Helix Native 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

How do I update to 3.15?

Before updating Helix Native, it is highly recommended that you export a bundle and/or export all of your setlists. This is done by going to Settings (the gear icon in the bottom left of the window), the Presets/IRs tab, and clicking Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they only have one setlist. In these modes, the setlist or presets will need to be exported instead of a bundle.

New Amp in 3.15

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

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

• Drive—Controls the amount of amp drive
• HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
• Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
• Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
• Ch Vol—Sets the overall level of the Amp block
• Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

New Helix Effects in 3.15

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

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

• Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
• Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
• Mix—Controls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

• Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
• Depth—Adjusts the amplitude of the modulation, from mild to deep
• 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
• Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
• Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Level—Sets the overall level of the block

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

• Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
• Feedback—Controls the overall number of repeats. To hear only one repeat, set to 0%
• Rate—Controls the rate or speed of modulation
• Depth—Controls the depth or amount of modulation
• Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block
• Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
• Rev Mix—Controls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
• Rev Decay—Sets the decay of the reverb
• Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

• Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
• WowFlutr1, WowFlutr2—Determines how much warbly tape sound is heard for each deck
• Saturate1, Saturate2—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
• Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
• Deck 2 Pol—Flips the polarity of deck 2
• Mod Rate—Controls the rate or speed of modulation applied to Deck 2
• Mod Depth—Controls the depth or amount of modulation applied to Deck 2
• Level—Sets the overall level of the block
• TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
• Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
• Low Cut—Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
• High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
• Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
• EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

• Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
• Feedbk A, Feedback B—Controls the number of repeats for each delay line. To hear only one repeat, set to 0%
• Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
• Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block
• Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
• Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Mod Rate—Controls the rate or speed of modulation
• Mod Depth—Controls the depth or amount of modulation
• Shape—Sets the modulation's wave shape (Sine or Triangle)
• Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
• Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
• Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
• Low Cut—Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
• High Cut—Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:

• First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
• Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
• Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
• Direction—Determines the direction of the steps:
  • Forward: Each step plays back normally (Ex. 2a below)
  • Reverse: Each step plays back in reverse (Ex. 2b below)
  • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
• Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
• Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
  • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
  • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
  • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
• Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
  • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
  • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
• Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
• Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
• HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
• LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
• FX Level—Controls the level of the effected signal
• Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.

• FX Level—Controls the level of the looped audio
• Level—Controls the overall output level of the block
• Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
• Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
  • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
  • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
  • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

• Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
• Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
• Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
• Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
• MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
• 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
• Level—Controls the overall output level of the block
• Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

• Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
• Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
• Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
• Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
• Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
• 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
• EarlyReflc—Sets the amount of early reflective room sound
• Level—Controls the overall output level of the block
• Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

• Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
  • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
  • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
• Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
• Pitch 2—Sets the interval of the second pitchshifter
• Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
• Feedback—Controls the number of times the pitchshifting recirculates through the reverb
• Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
• 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
• Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
• Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
• Room Size—Sets the size of the room (10, 20, or 30 meters)
• Damping—Determines the frequency above which the reverb will be absorbed
• Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
• Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
• Low 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 set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

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

New Legacy Effects in 3.15

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

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these!

• Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
• Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

• Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
• Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
• Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
• Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

• Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
• Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

• Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
• Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion
• Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
• Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
• Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
• Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
• Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
• Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
• Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
• Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

New Features in 3.15

Apple Silicon Support

Helix Native

The Helix Native VST/AU/AAX plug-in now natively supports M1 and newer Apple computers without Rosetta. NOTE: HX Edit software has worked with M1 Macs from day one.

Helix Native 3.15 (released February 8, 2022) includes a new Line 6 original amp, 10 new Helix effects, 18 additional Legacy effects, new features, additional improvements, and bug fixes, and is recommended for all users.

How do I update to 3.15?

Before updating Helix Native, it is highly recommended that you export a bundle and/or export all of your setlists. This is done by going to Settings (the gear icon in the bottom left of the window), the Presets/IRs tab, and clicking Export Bundle. Some hardware compatibility modes (HX Stomp, HX Stomp XL, HX Effects) do not have this feature as they only have one setlist. In these modes, the setlist or presets will need to be exported instead of a bundle.

New Amp in 3.15

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

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

—Ben Adrian, Sound Design Manager

• Drive—Controls the amount of amp drive
• HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
• Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
• Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
• Ch Vol—Sets the overall level of the Amp block
• Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

New Helix Effects in 3.15

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

Dynamics > Ampeg Opto Comp (Mono, Stereo), based on* the Ampeg Opto Comp compressor pedal.

• Compress—This is actually a ratio control, which controls the amount of compression. At 0.0, the ratio is 1:1; at 5.0, the ratio is at 3:1, and at 10.0, the ratio is at 10:1
• Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
• Mix—Controls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block

Modulation > Ampeg Liquifier (Mono, Stereo), based on* the Ampeg Liquifier chorus pedal.

• Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
• Depth—Adjusts the amplitude of the modulation, from mild to deep
• 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
• Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
• Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Level—Sets the overall level of the block

Delay > Heliosphere (Mono, Stereo), Line 6 Original delay with reverb injected into the feedback loop.

• Time—Sets the delay time. Press the knob to toggle between ms/Sec and note values
• Feedback—Controls the overall number of repeats. To hear only one repeat, set to 0%
• Rate—Controls the rate or speed of modulation
• Depth—Controls the depth or amount of modulation
• Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block
• Scale—For stereo delays, the Time parameter sets the left side. The right side's time is always some percentage of the left's time, and is determined by the Scale parameter. For example, if Time is set to 500ms, and Scale is set to 70%, the left delay is 500ms and the right delay is 350ms (or 70% of 500ms). When scale is set to 100%, left and right delays are the same
• Rev Mix—Controls the wet/dry mix of the reverb inside the delay's feedback loop. When set to 0%, no reverb is heard
• Rev Decay—Sets the decay of the reverb
• Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > ADT (Mono, Stereo), Line 6 Original double-tracking tape emulation.

• Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
• WowFlutr1, WowFlutr2—Determines how much warbly tape sound is heard for each deck
• Saturate1, Saturate2—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
• Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
• Deck 2 Pol—Flips the polarity of deck 2
• Mod Rate—Controls the rate or speed of modulation applied to Deck 2
• Mod Depth—Controls the depth or amount of modulation applied to Deck 2
• Level—Sets the overall level of the block
• TapeSpeed—Changes both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
• Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
• Low Cut—Applies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
• High Cut—Applies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
• Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
• EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > Crisscross (Mono, Stereo), Line 6 Original dual delay with cross-feedback between the two delay lines.

• Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
• Feedbk A, Feedback B—Controls the number of repeats for each delay line. To hear only one repeat, set to 0%
• Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
• Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
• Level—Sets the overall level of the block
• Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
• Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
• Mod Rate—Controls the rate or speed of modulation
• Mod Depth—Controls the depth or amount of modulation
• Shape—Sets the modulation's wave shape (Sine or Triangle)
• Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
• Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
• Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
• Low Cut—Applies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
• High Cut—Applies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
• Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

Delay > Tesselator (Mono, Stereo), Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:

• First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
• Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
• Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
• Direction—Determines the direction of the steps:
  • Forward: Each step plays back normally (Ex. 2a below)
  • Reverse: Each step plays back in reverse (Ex. 2b below)
  • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
• Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
• Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
  • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
  • "Dry Kill"—When Tesselator is on, only the effected signal is heard. TIP: With Tesselator on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
  • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
• Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
  • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
  • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
• Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
• Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
• HP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
• LP Filter—Very different from Helix's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
• FX Level—Controls the level of the effected signal
• Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

Delay > Ratchet (Mono, Stereo), Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.

• FX Level—Controls the level of the looped audio
• Level—Controls the overall output level of the block
• Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
• Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
  • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
  • "Dry Kill"—When Ratchet is on, only the effected signal is heard. TIP: With Ratchet on a parallel path, assign a second stomp switch to toggle between Mute All and Dry Kill. This lets you leave the block enabled and bring the effected signal in and out by switching between the two values
  • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

Reverb > Dynamic Plate (Mono, Stereo), Line 6 Original plate reverb typically found in high-end studio rack reverbs.

• Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
• Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
• Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
• Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
• MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
• 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
• Level—Controls the overall output level of the block
• Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

Reverb > Dynamic Room (Mono, Stereo), Line 6 Original room reverb typically found in high-end studio rack reverbs.

• Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
• Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
• Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
• Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
• Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
• 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
• EarlyReflc—Sets the amount of early reflective room sound
• Level—Controls the overall output level of the block
• Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

Reverb > Shimmer (Mono, Stereo), Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

• Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
  • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
  • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
• Pitch 1—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch 1 and Pitch 2 have 0.1 semitone resolution between -1and +1
• Pitch 2—Sets the interval of the second pitchshifter
• Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
• Feedback—Controls the number of times the pitchshifting recirculates through the reverb
• Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
• 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
• Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
• Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
• Room Size—Sets the size of the room (10, 20, or 30 meters)
• Damping—Determines the frequency above which the reverb will be absorbed
• Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
• Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
• Low 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 set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

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

New Legacy Effects in 3.15

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

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added to the Legacy subcategory in their respective effects categories. Don't sleep on these!

• Distortion > Bronze Master (Legacy), based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
• Distortion > Killer Z (Legacy), based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

• Modulation > Tape Eater (Legacy), Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
• Modulation > Warble-Matic (Legacy), Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
• Modulation > Random S&H (Legacy), Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
• Modulation > Sweeper (Legacy), Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

• Delay > Phaze Eko (Legacy), Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture
• Delay > Bubble Echo (Legacy), Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about

• Pitch/Synth > Synth Lead (Legacy), Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
• Pitch/Synth > String Theory (Legacy), Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to Helix/HX in 1.50. Renamed the POD Farm version "String Theory" to avoid confusion
• Pitch/Synth > Synth FX (Legacy), Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
• Pitch/Synth > Buzz Wave (Legacy), Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
• Pitch/Synth > Rez Synth (Legacy), Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
• Pitch/Synth > Saturn 5 Ring Mod (Legacy), Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
• Pitch/Synth > Double Bass (Legacy), Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down
• Pitch/Synth > Seismik Synth (Legacy), Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
• Pitch/Synth > Analog Synth (Legacy), Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
• Pitch/Synth > Synth Harmony (Legacy), Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant

New Features in 3.15

Apple Silicon Support

Helix Native

The Helix Native VST/AU/AAX plug-in now natively supports M1 and newer Apple computers without Rosetta. NOTE: HX Edit software has worked with M1 Macs from day one.

Helix Native 3.11 contains several stability and performance improvements as well as bug fixes. Updating is highly recommended.

Please click here or copy/paste this link into your browser to view the 3.11 Release Notes in their entirety.

Bug Fixes:

• Improved stability and performance on macOS Big Sur.

• Other minor improvements and bug fixes.

Helix Native 3.11 contains several stability and performance improvements as well as bug fixes. Updating is highly recommended.

Please click here or copy/paste this link into your browser to view the 3.11 Release Notes in their entirety.

Bug Fixes:

• Improved stability and performance on macOS Big Sur.

• Other minor improvements and bug fixes.

Helix/HX 3.10 includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users.

How do I update to 3.10?

Did you happen to update HX Edit to 3.01 (released on Feb 2, 2021)? If so, just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including updating HX Edit 3.01 to 3.10, and backing everything up to your computer.

What if I didn't update HX Edit to 3.01? What if I don't remember? What's going on? Where am I?

That's fine, just make ABSOLUTELY SURE you install HX Edit 3.10 BEFORE you install 3.10 firmware and make ABSOLUTELY SURE you back everything up! Here's the link:

• macOS: https://line6.com/software/readeula.html?rid=10457
• Windows: https://line6.com/software/readeula.html?rid=10459

Anything else I should know?

Yes. If you run into any odd behavior, before running to the internet to complain, perform a factory reset and restore your backup. (Backing up is part of the update process). This should solve any issues. Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS THIS 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 furthest right switches on the bottom row), turn on HX Effects
• HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
• HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

New Amp in 3.10

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

• Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII. NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion.

New Effects in 3.10

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

• Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch
  • Gain—Sets the amount of distortion
  • Filter—Sets the amount of high cut (low pass) filter applied to the distortion; basically letting more treble through (lower values) or filtering it out (higher values)
  • Level—Sets the overall level of the block
• Modulation > Retro Reel (Mono), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. TIP: Helix Native users should definitely try Retro Reel on all sorts of tracks—vocals, drums, keyboards, strings, busses, you name it.
  • Wow Fluttr—Determines how much warbly tape sound is heard
  • Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect
  • High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape
  • Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape  emulation
  • Level—Sets the overall level of the block
  • Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
• Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot. TIP: Add two Euclidean Delays in parallel (with different settings) for interesting polyrhythm patterns. When using a stereo playback system, try panning Paths A and B in the Mixer to L100 and R100.
  • Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values
  • Feedback—Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0%
  • Steps—Determines the number of steps in the sequence (1-16; see diagram below)
  • Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored
  • Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward
  • Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Low Cut—Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When on, delay repeats continue to ring out after the block is bypassed

I was told there'd be no math!

Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm

• Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in extremely static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed
• Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb
  • Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay
  • Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between)
  • Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear
  • Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Level—Controls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

*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 3.10

Increased Oversampling Throughout

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

Oversampling has been increased across the board, resulting in higher fidelity, fewer aliasing artifacts, and smoother decay trails, especially when running multiple distortion stages or with higher gain tones. Many people might not notice a difference, but those highly sensitive to aliasing will appreciate 3.0's smoother response. Amp and effects models have been optimized to accommodate these improvements without increasing DSP usage.

Customizable Stomp Switches

HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects]

As long as something is assigned to a stomp switch (bypass one or more blocks, toggle parameter Min/Max, or Command Center command), switches in Stomp Footswitch Mode can now have custom labels and colors. This is especially helpful when multiple blocks, controls, or commands are assigned to the same switch; it doesn't have to read "MULTIPLE (X)" anymore.

1. Touch a stomp mode footswitch to select it and from either the Bypass Assign or Command Center menu, press PAGE> and then Customize.
2. Use the Upper Knob and Knob 2 (Character) to name the stomp.
3. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch reflects its assignment (Delays are green, Filters are purple, Commands are white, etc.)
4. When finished, press <PAGE and Knob 3 (OK).

Customizable Snapshot Switches

HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects]

Switches in Snapshot Footswitch Mode can now have custom labels and colors.

1. From Play View, press the Upper Knob to open the Preset List.
2. Turn Knob 2 (Snapshot) to select the snapshot you want to rename and press ACTION.
3. Press Rename Snapshot.
4. Use the Upper Knob and Knob 2 (Character) to name the stomp.
5. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch is white
6. When finished, press <PAGE and Knob 3 (OK).

Helix/HX 3.10 includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users.

How do I update to 3.10?

Did you happen to update HX Edit to 3.01 (released on Feb 2, 2021)? If so, just connect Helix/HX to your computer via USB and launch HX Edit. The software will walk you through the entire procedure, including updating HX Edit 3.01 to 3.10, and backing everything up to your computer.

What if I didn't update HX Edit to 3.01? What if I don't remember? What's going on? Where am I?

That's fine, just make ABSOLUTELY SURE you install HX Edit 3.10 BEFORE you install 3.10 firmware and make ABSOLUTELY SURE you back everything up! Here's the link:

• macOS: https://line6.com/software/readeula.html?rid=10457
• Windows: https://line6.com/software/readeula.html?rid=10459

Anything else I should know?

Yes. If you run into any odd behavior, before running to the internet to complain, perform a factory reset and restore your backup. (Backing up is part of the update process). This should solve any issues. Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS THIS 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 furthest right switches on the bottom row), turn on HX Effects
• HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp
• HX Stomp XL: While holding footswitches C & D, turn on HX Stomp

New Amp in 3.10

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

• Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII. NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion.

