb > Nonlinear exhibits a less-smooth decay than the stereo version, which is especially noticeable on percussive material. It also affects the stereo version if merged to a mono path or when utilizing a mono output—FIXED When choosing the 30 Dynamic microphone at a distance of 7.0 ~ 11.75, Cab > WhoWatt Cab exhibits abnormal treble resonance—FIXED Delay > Tesselator could exhibit unexpected behavior in 3.70—FIXED Adjusting the Delay > Glitch Delay block's Time parameter could sometimes result in muted audio or other unexpected audio behavior—FIXED Adjusting the IR > Dual block's Delay parameter could sometimes result in graphical anomalies—FIXED Helix Native (Windows VST/AAX) only: Switching from certain reverb types to others (for example, from Hot Springs to Shimmer or Glitz to Shimmer) can result in DSP loss—FIXED Other minor fixes and improvements 3.71 for HX One (released Feb 8, 2024) includes one important bug fix, and is recommended for all users: HX One would only pass MIDI messages through on the MIDI channel it's set to (or when set to Omni, all channels). This clearly undermines the whole point of having MIDI thru at all—FIXED How do I update to 3.71? IMPORTANT! The 3.71 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes thousands of additional IR files. Updating Helix/HX Hardware (Except For HX One) There is no HX Edit 3.71. With Helix/HX connected to your computer, launch HX Edit 3.70 (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 3.70 and repeat step 1. HX Edit 3.70 (macOS): https://line6.com/software/readeula.html?rid=12404 HX Edit 3.70 (Windows): https://line6.com/software/readeula.html?rid=12406 If your Helix Floor/Rack/LT is currently running firmware 3.15 or older, halfway through the update to 3.71, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there. 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. 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 OPTIONAL: Performing a factory reset loads the new 3.70 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. 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 3.70's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup. If you run into trouble, check out this link. Updating Helix Native 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. Quit your DAW and download and install Helix Native 3.71: Helix Native 3.71 (macOS): https://line6.com/software/readeula.html?rid=12503 Helix Native 3.71 (Windows): https://line6.com/software/readeula.html?rid=12502 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.71'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. 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 3.71?" above). My Helix/HX is at version X.XX. Can I go straight to 3.71? Yes, but note that if you're starting from 2.80 or lower, the update may appear to happen three times and will take notably longer than 30 minutes. This is normal. New Guitar Amps in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL The six Original Amp Designs in Helix/HX 3.70 (Clarity, Aristocrat, Carillon, Voltage, Kinetic, and Oblivion) are taken from Line 6's popular line of Catalyst guitar amps. Each boasts a unique, integrated boost circuit optimized specifically for that amp. You can assign the Boost parameter to a stomp switch: Select one of the six Original Amp Design models below. Press and hold the Boost knob. Helix/HX jumps to the Controller Assign screen. [HX only: Press PAGE> to show the Learn knob.] Press Learn. Press the desired stomp switch. Helix/HX automatically assigns it. If you like, adjust Min Value and Max Value to dial in how much boost you want. Press HOME to exit. Wonder to yourself "wait, it's that easy to assign any parameter in Helix/HX to a stomp switch? Why haven't I done this before?"—OR—ponder "I'm a power user who knows all the shortcuts. I should assign parameters to switches more often." Amp/Preamp > Line 6 Clarity, Original Amp Design inspired by classic clean solid-state and tube amps. Lots of clean headroom with just a touch of overdrive at the very end of the Drive knob's range. Amp/Preamp > Line 6 Aristocrat, Original Amp Design inspired by rare, unobtainable boutique mid-gain black-panel amps. Features aren’t limited by what can be done with analog circuits. Amp/Preamp > Line 6 Carillon, Line 6 Original inspired by modern and vintage versions of a popular EL84 driven tube amp with added grit at higher gain settings. We kept the good quirks and eliminated the ugly ones, while also making the tone controls more flexible. Amp/Preamp > Line 6 Voltage, Line 6 Original inspired by the classic British "plexi" amp, but with an additional gain stage and more tonal