Well those arent guesses they came from Line 6 employers they hang here and on TGP and the big FB Helix group quite frequently.
However i copy the 3 first from Helix-Help Page
It is really true and no guesses i have also read somewhere about the Doom and Epic and Badonk (which is a new version of the Big Bottom) how they came to life but i have lost that info!!
But i could try to dig it up i might have save it on a textfile or as an offline webpage when i got some time off.
The Litigator info is taken from TGP "the huge 3000 pages Line Helix thread" where you can find very useful information about both amps and effects posted from line 6 coders and also from users of course
For instance there is a post about what all parameters on 2 of the new Reverbs that was released in 2.50 is doing from a Line 6 coder named Sam Whang.
Also how the Double Track works (from the same coder)
And what is the setting is to mimic a real world Dallas Rangemaster (as it has more controls than what you find on a real renagemaster it has only ONE knob and NO it is not the default setting that mimic the real world rangemaster)
(The one knob from the rangemaster is the Drive knob on the model. We added the bass and treble knobs to be able to tailor the sound to your liking. For the closest to the real world pedal, set the bass knob at 5 and the treble at 10. This pedal is usually used right off the guitar, so it can sound very different when used first in the chain as opposed to later in your signal path due to the input impedance of the circuit. But if you want to put it wherever you want or just want to tweak the tone a little we decided to make sure you can tune the voicing to your tastes.)
Here is the info about Litigator from Ben Adrian taken from TGP Line 6 Helix thread..
(I'm pleased and surprised by the "Litigator" reception. I have to admit, it's fun to see the response when the amp is behind the virtual curtain. So, if you like the model and don't want to ruin the magic, you should stop reading.
We had talked about modeling a smooth-overdriving, easy to play, mid-gain, high dollar boutique amp for a long time. However, they can be expensive and hard to find. When you do find one, people get nervous that it will be partially disassembled and probed.
The "Litigator" was born out of two scenarios; one, I came from the world of building pedals and doing a lot of tube amp repairs and mods, and two, I was not constrained by making a model that matched a real world amp.
I asked myself, "what would I do if someone brought me an amp and wanted me to mod it into something smooth and boutique-y?" So I took a schematic for an amp that we had modeled and I drew out the mods on paper. Yes, it started from a Fender place like so many of the boutique amps.
I made the "mods" in the digital world, and it wasn't right. It didn't sound bad, but it didn't sound like I imagined that it would sound. I was disappointed in myself. So, I went a little further. I moved the tonestack to a different location later in the circuit. I also messed with tone stack cap values and ranges. Plus, I remembered that I wasn't constrained by the real world. I was able to dig into the low pass and high pass filtering before each of the gain stages. I was able to have the drive knob adjust frequency responses in various places in the circuit. Most importantly, I could fine tune the knees of how the individual tube stages entered clipping. I tuned the power amp to make it distort in an idealized way. Finally, I adjusted the sag so that it reacted in a way that was pleasing to me, not just matching what happened in a physical circuit.
So, the amp is not based on any specific amp. It's a circuit I dreamed up based on a heavily modded Fender and then hammered on and tweaked until we all liked playing it around the office. It wouldn't be impossible to make in the physical world, but it might get a little messy. I removed a lot of the noise and irregularities that people find unpleasant, but I was able to add just enough of the wrong things so they enhance without being a distraction. It's like a vintage amp with movie magic color correction and hyped depth of field.
I usually operate in a very objective world. If you like a physical amp, I hope that you like the model of the amp. If you don't like a certain physical amp, then I would not expect you to enjoy the model. I would say that a normal amp model is 95% objective and 5% subjective. The "Litigator" is pretty much 50/50. To be totally frank, I'm generally not a fan of the type of amp that this model is based on. I can sometimes make blues lawyer or yacht rock jokes in private. It's not that I don't respect the musicality, it's just that it's not my world or my wheelhouse. I was expecting to not really like this amp model when I was finished. However, even I couldn't stop playing it when I was done. I kind of sick-burned myself When it was built into test builds here at Line 6, many other people couldn't stop playing it. It's pretty much the highest compliment when I hear these stories.)
Here is the HX Reverb info taken from TGP from .
(Hey everyone, ever since the new reverbs came out I've wanted to make a post explaining some of the controls more in-depth. Here are some parameter descriptions for the Ganymede and Glitz reverbs. Sorry it took a while but I hope some of this helps, and let me know if there are other questions I may be able to help with.
The Glitz reverb is Helix's take of the modern modulated reverb sound. There are oscillators in the pre-delay sections as well as near the end of the reverb algorithm. For the latter, there is crossover where everything above the set frequency is modulated to get that glistening sound int the mix without getting too much in the way of the core tone.
Controls Rundown: (excludes non-specialized controls, unless modified for this specific effect)
Decay: The Decay control controls the amount of damping within the reverb algorithms, and such that as this is set higher the longer the reverb will last.
(Note: Our Decay parameter has a 0-10 nondescript unit, and not a time value, as the decay is very organically tied to the reverb voicing.)
PreDelay: The amount of pre-delay time between the dry and wet sound. This is modified compared to the Legacy reverbs as the delay time is very slightly modulated with the Rate and Depth parameters. More modulation effect gives the effect of being in room with moving and spinning walls.