New Effects in 3.10

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

• Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch
  • Gain—Sets the amount of distortion
  • Filter—Sets the amount of high cut (low pass) filter applied to the distortion; basically letting more treble through (lower values) or filtering it out (higher values)
  • Level—Sets the overall level of the block
• Modulation > Retro Reel (Mono), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter. TIP: Helix Native users should definitely try Retro Reel on all sorts of tracks—vocals, drums, keyboards, strings, busses, you name it.
  • Wow Fluttr—Determines how much warbly tape sound is heard
  • Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect
  • High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape
  • Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape  emulation
  • Level—Sets the overall level of the block
  • Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
• Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot. TIP: Add two Euclidean Delays in parallel (with different settings) for interesting polyrhythm patterns. When using a stereo playback system, try panning Paths A and B in the Mixer to L100 and R100.
  • Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values
  • Feedback—Controls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0%
  • Steps—Determines the number of steps in the sequence (1-16; see diagram below)
  • Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored
  • Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward
  • Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Low Cut—Applies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When on, delay repeats continue to ring out after the block is bypassed

I was told there'd be no math!

Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm

• Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in extremely static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed
• Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb
  • Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay
  • Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between)
  • Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear
  • Low Cut—Applies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Level—Controls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

*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 3.10

Increased Oversampling Throughout

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

Oversampling has been increased across the board, resulting in higher fidelity, fewer aliasing artifacts, and smoother decay trails, especially when running multiple distortion stages or with higher gain tones. Many people might not notice a difference, but those highly sensitive to aliasing will appreciate 3.0's smoother response. Amp and effects models have been optimized to accommodate these improvements without increasing DSP usage.

Customizable Stomp Switches

HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects]

As long as something is assigned to a stomp switch (bypass one or more blocks, toggle parameter Min/Max, or Command Center command), switches in Stomp Footswitch Mode can now have custom labels and colors. This is especially helpful when multiple blocks, controls, or commands are assigned to the same switch; it doesn't have to read "MULTIPLE (X)" anymore.

1. Touch a stomp mode footswitch to select it and from either the Bypass Assign or Command Center menu, press PAGE> and then Customize.
2. Use the Upper Knob and Knob 2 (Character) to name the stomp.
3. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch reflects its assignment (Delays are green, Filters are purple, Commands are white, etc.)
4. When finished, press <PAGE and Knob 3 (OK).

Customizable Snapshot Switches

HX Stomp, HX Stomp XL [Feature already in Helix Floor, Helix Rack/Control, Helix LT, and HX Effects]

Switches in Snapshot Footswitch Mode can now have custom labels and colors.

1. From Play View, press the Upper Knob to open the Preset List.
2. Turn Knob 2 (Snapshot) to select the snapshot you want to rename and press ACTION.
3. Press Rename Snapshot.
4. Use the Upper Knob and Knob 2 (Character) to name the stomp.
5. Press PAGE> and turn Knob 3 (Switch LED) to choose a custom color. When set to "Auto" (the default), the switch is white
6. When finished, press <PAGE and Knob 3 (OK).

The Helix 3.01 update addresses potential severely corrupted audio output. Due to this, we recommend updating your Helix family device as soon as possible. This issue may also be experienced on Helix Native, an update for Native will be available in the very near future.

New Amps

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

• US Princess, based on* the Fender® Princeton Reverb
• Das Benzin Mega, based on* the Mega channel of the Diezel VH4
• Das Benzin Lead, based on* the Lead channel of the Diezel VH4

New Cabs

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

• 1x10 US Princess, based on* the Fender® Princeton Reverb cab
• 1x12 US Princess, based on* the Fender® Princeton Reverb with a 12" Alnico Blue driver

New Effects

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

• Distortion > Horizon Drive (Mono, Stereo), based on* the Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB
• Distortion > Swedish Chainsaw (Mono, Stereo), based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
• Distortion > Pocket Fuzz (Mono, Stereo), inspired by* the Jordan Boss Tone fuzz
• Distortion > Bighorn Fuzz (Mono, Stereo), based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi
• Distortion > Ballistic Fuzz (Mono, Stereo), based on* the Euthymia ICBM fuzz
• Dynamics > Horizon Gate (Mono, Stereo), based on* the Horizon Devices Precision Drive's gate circuit. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB. Works best before an amp
• EQ > Acoustic Sim (Mono, Stereo), based on* the BOSS® AC-2 Acoustic Simulator. Can be used alone or in conjunction with an acoustic IR
• Modulation > Poly Detune (Mono), Line 6 Original
• Delay > Poly Sustain (Mono), Line 6 Original
  1. Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed.
  2. First play the note or chord you wish to sustain, and then press the footswitch (on) to sustain it indefinitely. Keep playing while the note or chord loops. TIP: Some players may find it easier to change the footswitch mode to Momentary; that way, the note or chord sustains only while you hold the switch on, much like the sustain pedal on a piano.
  3. Press the switch again (off) and the sustained note or chord fades out.
  • Interval—Sets the pitch of the sustained note or chord. TIP: This parameter is especially cool for creating massive drones to play over
  • Attack—Sets the speed at which the sustained note or chord fades in
  • Decay—Sets the speed at which the sustained note or chord fades out after bypassing the effect
  • Mod Freq—Sets the speed of the built in modulation
  • Mod Depth—Sets the depth of the built in modulation
  • FX Level—Sets the level of the sustained signal
  • RandDpth—Higher values increase the randomization of the section of audio being sustained, resulting in a more natural, but less predictable drone
  • RandSpeed—Controls how fast the randomization wanders. Setting both RndDpth and RndSpd to high values will result in a glitch fest (not that there's anything wrong with that)
  • Level—Controls the overall output level of the block
• Delay > Glitch Delay (Mono, Stereo), Line 6 Original performance delay that lets you freely manipulate the repeats' behavior in real time
  • Time—Sets the delay time; press the knob to toggle between ms/sec and note values
  • Delay Div—Divides the delay time into smaller increments
  • Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Feedback—Controls the overall number of repeats heard for the entire sequence
  • SliceFdbk—Controls the number of repeats heard for individual slices. At higher values, you could call this "Super Chaotic Feedback"
  • Shuffle—Determines the likelihood of repeats shuffling/reordering
  • Octaves—Determines the likelihood of repeats playing back an octave higher or lower
  • Reverse—Determines the likelihood of repeats playing backwards
  • Seq Drift—Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely
  • Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks
  • Trails—When on, delay repeats continue to ring out after the block is bypassed
• Pitch/Synth > Poly Pitch (Mono), Line 6 Original
  • NOTE: Polyphonic pitch engines are designed for shifting complex chords with minimal artifacts, at the expense of latency (and our algorithms have lower latency than leading standalone poly pitch pedals). If you're looking to pitch individual notes (such as in a solo), monophonic pitchshifting is often preferred. See the Tracking parameter below for more information
  • IMPORTANT! 3.0's new poly models are extremely DSP-intensive. Some effects can eat up roughly a quarter of all available DSP on a Helix Floor, Rack, or LT or half (!!!) of all available DSP on HX Stomp or HX Effects. You also can't run more than one on the same path/DSP. Don't say we didn't warn you...
  • Interval—Sets the pitch of the effect in semitones
  • Cents—Sets the pitch of the effect in cents
  • ShiftTime—Determines how long it takes for the signal to ramp up or down to the set pitch when the block is enabled. Press the knob to toggle between ms/Sec and note/beat values. TIP: Want to hit the switch and have Poly Pitch dive bomb and land on the selected interval exactly one bar later? Press the knob to select note values and set ShiftTime to "1/1"
  • ShiftCurve—Determines the trajectory curve of the pitch shift over time. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). The default is "Linear"
  • ReturnTime—Determines how long it takes for the signal to return to normal pitch when the block is bypassed. Press the knob to toggle between ms/Sec and note/beat values
  • ReturnCurv—Determines the trajectory curve when returning to the original pitch. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite)
  • Tracking—Determines how the poly pitch engine behaves. "X Fast" results in lower latency, ideal for faster lead lines. "X Stable" (the default) results in fewer artifacts when pitch shifting complex, sustained chords. "Fast" and "Stable" are somewhere in between. TIP: If you find yourself changing playing styles—say from fast lead lines to clean, open chords—you can assign this parameter to a footswitch (or snapshots) to optimize the balance between transparency and low latency
  • Auto EQ—Determines how much compensation EQ is applied to the shifted signal. If the effected signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. When set to 0.0, no compensation is applied
  • Mix—Controls the wet/dry mix of the pitchshift
  • Level—Controls the overall output level of the block
• Pitch/Synth > Poly Wham (Mono), Line 6 Original. Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
• Pitch/Synth > Poly Capo (Mono), Line 6 Original. Simpler version of Poly Pitch when you just want to change keys. Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
• Pitch/Synth > 12 String (Mono), Line 6 Original 12-string guitar emulation
• Volume/Pan > Stereo Imager (Stereo), Line 6 Original
• Looper > Shuffling Looper (Mono, Stereo), Line 6 Original. Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you realtime control over reordering, octave shifting, reversing, and repeating. It's all immense fun (even on vocals, drums, and percussion), but you'll want to familiarize yourself with its controls. IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands

1. Add Looper > Shuffling Looper to a preset and assign it to a footswitch.
2. Turn Knob 1 (Slices) to set the number of slices your loop will be chopped into. 8 slices is the default.
3. Press the switch to begin recording. The LED lights red, indicating the loop is recording.
4. At the end of your loop, press the switch. The LED lights green and the sliced loop sequence immediately plays.
5. During playback, adjust the following knobs (or assign them to controllers, like expression pedals or snapshots):
   • Slices—Changes the number of slices your loop will be chopped into
   • SeqLength—Determines the number of slices in the sequence. This can be changed even after recording a loop
   • Shuffle—Determines the likelihood of slices shuffling/reordering. At 0%, the slices never shuffle; at 100%, they're constantly reshuffling
   • Octave—Determines the likelihood of slices playing back an octave higher or lower
   • Reverse—Determines the likelihood of slices playing backwards
   • Repeat—Determines the likelihood of slices repeating
   • Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks
   • Seq Drift—Determines the likelihood of the entire slice sequence changing every time it loops around. When set to 0.0, the same sequence repeats forever; when set to 10.0, the sequence changes completely every time it loops TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely
   • Playback—Sets the looper's playback level
   • Low Cut—Applies a low cut (or high pass) filter to the loop, letting you remove looper signal below a certain frequency
   • High Cut—Applies a high cut (or low pass) filter to the loop, letting you remove looper signal above a certain frequency
6. Want to change it up? While the loop is playing, press the switch to randomize its slice sequence.
7. Quickly double-press the switch. Playback/recording stops and the LED lights white, indicating a loop is in memory. Press again to restart.
8. While the loop is playing or stopped, press and hold the switch. The recording is deleted and the LED lights dim white.

*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

True Preset Spillover

Helix Floor, Helix Rack/Control, Helix LT

Despite what some might have you believe, the only digital multieffects units with true preset spillover were the DigiTech GSP1101, 2112, and 2120, and they accomplished this by dedicating one of their two DSPs to spillover and only spillover. (Basically, to hear two dynamically allocated presets with absolutely zero gap—not a global reverb smeared to cover the gap—you need enough DSP to run both of them simultaneously.) So... if you're willing to sacrifice half your DSP—that is, COMPLETELY DISABLE PATH 2—you too can have true preset spillover. IMPORTANT! Unfortunately, Looper recording or playback will not currently spill over from one preset to another. Also, note that there may be a slight hiccup when switching between two presets with different impedance values for the Guitar Input.

1. In the Global Settings > Preferences menu, set Preset Spillover to "On." (SHORTCUT: Hold ACTION and press HOME.) A dialog appears, reading "Remove Path 2 to enable preset spillover?"
2. Press Knob 6 (OK).
3. Press HOME. Path 2 has disappeared! You may now switch presets to your heart's delight with true spillover but note that if Preset A is still spilling over into Preset B (say one of its delay blocks' feedback is making it self-oscillate), switching to Preset C will abruptly cut off Preset A.
4. To return to normal operation with two paths, turn Preset Spillover back to "Off". (SHORTCUT: Hold ACTION and press HOME again.) A dialog appears, reading "The preset must be reloaded. All unsaved changes will be lost!" So if you've made changes to the preset, be sure to save it before turning Spillover off.
5. Press Knob 6 (OK).

But but but... I don't wanna lose Path 2 just for spillover!

Then keep using snapshots.

Favorites

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

If you've dialed in an amp or effects block exactly the way you like it, you can now save its settings as a favorite so it can be added very quickly, complete with bypass state and footswitch assignment. Favorites appear in a new "Favorites" category and can be renamed, reordered, and cleared. TIP: If you don't want a favorite to be recalled with its footswitch assignment, add the block before you assign a switch.

1. Choose one of your favorite amps or effects and tweak it exactly how you like it, with or without footswitch assignment.
2. Press ACTION and then press Add to Favorites. The Favorites list appears.
3. If you wish to replace an existing favorite (you get 128 total), select it and press Replace Favorite. If you wish to add a new favorite, select the location where you want to place it and press Add New Favorite.
4. OPTIONAL: While the Favorites list is open, press ACTION.
   • To reorder the selected favorite up or down the list, turn Reorder Favorite (on HX Effects, press Reorder Up or Reorder Down)
   • To rename the selected favorite, press Rename Favorite
   • To clear the selected favorite, press Clear Favorite
   • To clear all favorites, press Clear All Favorites. A dialog appears. Press OK to confirm.

All right, so what?

Here's what:

1. At any time, select an empty block and turn the joystick (Big Knob on HX Effects or Lower Knob on HX Stomp). All your perfectly-tweaked favorite amps and effects instantly appear, without having to open the model list at all. If you typically keep model categories on the same stomp footswitches, you could conceivably create a brand new preset with all of your favorite stuff—including all footswitch assignments—in less than 10 seconds. Creating tones has never been faster or easier. TIP: If you keep one or more external pedals connected to Helix's FX Loops, add the FX Loop blocks as favorites and then rename them after the real thing.

User Model Defaults

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

3.0 lets you save any amp, cab, or effect block's settings as default so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. NOTE: Unlike Favorites, user model defaults do not store any footswitch assignments.

1. Choose any model and tweak it exactly how you like it.
2. Press ACTION and then User Default. From Helix Native or HX Edit, right-click (Mac: control-click) the block icon and select "User Default"

Global Settings > Preferences > Auto Impedance

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

A new Global Settings > Preference parameter determines how the Guitar In's impedance circuit behaves when Input > In-Z is set to "Auto." When set to "First Block" (the default), the impedance circuit reflects the impedance of the first block on Path 1A, regardless of whether it's enabled or bypassed. When set to "First Enabled", the impedance circuit reflects the impedance of the first enabled block on Path 1A. Called "Auto Impedance" because "Sorry-this-took-so-long-we-love-you-Tito83" wouldn't fit.

Min/Max Value Indicators

Helix Floor, Helix Rack/Control, Helix LT, HX Stomp [Feature already in HX Effects]

Parameters assigned to controllers or snapshots now display small Min Value (below) and Max Value (above) indicators. You can now see the range of continuous controllers from the Home screen.

8 Blocks in HX Stomp

HX Stomp

HX Stomp's simultaneous block count has been increased from six to eight.

IMPORTANT! Although HX Stomp now has two additional block locations, this doesn't mean it magically has more DSP horsepower to accommodate those blocks. Don't be surprised if you're not able to fill all eight blocks with exactly what you want, especially considering the new polyphonic pitch models take up a lot more DSP. We've taken note of those who've bemoaned HX Stomp's 6 block limit, and if the same person now complains about running out of DSP with 8 blocks, we're sending hooligans to their home to administer an atomic wedgie.

NOTE: It shouldn't come as any surprise, but any presets you make in 3.0 will not be compatible with 2.92 or earlier firmware.

The Helix 3.01 update addresses potential severely corrupted audio output. Due to this, we recommend updating your Helix family device as soon as possible. This issue may also be experienced on Helix Native, an update for Native will be available in the very near future.