versatility. Amp/Preamp > Line 6 Kinetic, Line 6 Original where all the preamp stages clip at roughly the same time, allowing the amp to go from mostly clean to heavily distorted using the guitar's volume control. Amp/Preamp > Line 6 Oblivion, Line 6 Original designed to cover both modern metal and old-school '80s thrash. We took out a lot of the noise associated with high gain, retaining just enough so that it doesn’t sound sterile or artificial. Amp/Preamp > Brit 2203, based on* the Marshall JCM800 2203 (Stock). TIP: Use snapshots (or a Stomp switch) to change the 2203's Input parameter between Low and High Amp/Preamp > PV Vitriol Clean, based on* the Peavey Invective (Clean Channel) New Bass Amps in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > US Dripman Nrm, based on* the Fender Bassman (Silver Panel) Should I use US Dripman Nrm as a bass amp or a guitar amp? Yes. Amp/Preamp > Mandarin 200, based on* the Orange AD200 MkIII bass amp New Cabs in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Cab > Soup Pro Ellipse (Single, Dual), captured from* the 1x6×9″ Supro® S6616 Cab > 1x8 Small Tweed (Single, Dual), captured from* the 1×8″ Fender® Champ Cab > 1x12 Fullerton (Single, Dual), captured from* the 1x12" Fender® 5C3 Tweed Deluxe Cab > 1x12 Cali IV (Single, Dual), captured from* the 1x12" MESA/Boogie® Mk IV combo Cab > 2x12 Interstate (Single, Dual), captured from* the 2×12″ Dr Z® Z Best V30 Cab > 4x12 WhoWatt 100 (Single, Dual), captured from* the 4×12″ Hiwatt® AP Fane® Cab > 4x12 Greenback 30 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12H-30 Cab > 2x15 Dripman (Single, Dual), captured from* the 2x15" Fender® Bassman JBL D130 Cab > 6x10 Cali Power (Single, Dual), captured from* the 6×10″ MESA/Boogie® Power House New Effects in 3.70 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL, HX One Distortion > Prize Drive (Mono, Stereo), based on* the Nobels ODR-1 Drive—Sets the amount of distortion Spectrum—When turned down, mids are accentuated; when turned up, lows and highs are accentuated. Could almost be considered a "scoop" control. Level—Sets the overall level of the block. Bass Cut—When set to "On," slightly attenuates low bass frequencies. Voltage—The Nobels ODR-1 can behave differently depending on how much power it receives. Choose 9V or 18V, which gives a bit more headroom. Distortion > Regal Bass DI (Mono, Stereo), based on* the Noble Preamp bass DI Bass—Adds a 150Hz bass boost to the signal. 0.0 is flat. Treble—Adds a 3.5kHz treble boost to the signal. 0.0 is flat. Low Cut—Applies a 90Hz low cut (high pass) filter to the signal (6dB/octave). Volume—Controls the overall output level of the DI. Dynamics > Feedbacker (Mono), Line 6 Original feedback generator Oh man, this one is fun with a capital Ffffff but you'll want to read up on how to get the best results. Works best as one of the first blocks in your signal flow. NOTE: Feedbacker loads bypassed by default. Fdbk Gain—Controls the amount of feedback. At higher settings, can easily overwhelm your guitar signal; at lower settings, the feedback can better "sit" between chords. WARNING! Be careful, as this effect can quickly go off the rails, just like real feedback. Consider assigning it to a momentary stomp so feedback only appears while you hold the switch. Fdbk Type—Determines the type of the feedback generated. TIP: Try assigning different Feedback Type values to snapshots. –Octave—Feedback appears one octave below the "reference frequency," which is basically the note Feedbacker chooses to base its feedback generation on. Depending on the chord, Feedbacker may choose different reference frequencies. Unison—Feedback appears at the reference frequency. +Octave—Feedback appears one octave above the the reference frequency. Oct +5th—Feedback appears one octave plus a 5th above the the reference frequency. +2 Octaves—Feedback appears two octaves above the the reference frequency. 2 Oct+3rd—Feedback appears two octaves plus a 3rd above the reference note frequency. 2 Oct+5th—Feedback appears two octaves plus a 5th above the reference note frequency. 