Note: If you want a less boozy reverb, this modulation can be nullified if the PreDelay is set to zero
Delay: The amount delay time before the latter modulation oscillator.
Rate: The speed of the modulations for all oscillators in the reverb. This is interactive through different sections of the reverb algorithm. This can be set to tap tempo values as well.
Depth: the depth of the modulations for all oscillators. This is interactive through different sections of the reverb
Xover: The crossover will set the frequency where the later modulations will take effect. Everything below will only have the modulations from the early sections of the effect, and above will have the extra modulation. This and the Mod Mix param can be used to completely transform the voice of the Glitz Reverb. This is a parameter where experimentation is highly encouraged!
Mod Mix: the amount of extra-modulated vs non-extra modulated sounds. This does come after the crossover section, so that your voicing for this reverb is highly dependent on the Xover parameter.
The Ganymede came from our desire to have a much more ambient reverb tone that defies the limitations of modeling a physical space. For the tone of this reverb, we took inspiration from the classic hardware-based reverbs of yesteryear, while breaking their boundaries with today’s powerful DSP potential. The result is a reverb that is fun to use with its highly interactive parameters which has a classic tone that can take you on a journey far, far away.
Controls Rundown: (excludes non-specialized controls, unless modified for this specific effect)
Decay: The Ganymede’s decay parameter responds very dynamically to how you play. The higher that this is set the reverb gets exponentially more diffuse as well as longer. At 10 the reverb has an almost auto-pad effect with an incredibly long sustain.
Tone: This works to voice the Ganymede from bright to dark, but it is wired in such a way you can also use it to change your existing decay’s tone as well. This is really fun to use with expression pedals or snapshots.
Modulation: The amount of modulation within the algorithm. This is also a control that gets really interesting as you control it dynamically, as any changes in this parameter has after-effects on higher Decay settings.)
And here is the info about Double Track from the same coder (Sam Hwang) who wrote about HX Reverbs ..
(Hello! I'm Sam, one of the sound designers here at line 6. I'm not the most active on forums (not super experienced in posting... ) since so many of our line 6 friends here are usually better spoken than myself. I've worked on quite a few models for the Helix, and first of all I want to state that I love how much great and useful feedback our community provides for something we are so passionate about. We will keep doing our best to help you all love what you do more freely and easily!
that said, I wanted to give a bit of an in-depth rundown specifically for the Double Take double tracker.
The Double Take is a new double tracking effect made specifically for the Helix. Having spent a lot of time listening to a plethora of double tracked instruments, we found that the way a part is performed has a huge effect on how the layered tracks would feel. With this in mind, we wanted to make a new double track effect that responds dynamically with the way the player performs, adding the real-world dimension and depth you would get from having multiple recordings of a single part. This led to a whole new design from the ground up, with a lot of tuning available for the amount and types of variation between the doubled voices. This makes for the ability to have an incredibly realistic sounding and feeling double tracker with the ability to shape the feel at your finger(and foot-)tips.
The main "Doubles" knob controls the number of double tracks into the mix from one to four generated voices, and in the stereo versions, the dry signal is assigned to a specified pan location. (Dry signal is underlined)
1 = Left and Right
2 = Left, Center, Right
3 = Left, Left, Right, Right
4 = Left, Left, Center, Right, Right
Note: as each extra voice is added, there is a post-effect level compensation such that the overall dB of the remains about uniform. You can make up this change with the two output knobs if you want the same level hitting whatever you send the doubled tracks in to. Also since these are hard pans, you an also use the "stereo width" block to control how wide this effect is in the stereo field.
The Slop knob controls the amount of the slight variations in timing and pitch you would hear from each of the doubled voices. The variations are what we like to call "Defined Randomness" as this amount and timing is directly coupled with the dynamics of the original part. This knob controls the heart of this effect, as it will define the voices from tight and refined at low settings and all the way to(too?) wild and dynamic at max. With this knob you can set such that a softer touch there isn't much change to the original performance, but the harder you dig in, the more the doubled voices' strings stretch, slap around, and become widely de-correlated.
This knob controls the sensitivity of the slop feature. The lower this parameter is set there will be less dynamic behavior from the voices. This can be viewed more or less like a threshold or input gain of a compressor, but specifically for the slop's detection algorithm.
Source (Stereo only)
The Double take can have a true stereo path. This parameter determines how the input signal is processed by the effect.
Mono: Input will be summed to mono then processed by the Double Take
True Stereo: Each side will be sent as a true stereo path, and each extra voice will be sent to the side of the source pan.
Left Only: Only the left input will be sent into the Double Take
Right Only: Only the right input will be sent into the Double Take
Dry and Wet Levels
Instead of a This controls the level of the original dry signal as it passes through the effect. Note the Dry Level Location above.
Note: In "True Stereo" mode, the dry signal for the right will only be used for the doubles and will not pass through the effect. In "Right Only" mode, the Right channel will be sent to the left or center according to the Doubles parameter.
Personally, I like to put it either after my amp and cab if I'm using the stereo version, or in mono right in front of the rig just after my guitar... but I'm sure all you lovelies will find some more amazing uses! Hope you guys found this informative and it helps you have fun. sorry for the long post :X thank you.)