New Amps

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

• US Princess, based on* the Fender® Princeton Reverb
• Das Benzin Mega, based on* the Mega channel of the Diezel VH4
• Das Benzin Lead, based on* the Lead channel of the Diezel VH4

New Cabs

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

• 1x10 US Princess, based on* the Fender® Princeton Reverb cab
• 1x12 US Princess, based on* the Fender® Princeton Reverb with a 12" Alnico Blue driver

New Effects

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

• Distortion > Horizon Drive (Mono, Stereo), based on* the Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB
• Distortion > Swedish Chainsaw (Mono, Stereo), based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
• Distortion > Pocket Fuzz (Mono, Stereo), inspired by* the Jordan Boss Tone fuzz
• Distortion > Bighorn Fuzz (Mono, Stereo), based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi
• Distortion > Ballistic Fuzz (Mono, Stereo), based on* the Euthymia ICBM fuzz
• Dynamics > Horizon Gate (Mono, Stereo), based on* the Horizon Devices Precision Drive's gate circuit. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB. Works best before an amp
• EQ > Acoustic Sim (Mono, Stereo), based on* the BOSS® AC-2 Acoustic Simulator. Can be used alone or in conjunction with an acoustic IR
• Modulation > Poly Detune (Mono), Line 6 Original
• Delay > Poly Sustain (Mono), Line 6 Original
  1. Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed.
  2. First play the note or chord you wish to sustain, and then press the footswitch (on) to sustain it indefinitely. Keep playing while the note or chord loops. TIP: Some players may find it easier to change the footswitch mode to Momentary; that way, the note or chord sustains only while you hold the switch on, much like the sustain pedal on a piano.
  3. Press the switch again (off) and the sustained note or chord fades out.
  • Interval—Sets the pitch of the sustained note or chord. TIP: This parameter is especially cool for creating massive drones to play over
  • Attack—Sets the speed at which the sustained note or chord fades in
  • Decay—Sets the speed at which the sustained note or chord fades out after bypassing the effect
  • Mod Freq—Sets the speed of the built in modulation
  • Mod Depth—Sets the depth of the built in modulation
  • FX Level—Sets the level of the sustained signal
  • RandDpth—Higher values increase the randomization of the section of audio being sustained, resulting in a more natural, but less predictable drone
  • RandSpeed—Controls how fast the randomization wanders. Setting both RndDpth and RndSpd to high values will result in a glitch fest (not that there's anything wrong with that)
  • Level—Controls the overall output level of the block
• Delay > Glitch Delay (Mono, Stereo), Line 6 Original performance delay that lets you freely manipulate the repeats' behavior in real time
  • Time—Sets the delay time; press the knob to toggle between ms/sec and note values
  • Delay Div—Divides the delay time into smaller increments
  • Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Feedback—Controls the overall number of repeats heard for the entire sequence
  • SliceFdbk—Controls the number of repeats heard for individual slices. At higher values, you could call this "Super Chaotic Feedback"
  • Shuffle—Determines the likelihood of repeats shuffling/reordering
  • Octaves—Determines the likelihood of repeats playing back an octave higher or lower
  • Reverse—Determines the likelihood of repeats playing backwards
  • Seq Drift—Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely
  • Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks
  • Trails—When on, delay repeats continue to ring out after the block is bypassed
• Pitch/Synth > Poly Pitch (Mono), Line 6 Original
  • NOTE: Polyphonic pitch engines are designed for shifting complex chords with minimal artifacts, at the expense of latency (and our algorithms have lower latency than leading standalone poly pitch pedals). If you're looking to pitch individual notes (such as in a solo), monophonic pitchshifting is often preferred. See the Tracking parameter below for more information
  • IMPORTANT! 3.0's new poly models are extremely DSP-intensive. Some effects can eat up roughly a quarter of all available DSP on a Helix Floor, Rack, or LT or half (!!!) of all available DSP on HX Stomp or HX Effects. You also can't run more than one on the same path/DSP. Don't say we didn't warn you...
  • Interval—Sets the pitch of the effect in semitones
  • Cents—Sets the pitch of the effect in cents
  • ShiftTime—Determines how long it takes for the signal to ramp up or down to the set pitch when the block is enabled. Press the knob to toggle between ms/Sec and note/beat values. TIP: Want to hit the switch and have Poly Pitch dive bomb and land on the selected interval exactly one bar later? Press the knob to select note values and set ShiftTime to "1/1"
  • ShiftCurve—Determines the trajectory curve of the pitch shift over time. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). The default is "Linear"
  • ReturnTime—Determines how long it takes for the signal to return to normal pitch when the block is bypassed. Press the knob to toggle between ms/Sec and note/beat values
  • ReturnCurv—Determines the trajectory curve when returning to the original pitch. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite)
  • Tracking—Determines how the poly pitch engine behaves. "X Fast" results in lower latency, ideal for faster lead lines. "X Stable" (the default) results in fewer artifacts when pitch shifting complex, sustained chords. "Fast" and "Stable" are somewhere in between. TIP: If you find yourself changing playing styles—say from fast lead lines to clean, open chords—you can assign this parameter to a footswitch (or snapshots) to optimize the balance between transparency and low latency
  • Auto EQ—Determines how much compensation EQ is applied to the shifted signal. If the effected signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. When set to 0.0, no compensation is applied
  • Mix—Controls the wet/dry mix of the pitchshift
  • Level—Controls the overall output level of the block
• Pitch/Synth > Poly Wham (Mono), Line 6 Original. Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
• Pitch/Synth > Poly Capo (Mono), Line 6 Original. Simpler version of Poly Pitch when you just want to change keys. Works equally well on guitar and bass, although you might want to tweak the Auto EQ parameter for your particular instrument. See Poly Pitch notes above for additional information
• Pitch/Synth > 12 String (Mono), Line 6 Original 12-string guitar emulation
• Volume/Pan > Stereo Imager (Stereo), Line 6 Original
• Looper > Shuffling Looper (Mono, Stereo), Line 6 Original. Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you realtime control over reordering, octave shifting, reversing, and repeating. It's all immense fun (even on vocals, drums, and percussion), but you'll want to familiarize yourself with its controls. IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands

1. Add Looper > Shuffling Looper to a preset and assign it to a footswitch.
2. Turn Knob 1 (Slices) to set the number of slices your loop will be chopped into. 8 slices is the default.
3. Press the switch to begin recording. The LED lights red, indicating the loop is recording.
4. At the end of your loop, press the switch. The LED lights green and the sliced loop sequence immediately plays.
5. During playback, adjust the following knobs (or assign them to controllers, like expression pedals or snapshots):
   • Slices—Changes the number of slices your loop will be chopped into
   • SeqLength—Determines the number of slices in the sequence. This can be changed even after recording a loop
   • Shuffle—Determines the likelihood of slices shuffling/reordering. At 0%, the slices never shuffle; at 100%, they're constantly reshuffling
   • Octave—Determines the likelihood of slices playing back an octave higher or lower
   • Reverse—Determines the likelihood of slices playing backwards
   • Repeat—Determines the likelihood of slices repeating
   • Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks
   • Seq Drift—Determines the likelihood of the entire slice sequence changing every time it loops around. When set to 0.0, the same sequence repeats forever; when set to 10.0, the sequence changes completely every time it loops TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely
   • Playback—Sets the looper's playback level
   • Low Cut—Applies a low cut (or high pass) filter to the loop, letting you remove looper signal below a certain frequency
   • High Cut—Applies a high cut (or low pass) filter to the loop, letting you remove looper signal above a certain frequency
6. Want to change it up? While the loop is playing, press the switch to randomize its slice sequence.
7. Quickly double-press the switch. Playback/recording stops and the LED lights white, indicating a loop is in memory. Press again to restart.
8. While the loop is playing or stopped, press and hold the switch. The recording is deleted and the LED lights dim white.

*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

True Preset Spillover

Helix Floor, Helix Rack/Control, Helix LT

Despite what some might have you believe, the only digital multieffects units with true preset spillover were the DigiTech GSP1101, 2112, and 2120, and they accomplished this by dedicating one of their two DSPs to spillover and only spillover. (Basically, to hear two dynamically allocated presets with absolutely zero gap—not a global reverb smeared to cover the gap—you need enough DSP to run both of them simultaneously.) So... if you're willing to sacrifice half your DSP—that is, COMPLETELY DISABLE PATH 2—you too can have true preset spillover. IMPORTANT! Unfortunately, Looper recording or playback will not currently spill over from one preset to another. Also, note that there may be a slight hiccup when switching between two presets with different impedance values for the Guitar Input.