2 Oct+7th—Feedback appears two octaves plus a 7th above the reference note frequency. Mid to Low—Feedback typically starts on the highest harmonic below 500 Hz and drops down to lower harmonics as the signal decays. High to Low—Feedback typically begins on the highest harmonic below 1200 Hz and descends to lower harmonics as the signal decays. Rndm Onset—New harmonics are selected randomly every time a new onset (note or chord's attack) is detected. In this case, repeating the same chord could still generate different harmonics. Rndm Trigger—New harmonics are selected randomly every time the Retrigger parameter is set to "Trigger." See the Retrigger parameter below. Attack—Controls how quickly feedback appears. Release—Controls how quickly each harmonic dies out or transitions to a different one. At higher values, you may hear more than one harmonic as they transition. Dry Kill—Determines what happens to the dry (unaffected) signal: Off—The dry signal is controlled by the Dry Level parameter but is otherwise unaffected when the Feedbacker block is turned on On—The dry signal is muted when the Feedback block is turned on. TIP: With Dry Kill on and Fdbk Type set to "Unison," playing slower, single notes can result in sounds similar to using an E-bow. Always—The dry signal is completely muted from the entire path, regardless of whether the Feedback block is on or off. TIP: Use this setting only when Feedbacker is on a parallel path. Dry Level—Sets the amount of dry signal through the Feedbacker block. TIP: Assign this parameter to an expression pedal for blending in the dry signal behind the feedback. Reference—Determines which note within a chord is referenced by the feedback. "Lowest" prioritizes a chord's lowest-pitched note as the feedback reference, which often represents the fundamental frequency of the chord. "Loudest" prioritizes the loudest note in the chord as the feedback reference, which may not be the lowest note. Silence Thr—Sets the level threshold above which feedback is generated. Below this level, no feedback will be generated. Onset Thr—When Feedback Type is set to Rndm Offset, sets the threshold of onsets (plucks) that cause changes to the feedback note. Lower values increase sensitivity to plucking and strumming, so changes to the feedback note take place more often. Higher values reduce sensitivity to plucking and strumming, so changes to the feedback note take place less often. Offset Thr—Rapid drops in the signal level by this amount will quickly kill the feedback to prevent warbling. Retrigger—Okay, Retrigger isn't a parameter per sé; it's meant for you to assign it to an unused momentary stomp switch. (Press and hold the Retrigger knob, press Learn, press the desired stomp switch, and then set Type to "Momentary.") Every time you press the switch (and the parameter changes from "---" to "Trigger"), the feedback generated will change, depending on the type of mode: Mid to Low or High to Low modes—Pressing the Retrigger switch will cause the Feedbacker to descend to lower harmonics. Rndm Trigger or Rndm Onset—Pressing the Retrigger switch will cause the Feedbacker to randomly choose a different harmonic. All other modes—Pressing the Retrigger switch will cause feedback to regenerate at the mode's selected frequency. Trails—When on, feedback continues to ring out (for the duration of the Release parameter) after the block is bypassed. When off, feedback stops abruptly when the block is bypassed. Reverb > Dynamic Bloom (Mono, Stereo), Line 6 Original bloom reverb. Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity). 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. Rise Time—Sets how long it takes for the reverb to bloom. Choose Short, Medium (default), or Long. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard. Low Freq—Sets the frequency below which the Low Gain parameter is applied. Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies. Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency. High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency. Ducking—Traditionally, ducking controls how much of the entire reverb is dropped in volume (or "ducked") while the signal is active. With Dynamic Bloom, the ducking instead applies to the reverb's feedback only. For example, if you set Decay really high and strum one chord, you'll hear that chord sustain for a long time. While it's ringing out, hit another chord. Without ducking, both chords now sustain together. With Ducking set high, the first chord quickly fades out, and all you'll hear sustaining is the 2nd chord. This can help your bloom from turning into a sloppy mess. Level—Sets the overall level of the block. Trails—When set to "Off," 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. Reverb > Nonlinear (Mono, Stereo), Line 6 Original nonlinear reverb with a variety of decay tail shapes (including multiple reverse reverb shapes). Decay—Sets the decay of the reverb (1.0 ms ~ 2.000 sec). Press the knob to toggle between ms/sec and note values. TIP: When set to note values, playing a note/chord 4 beats (Decay set to "1/1") or 2 beats (Decay set to "1/2") before a song transition can cause the reverb to stop right on the downbeat. Predelay—Determines the amount of delay