1. In the Global Settings > Preferences menu, set Preset Spillover to "On." (SHORTCUT: Hold ACTION and press HOME.) A dialog appears, reading "Remove Path 2 to enable preset spillover?"
2. Press Knob 6 (OK).
3. Press HOME. Path 2 has disappeared! You may now switch presets to your heart's delight with true spillover but note that if Preset A is still spilling over into Preset B (say one of its delay blocks' feedback is making it self-oscillate), switching to Preset C will abruptly cut off Preset A.
4. To return to normal operation with two paths, turn Preset Spillover back to "Off". (SHORTCUT: Hold ACTION and press HOME again.) A dialog appears, reading "The preset must be reloaded. All unsaved changes will be lost!" So if you've made changes to the preset, be sure to save it before turning Spillover off.
5. Press Knob 6 (OK).

But but but... I don't wanna lose Path 2 just for spillover!

Then keep using snapshots.

Favorites

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

If you've dialed in an amp or effects block exactly the way you like it, you can now save its settings as a favorite so it can be added very quickly, complete with bypass state and footswitch assignment. Favorites appear in a new "Favorites" category and can be renamed, reordered, and cleared. TIP: If you don't want a favorite to be recalled with its footswitch assignment, add the block before you assign a switch.

1. Choose one of your favorite amps or effects and tweak it exactly how you like it, with or without footswitch assignment.
2. Press ACTION and then press Add to Favorites. The Favorites list appears.
3. If you wish to replace an existing favorite (you get 128 total), select it and press Replace Favorite. If you wish to add a new favorite, select the location where you want to place it and press Add New Favorite.
4. OPTIONAL: While the Favorites list is open, press ACTION.
   • To reorder the selected favorite up or down the list, turn Reorder Favorite (on HX Effects, press Reorder Up or Reorder Down)
   • To rename the selected favorite, press Rename Favorite
   • To clear the selected favorite, press Clear Favorite
   • To clear all favorites, press Clear All Favorites. A dialog appears. Press OK to confirm.

All right, so what?

Here's what:

1. At any time, select an empty block and turn the joystick (Big Knob on HX Effects or Lower Knob on HX Stomp). All your perfectly-tweaked favorite amps and effects instantly appear, without having to open the model list at all. If you typically keep model categories on the same stomp footswitches, you could conceivably create a brand new preset with all of your favorite stuff—including all footswitch assignments—in less than 10 seconds. Creating tones has never been faster or easier. TIP: If you keep one or more external pedals connected to Helix's FX Loops, add the FX Loop blocks as favorites and then rename them after the real thing.

User Model Defaults

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

3.0 lets you save any amp, cab, or effect block's settings as default so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. NOTE: Unlike Favorites, user model defaults do not store any footswitch assignments.

1. Choose any model and tweak it exactly how you like it.
2. Press ACTION and then User Default. From Helix Native or HX Edit, right-click (Mac: control-click) the block icon and select "User Default"

Global Settings > Preferences > Auto Impedance

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

A new Global Settings > Preference parameter determines how the Guitar In's impedance circuit behaves when Input > In-Z is set to "Auto." When set to "First Block" (the default), the impedance circuit reflects the impedance of the first block on Path 1A, regardless of whether it's enabled or bypassed. When set to "First Enabled", the impedance circuit reflects the impedance of the first enabled block on Path 1A. Called "Auto Impedance" because "Sorry-this-took-so-long-we-love-you-Tito83" wouldn't fit.

Min/Max Value Indicators

Helix Floor, Helix Rack/Control, Helix LT, HX Stomp [Feature already in HX Effects]

Parameters assigned to controllers or snapshots now display small Min Value (below) and Max Value (above) indicators. You can now see the range of continuous controllers from the Home screen.

8 Blocks in HX Stomp

HX Stomp

HX Stomp's simultaneous block count has been increased from six to eight.

IMPORTANT! Although HX Stomp now has two additional block locations, this doesn't mean it magically has more DSP horsepower to accommodate those blocks. Don't be surprised if you're not able to fill all eight blocks with exactly what you want, especially considering the new polyphonic pitch models take up a lot more DSP. We've taken note of those who've bemoaned HX Stomp's 6 block limit, and if the same person now complains about running out of DSP with 8 blocks, we're sending hooligans to their home to administer an atomic wedgie.

NOTE: It shouldn't come as any surprise, but any presets you make in 3.0 will not be compatible with 2.92 or earlier firmware.

This update improves the stability of Helix Native and is recommended for all users.

• Fixes a crash that could occur when dialog boxes are presented
• Fixes a crash that would occur when loading a preset with a missing IR

This update improves the stability of Helix Native and is recommended for all users.

• Fixes a crash that would occur when loading a preset with a missing IR

Helix/HX Firmware 2.92

Helix/HX 2.92 and Helix Native 1.92 include important bug fixes, and are strongly recommended for all Helix and HX owners. Doesn't matter what firmware your Helix/HX product is currently running; you can go straight to 2.92.

IMPORTANT! Carefully read and follow the update instructions below. If you don't—and then run to the forums asking why it's not working—the interwebs will make fun of you.

Updating Helix/HX Firmware to 2.92

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

STEP 1—Updating HX Edit to 2.92 (assuming you haven't done this already)

1. Log onto line6.com, download, and install HX Edit 2.90:
   • macOS: https://line6.com/software/readeula.html?rid=9678
   • Windows 7/8/10: https://line6.com/software/readeula.html?rid=9677

STEP 2—Updating Helix/HX Firmware to 2.92

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.92 you installed in Step 1 above. If you're not signed in, click "Check for Updates" in the lower right corner and sign in. If you're already signed in, a dialog panel appears, indicating an update is available.
4. Click "Update Now." A window appears, asking you to back up your Helix/HX hardware. Click OK, optionally rename the backup and/or choose a different destination folder, and then click "Create Backup." IMPORTANT! Note the location where you've saved the backup.
5. Continue following the prompts. Once updated, the window reads "Update Complete" and your Helix/HX hardware begins rebuilding its presets; wait for this to complete and click "Back to HX Edit."
6. From the File pull-down menu, click "Restore from backup..." A dialog appears. Click "Restore Backup" and then "Yes."
7. Once the restore has finished, turn your Helix/HX product off and then on again.
8. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads "Helix Control must be updated to work properly." Press Knob 6 (OK).

Helix/HX Firmware 2.92

Helix/HX 2.92 and Helix Native 1.92 include important bug fixes, and are strongly recommended for all Helix and HX owners. Doesn't matter what firmware your Helix/HX product is currently running; you can go straight to 2.92.

IMPORTANT! Carefully read and follow the update instructions below. If you don't—and then run to the forums asking why it's not working—the interwebs will make fun of you.

Updating Helix/HX Firmware to 2.92

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

STEP 1—Updating HX Edit to 2.92 (assuming you haven't done this already)

1. Log onto line6.com, download, and install HX Edit 2.90:
   • macOS: https://line6.com/software/readeula.html?rid=9678
   • Windows 7/8/10: https://line6.com/software/readeula.html?rid=9677

STEP 2—Updating Helix/HX Firmware to 2.92

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.92 you installed in Step 1 above. If you're not signed in, click "Check for Updates" in the lower right corner and sign in. If you're already signed in, a dialog panel appears, indicating an update is available.
4. Click "Update Now." A window appears, asking you to back up your Helix/HX hardware. Click OK, optionally rename the backup and/or choose a different destination folder, and then click "Create Backup." IMPORTANT! Note the location where you've saved the backup.
5. Continue following the prompts. Once updated, the window reads "Update Complete" and your Helix/HX hardware begins rebuilding its presets; wait for this to complete and click "Back to HX Edit."
6. From the File pull-down menu, click "Restore from backup..." A dialog appears. Click "Restore Backup" and then "Yes."
7. Once the restore has finished, turn your Helix/HX product off and then on again.
8. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads "Helix Control must be updated to work properly." Press Knob 6 (OK).

Helix/HX 2.91

Helix/HX 2.91 includes important bug fixes, and is strongly recommended for all Helix and HX owners.

IMPORTANT!

Carefully read and follow the update instructions below. If you don’t — and then run to the forums asking why it’s not working—the interwebs will make fun of you.

Updating to 2.91

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

STEP 1 — Updating HX Edit to 2.90 (assuming you haven’t done this already)

1. Log onto line6.com , download, and install HX Edit 2.90:

• macOS: https://line6.com/software/readeula.html?rid=9678
• Windows 7/8/10: https://line6.com/software/readeula.html?rid=9677

STEP 2 — Updating Helix/HX Firmware to 2.91

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.90 you installed in Step 1 above. If you’re not signed in, click “Check for Updates” in the lower right corner and sign in. If you’re already signed in, a dialog panel appears, indicating an update is available.
4. Click “Update Now.” A window appears, asking you to back up your Helix / HX hardware. Click OK, optionally rename the backup and / or choose a different destination folder, and then click “Create Backup.” IMPORTANT! Note the location where you’ve saved the backup.
5. Continue following the prompts. Once updated, the window reads “Update Complete” and your Helix / HX hardware begins rebuilding its presets; wait for this to complete and click “Back to HX Edit.”
6. From the File pull-down menu, click “Restore from backup…” A dialog appears. Click “Restore Backup” and then “Yes.”
7. Turn your Helix / HX product off and then on again.
8. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads “Helix Control must be updated to work properly.” Press Knob 6 (OK).

Bug Fixes in 2.91

• Resolves multiple unexpected behavior that can occur when adjusting the Volume knob, entering the Tuner, or other actions during the first 30 seconds after power up—FIXED
• Engaging the Tap Tempo switch would calculate a different tempo than intended—FIXED
• When routing Path 1 to Path 2, the Path 2A andor Path 2B input blocks could display clipping even when the signal was not—FIXED/
• For presets with parallel paths, the Mixer > Merge block boosts signals by 3dB—FIXED

Known Issues in 2.91

• A slight thump can be heard when loading a Distortion > Kinky Boost, Arbitrator Fuzz, or Tycoctavia Fuzz model
• While backing up, the scribble strip on FS8 can sometimes flicker (Helix Floor, Helix RackControl)/
• In very rare cases, leaving the unit on for many hours can sometimes cause reverb models to cease outputting audio
• In a preset with two IRs blocks, moving one IR block to Path B can sometimes cause the other IR block to reset its Impulse Response to slot 1
• In rare cases, after exporting and then importing presets using HX Edit, the Split block’s bypass state can sometimes change (Helix Floor, Helix RackControl, Helix LT)/
• When using Blue Cat Audio’s PatchWork VST host software, resizing the Helix Native window may not scale smoothly (Helix Native)
• The Looper block’s Overdub function does not currently respond to incoming MIDI (HX Stomp)
• While connected to HX Edit, quickly changing models through the IR block can sometimes result in a unit freeze (HX Stomp)

Helix/HX 2.91

Helix/HX 2.91 includes important bug fixes, and is strongly recommended for all Helix and HX owners.

IMPORTANT!

Carefully read and follow the update instructions below. If you don’t — and then run to the forums asking why it’s not working—the interwebs will make fun of you.

Updating to 2.91

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

STEP 1 — Updating HX Edit to 2.90 (assuming you haven’t done this already)

1. Log onto line6.com , download, and install HX Edit 2.90:

• macOS: https://line6.com/software/readeula.html?rid=9678
• Windows 7/8/10: https://line6.com/software/readeula.html?rid=9677

STEP 2 — Updating Helix/HX Firmware to 2.91

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.90 you installed in Step 1 above. If you’re not signed in, click “Check for Updates” in the lower right corner and sign in. If you’re already signed in, a dialog panel appears, indicating an update is available.
4. Click “Update Now.” A window appears, asking you to back up your Helix / HX hardware. Click OK, optionally rename the backup and / or choose a different destination folder, and then click “Create Backup.” IMPORTANT! Note the location where you’ve saved the backup.
5. Continue following the prompts. Once updated, the window reads “Update Complete” and your Helix / HX hardware begins rebuilding its presets; wait for this to complete and click “Back to HX Edit.”
6. From the File pull-down menu, click “Restore from backup…” A dialog appears. Click “Restore Backup” and then “Yes.”
7. Turn your Helix / HX product off and then on again.
8. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads “Helix Control must be updated to work properly.” Press Knob 6 (OK).

Bug Fixes in 2.91

• Resolves multiple unexpected behavior that can occur when adjusting the Volume knob, entering the Tuner, or other actions during the first 30 seconds after power up—FIXED
• Engaging the Tap Tempo switch would calculate a different tempo than intended—FIXED
• When routing Path 1 to Path 2, the Path 2A andor Path 2B input blocks could display clipping even when the signal was not—FIXED/
• For presets with parallel paths, the Mixer > Merge block boosts signals by 3dB—FIXED

Known Issues in 2.91

• A slight thump can be heard when loading a Distortion > Kinky Boost, Arbitrator Fuzz, or Tycoctavia Fuzz model
• While backing up, the scribble strip on FS8 can sometimes flicker (Helix Floor, Helix RackControl)/
• In very rare cases, leaving the unit on for many hours can sometimes cause reverb models to cease outputting audio
• In a preset with two IRs blocks, moving one IR block to Path B can sometimes cause the other IR block to reset its Impulse Response to slot 1
• In rare cases, after exporting and then importing presets using HX Edit, the Split block’s bypass state can sometimes change (Helix Floor, Helix RackControl, Helix LT)/
• When using Blue Cat Audio’s PatchWork VST host software, resizing the Helix Native window may not scale smoothly (Helix Native)
• The Looper block’s Overdub function does not currently respond to incoming MIDI (HX Stomp)
• While connected to HX Edit, quickly changing models through the IR block can sometimes result in a unit freeze (HX Stomp)

Helix / HX 2.90 | Helix Native 1.90

“The Always Level Presets By Ear at Stage Volume with the Rest of the Band Playing Update”

Helix / HX 2.90 and Helix Native 1.90 include new amps, cabs, effects, features, and bug fixes, and is strongly recommended for all Helix and HX owners.

Updating to 2.90

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

STEP 1 — Updating HX Edit to 2.90

1. Log onto line6.com, download, and install HX Edit 2.90:

• Mac OS X: https://line6.com/software/readeula.html?rid=9678
• Windows 7/8/10: https://line6.com/software/readeula.html?rid=9677

STEP 2 — Updating Helix / HX Firmware to 2.90

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.90 you installed in Step 1 above. If you’re not signed in, click “Check for Updates” in the lower right corner and sign in. If you’re already signed in, a dialog panel appears, indicating an update is available.
4. Click “Update Now.” A window appears, asking you to back up your Helix/HX hardware. Click OK, optionally rename the backup and / or choose a different destination folder, and then click “Create Backup.”
5. Continue following the prompts. Once updated, the window reads “Update Complete” and your Helix / HX hardware begins rebuilding its presets; wait for this to complete and click “Back to HX Edit.”
6. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads “Helix Control must be updated to work properly.” Press Knob 6 (OK).