heard before the signal enters the reverb. Shape—Determines the shape of the reverb's decay: Linear—Traditional reverse reverb with an even, linear slope; abruptly stops after the decay length. Log—Reverse reverb with a logarithmic curve so it starts low and ramps up toward the decay's end. Inverse Log—Reverse reverb with an inverse logarithmic curve so it ramps up quickly. Gauss—Ramps up and then down in a gaussian curve shape. Inverse Gauss—Ramps down and then up in a gaussian curve shape. Triangle—Ramps up and then down in a triangle shape. Inverse Triangle—Ramps up and then down in a triangle shape. Full—No ramp at all; the reverb is on full blast for the duration of the decay and then abruptly stops after the decay length. Late Dry—Adds a bit of the original signal as the very last tap. Most audible when playing simple lines with gaussian and triangle shapes. Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard. Level—Sets the overall level of the block. Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal. Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency. High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency. Mod—Controls the amount of modulation applied to the reverb. Rate—Controls the rate or speed of modulation applied to the reverb. Spread (Stereo version only)—Determines the stereo width or spread of the effected signal. Trails—When set to "Off," 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 Features in 3.70 Cab Delay > Auto Value Helix Floor, Helix Rack/Control, Helix LT, HX Stomp, HX Stomp XL Helix/HX's new cab engine (introduced with 3.50) makes it easy to quickly find a great cab sound by automatically phase and time-aligning the mics in dual cab setups; this avoids the phasing or "thinning out" that can occur naturally when using two mics at different distances. However, some studio engineers are very adept at using phase misalignment to achieve interesting sounds. We've now added a new "Auto" value to the Cab > Delay parameter (all the way left, before 0.0 ms) that automatically approximates the delay through the air when changing the mic Distance parameter. For most people, however, we recommend leaving Delay set to the default "0.0 ms." Bug Fixes in 3.70/3.71 When Amp/Preamp > PV Vitriol Crunch's Gain knob was turned all the way up, the signal could drop out unexpectedly—FIXED With very fast attack times, Dynamics > Deluxe Comp could sometimes exhibit distortion on some source material—FIXED Some reverbs would not reflect the Tuner > Trails parameter—FIXED Stereo versions of select distortion and modulation effects could exhibit an unbalanced stereo field, some more so than others—FIXED In rare cases, some HX Command messages could appear laggy when assigned to a stomp switch with many other assignments—FIXED HX Stomp/HX Stomp XL only: Accessing the Tempo panel by touching the Tap switch could sometimes make the Tempo knob non-responsive—FIXED HX One only: In rare cases, adjusting select parameters and then pressing an external footswitch assigned to Next or Previous preset can cause HX One to become unresponsive—FIXED HX One only: When Settings > Guitar-In Z was set to "Auto" and HX One was bypassed, the effect's impedance value would be retained—FIXED HX One only: Flux On/Off Time would not respond to MIDI Clock when set to note division or beat values—FIXED HX One only: Bypass state wouldn't always be recalled correctly after a power cycle—FIXED HX One only: When using stereo inputs, in certain cases, the right channel would be offset by up to 6dB—FIXED HX One only: Turning the BPM value knob could be a bit glitchy—FIXED 3.71—When running sufficient level into a Reverb > Dynamic Bloom block, audio clipping could occur—FIXED 3.71—The mono version of Reverb > Nonlinear exhibits a less-smooth decay than the stereo version, which is especially noticeable on percussive material. It also affects the stereo version if merged to a mono path or when utilizing a mono output—FIXED 3.71—When choosing the 30 Dynamic microphone at a distance of 7.0 ~ 11.75, Cab > WhoWatt Cab exhibits abnormal treble resonance—FIXED 3.71—Delay > Tesselator could exhibit unexpected behavior in 3.70—FIXED 3.71—Adjusting the Delay > Glitch Delay block's Time parameter could sometimes result in muted audio or other unexpected audio behavior—FIXED 3.71—Adjusting the IR > Dual block's Delay parameter could sometimes result in graphical anomalies—FIXED 3.71—Helix Native (Windows VST/AAX) only: Switching from certain reverb types to others (for example, from Hot Springs to Shimmer or Glitz to Shimmer) can result in DSP loss—FIXED 3.71—Other minor fixes and improvements Known Issues in 3.70/3.71 In some cases if a Path 1B or 2B Input block is set to the same return as a block on a B path in a corresponding preset, the preset can load blank. After performing a Factory Reset, attempting to load 128 or more IRs can result in a "Failed to get impulse names" -8207 error. Instead, load fewer than 128 IRs at once. If Looper > 1 Switch Looper is playing, the first MIDI CC62 (Play Once) command is ignored. Sending a second CC62 command will work properly. Helix LT only: After entering and exiting the tuner from Snapshot performance view, Helix LT returns to the home screen. In the meantime, note that pressing FS6 (MODE) and FS12 (TAP/TUNER) together returns to Snapshot performance view. HX Stomp/HX Stomp XL only: If you have a snapshot command set to a footswitch (and Global Settings > Displays > LED Rings is set to "Off/Brt"), the footswitches may not light up red when pressed. HX One only: User Model Defaults created with 3.60 firmware are lost after update to 3.70. IMPORTANT! Be sure to use HX One Librarian to back up all data BEFORE updating to 3.70! HX One only: In rare cases, very quickly push-turning the EFFECT encoder can maintain the effect category carousel view. Press HOME to exit. HX One only: When using HX One in 4-Cable Method, stereo models can collapse to mono when the Insert position is set to Post. HX One only: When True Bypass is engaged, the Tuner does not operate correctly.

Helix/HX 3.60 (released April 25, 2023) includes 3 new amps, 9 new cabs, 2 new effects, additional improvements, and bug fixes, and is strongly recommended for all users. How do I update to 3.60? IMPORTANT! The 3.60 update process may take 30 MINUTES OR MORE TO COMPLETE. This is totally normal, as it includes thousands of additional IR files. Updating Helix/HX Hardware 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 3.60 and repeat step 1. HX Edit 3.60 (macOS): https://line6.com/software/readeula.html?rid=11893 HX Edit 3.60 (Windows): https://line6.com/software/readeula.html?rid=11894 If your Helix Floor/Rack/LT is currently running firmware 3.15 or older, halfway through the update to 3.60, Helix's LCD reads "Boot Failure. Entered Update Mode!" THIS IS NORMAL. Breathe deep, everything is fine. You're almost there. 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. 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 OPTIONAL: Performing a factory reset loads the new 3.60 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. 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 3.60's FACTORY 1 setlist. Select the backup file created in Step 1 and click Restore Backup. Updating Helix Native 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. Quit your DAW and download and install Helix Native 3.60: Helix Native 3.60 (macOS): https://line6.com/software/readeula.html?rid=11895 Helix Native 3.60 (Windows): https://line6.com/software/readeula.html?rid=11896 Open your DAW and open an instance of Helix Native. OPTIONAL: The only way to hear 3.60'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. 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 3.60?" above). My Helix/HX is at version X.XX. Can I go straight to 3.60? Yes, but note that if you're starting from 2.80 or lower, the update may appear to happen three times and will take notably longer than 30 minutes. This is normal. New Amps in 3.60 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Stomp, HX Stomp XL Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100. "The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the Helix model:" —Ben Adrian, Sound Design Manager Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the Helix models. On the real amp is says "Volume." Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later. Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop. Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings. Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost. Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing. OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone. OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings. OD Level—This controls the output level of the overdrive circuit. Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect. FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change. PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2. Sag—This is a control that is added to all the Helix models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable. Hum—This is a control that is added to most of the Helix models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down. Ripple—This is a control that is added to most of the Helix models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off. Bias—This control is in most Helix models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic. Bias X—This is the most difficult parameter to describe in Helix models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all Helix amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob. Grammatico GSG factory presets to check out: Helix Floor/Rack/LT/Native FACTORY 1—04B [013] Grammatico GSG FACTORY 1—13A [048] Grammatico JNC. Preset created by John Cordy FACTORY 1—13B [049] Screams JNC. Preset created by John Cordy HX Stomp 14A [039] DIR:Gram GSG 20A [057] DIR:GRAM JNC. Preset created by John Cordy 20B [058] DIR:SCREAMS JNC. Preset created by John Cordy HX Stomp XL 10D [039] DIR:Gram GSG 15B [057] DIR:GRAM JNC. Preset created by John Cordy 15C [058] DIR:SCREAMS JNC. Preset created by John Cordy Amp/Preamp > Line 6 Elmsley, Line 6 Original "The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades. "The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.” —Sam Hwang, Sound Designer Line 6 Elmsley factory preset to check out: Helix Floor/Rack/LT/Native FACTORY 1—04C [014] Line 6 Elmsley. Turn Distortion > Minotaur off to hear more of the character of the amp. Press the NFB switch to instantly adjust with your feet HX Stomp 14B [040] DIR:Elmsley. HX Stomp XL 11A [040] DIR:Elmsley. Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer Agua Sledge factory presets to check out: Helix Floor/Rack/LT/Native FACTORY 1—10D [039] BAS:Agua Sledge FACTORY 1—11C [042] BAS:Hire Me! HX Stomp 30C [090] BAS:Agua Sledge HX Stomp XL 23C [090] BAS:Agua Sledge New Cabs in 3.60 New Guitar Cabs Cab > 1x12 Blue Bell (Single, Dual), captured from* the 1×12″ Vox® AC-15 Blue Alnico Cab > 1x12 Open Cream (Single, Dual), captured from* a custom 1x12" open back cabinet G12M-65 Cab > 1x12 Open Cast (Single, Dual), captured from* a custom 1x12" open back cabinet EVM12L Cab > 2x12 Silver Bell (Single, Dual), captured from* the 2×12″ Vox® AC-30TB Silver Alnico Cab > 2x12 Match H30 (Single, Dual), captured from* the 2x12" Matchless® DC-30 custom G12H-30 Cab > 2x12 Match G25 (Single, Dual), captured from* the 2x12" Matchless® DC-30 custom G12M-25 Cab > 4x12 Greenback 20 (Single, Dual), captured from* the 4×12″ Marshall® Basketweave G12M-20 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 Cut—Applies 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 Cut—Applies 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 3.60 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 Cab > 1x12 Epicenter (Single, Dual), captured from* the 1x12" Epifani® Ultralight series cabinet Cab > 4x10 Ampeg Pro (Single, Dual), captured from* the 4x10" Ampeg® PR-410HLF 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 Effects in 3.60 Helix Floor, Helix Rack, Helix LT, Helix Native, HX Effects, HX Stomp, HX Stomp XL Distortion > Dark Dove Fuzz (Mono, Stereo), based on* the Electro-Harmonix® Russian Big Muff Sustain—Sets the amount of distortion Tone—Sets the overall tonal balance of the distortion Level—Sets the overall level of the block Modulation > Triple Rotary (Stereo only), inspired by* the Yamaha® RA-200 rotary speaker (famously implemented by Pink Floyd's David Gilmour). "The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet. "To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems." —Sam Hwang, Sound Designer Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place Mix—Controls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard Level—Controls the overall output level of the block Drive—Controls the amount of drive into the speaker's power amp Headroom—Adds up to 12.0dB of additional headroom Low Cut—Applies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency High Cut—Applies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric. Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors Rotor 2 Lvl—Sets the individual volume of the second rotor Rotor 3 Lvl—Sets the individual volume of the third rotor *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. Changes and Improvements in 3.60 As 3.60 adds a second Grammatico amp, the three existing Grammatico LaGrange amp models have been renamed to "GrammaticoLG Nrm," "GrammaticoLG Brt," and "GrammaticoLG Jmp" A few 3.50 factory presets have been updated to utilize 3.60 cabs where appropriate Bug Fixes in 3.60 After a long period of time with tonestack parameters set a certain way, the Amp > Moo)))n amp models could stop processing audio—FIXED Helix Floor/Rack/LT only: The 8 TEMPLATES setlist preset numbers were offset by one—FIXED Helix Native only: Loading an Amp+Cab > Bass model could sometimes crash the plugin—FIXED