New Amp Models in 2.90

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

• Revv Gen Purple, based on* the purple (Gain 1) channel of the Revv® Generator 120

New Cab Models in 2.90

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

• 1x12 Fullerton, based on* the classic 1958 Fender® 5C3 Tweed Deluxe
• 1x12 Grammatico, based on* the modern 2016 Grammatico LaGrange

New Effects Models in 2.90

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

• Distortion > Alpaca Rouge (Mono, Stereo), inspired by* the Way Huge® Red Llama (modded)
• Distortion > Legendary Drive (Mono, Stereo), based on* the Carvin VLD1 Legacy Drive (high gain channel)
• Distortion > Xenomorph Fuzz (Mono, Stereo), inspired by* the Subdecay Harmonic Antagonizer
• Dynamics > Rochester Comp (Mono, Stereo), based on* the Ashly® CLX-52 and created in conjunction with Billy Sheehan
• Modulation> Pebble Phaser (Mono, Stereo), based on* the Electro-Harmonix® Small Stone phaser
• Split > Dynamic, Line 6 original. This new Split block type lets you dynamically route signals to Path B, depending on how hard you play. For example, you could roll your guitar’s volume back a bit and play clean chords through a Grammatico on Path A and then roll it back up and dig in to blend in a searing Revv Gen Purple lead on Path B
  • Knob 1 (Threshold) — Signals below the Threshold are routed to Path A; signals above the Threshold are routed to Path B
  • Knob 2 (Attack) — Determines how fast the signal routes to Path B once reaching the Threshold
  • Knob 3 (Decay) — Determines how fast the signal returns to Path A once falling below the Threshold
  • Knob 4 (Reverse) — Swaps dynamic path routing. When set to “On”, signals below the Threshold are routed to Path B and signals above the Threshold are routed to Path A

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 Helix/HX Firmware 2.90

Output Meters

Helix Floor, Helix Rack / Control, Helix LT

The following block types display output meters in the inspector when selected:

• Output
• Send/Return > Send
• Send/Return > FX Loop

IMPORTANT! Meters (in any product, not just Helix) are never appropriate for ensuring consistent levels from preset to preset. The models you use, the preset's frequency and dynamic response, your guitar or bass, your pickups, your playback system, your environment, your location in front of (or behind!) your playback system, and especially your bandmates all radically affect the perceived loudness of various presets. It's very common for the meters of one preset to show it's louder than another, while what you hear is the exact opposite. ALWAYS trust your ears when leveling presets, and whenever possible, level presets at stage volume, with the rest of the band playing.

Gain Reduction Meters

Helix Floor, Helix Rack / Control, Helix LT

The following block types display a gain reduction meter in the inspector when selected:

• Dynamics > Compressor (the 3-Band Comp displays three meters)
• Dynamics > Gate

Signal Present/Clip Indicators

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

The following block types now display a pale green background when signal is present and a bright red background if the block clips:

• Input
• Output
• Send/Return > Send (clip indication only)
• Send/Return > Return (clip indication only)
• Send/Return > FX Loop (clip indication only)

Improved IR Referencing

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

Impulse Response blocks now reference each IR file by waveform instead of index number. This means that when presets are shared and the recipient has the same IRs, they'll appear in the right place without having to manually reorder all IRs to match.

IMPORTANT! For improved IR referencing to take place, all presets must be rebuilt. Presets should've automatically been rebuilt after updating to 2.90, but if they didn't, you can manually rebuild them:

• Helix, Helix LT: While holding FS10 and FS11 (bottom row), turn on Helix. Wait for "Will rebuild all Presets..." to appear and let go
• Helix Rack: While holding Knobs 1 and 3 below the screen, turn on Helix Rack. Wait for "Will rebuild all Presets..." to appear and let go
• HX Effects: No preset rebuild necessary
• HX Stomp: While holding both the Upper and Lower Knobs, turn on HX Stomp. Wait for "Will rebuild Presets..." to appear and let go
• Helix Native: The first time you open the plug-in, a dialog appears, reading "Your presets are being parsed to associate IR blocks intelligently with the IRs they reference." Click OK.

Command Center > HX Preset

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

A new Command Center command type lets you assign any preset (or Next Preset or Previous Preset) to any stomp switch. Together with HX Snapshot and HX Looper commands, you can now customize Stomp footswitch mode to your liking.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Preset."
2. Turn Knob 2 (Preset) to choose Next Preset, Previous Preset, or any single preset within the current setlist.

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Preset commands be assigned to empty footswitches.

Command Center > HX Snapshot

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

A new Command Center command type lets you assign any snapshot (or Snapshot Up or Snapshot Down) to any stomp switch. Together with HX Preset and HX Looper commands, you can now customize Stomp footswitch mode to your liking.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Snapshot."
2. Turn Knob 2 (Behavior) to set the behavior of the stomp switch:

• Press / Release — Pressing the switch engages the Knob 3 (Press) function; releasing the switch engages the Knob 4 (Release) function.
• Press / Hold — Briefly pressing the switch engages the Knob 3 (Press) function; pressing and holding the switch for 1 second engages the Knob 4 (Hold) function

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Snapshot commands be assigned to empty footswitches.

Command Center > HX Looper

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

A new Command Center command type lets you assign any Looper function to any stomp mode switch or instant command. Together with HX Preset and HX Looper commands, you can now customize Stomp footswitch mode to your liking. Note that a 6 Switch Looper or 1 Switch Looper block must be present in your preset for HX Looper commands to function properly. Also, caution should be taken when assigning HX Looper commands, as only the Press function is displayed on the scribble strip (Performance View on Helix LT); Release and Hold functions are not displayed.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Looper."
2. Turn Knob 2 (Behavior) to set the behavior of the stomp switch:

• Press / Release — Pressing the switch engages the Knob 3 (Press) function; releasing the switch engages the Knob 4 (Release) function.
• Press / Hold—Briefly pressing the switch engages the Knob 3 (Press) function; pressing and holding the switch for 1 second engages the Knob 4 (Hold) function.

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Looper commands be assigned to empty footswitches.

Shortcut > Model Subcategory

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

You can now quickly skip through model subcategories without ever having to open the model list. Finding a specific amp or effect is now faster than ever.

• Helix / Helix Rack / Helix LT — From the Home screen, hold < PAGE and press PAGE > to jump to the the next subcategory. Hold PAGE < and press > PAGE to jump to the previous subcategory. Then turn the joystick to select models within that subcategory
• HX Effects — From Stomp view, press and turn the Big Knob to skip subcategories, then turn normally to select models within that subcategory
• HX Stomp — From Edit view, press and turnthe Lower Knob to skip subcategories, then turn normally to select models within that subcategory

For example, if you have HX Stomp and have selected an empty block location, pressing and turning the Lower Knob will jump to the first model in each subcategory: Distortion > Mono, Distortion > Stereo, Distortion > Legacy, Dynamics > Mono, Dynamics > Stereo, Dynamics > Legacy, EQ > Mono, EQ > Stereo, Modulation > Mono, Modulation > Stereo, and so on.

Update Firmware From HX Edit

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

Instead of hanging out on social media, desperately asking when the next firmware’s dropping, you can now, I dunno, actually play guitar? As soon as a new update becomes available, HX Editwill tell you, and all you gotta do is follow the prompts.

New Features in Helix Native1.90

NOTE: For additional information on Helix Native 1.90 or HX Edit 2.90, check out the latest Helix Native and HX Edit Pilot’s Guides, which are automatically installed with the new 1.90 / 2.90 software.

A/B Compare

Helix Native

A new set of buttons lets you temporarily store all of the Helix Native instance’s model selection and parameter settings, then tweak any number of parameters and easily compare an A version and a B version. Click the middle button to quickly copy the current state to the other (A to B or B to A).

Other Changes and Improvements in Helix / HX 2.90 | Helix Native 1.90

• The EQ > Low / High Shelf model’s Hi Freq parameter now goes down to 400Hz (Helix Floor / Rack / LT, HX Effects, HX Stomp, Helix Native)
• Booting up now takes roughly half the time (Helix Floor / Rack / LT, HX Effects)
• While in Tuner mode, the three footswitch LEDs act as additional tuning indicators (HX Stomp [feature is already in HX Effects])
• Edited presets now display a small “E” icon (HX Effects, HX Stomp [feature is already in Helix Floor / Rack / LT])
• Blocks can now quickly be copied and pasted across signal flows by Option-dragging (Windows: Control-dragging) the block (Helix Native, HX Edit)
• IRs can now be dragged directly from the Impulses list onto the signal flow view (Helix Native, HX Edit)
• Double-clicking an IR in the Impulses list now auto-populates the currently selected IR block (Helix Native, HX Edit)
• Parameters with very few values now appear as select boxes instead of sliders (Helix Native, HX Edit)
• Parameters assigned to controllers now scale slider width to reflect Min and Max values (Helix Native)
• A “Check for Updates” box has been added to the Preferences window (Helix Native, HX Edit)
• Lots of stability and usability improvements across the board (Helix Native, HX Edit)

Bug Fixes in 2.90

• Distortion > Obsidian Drive’s polarity was reversed
• Remotely changing Powercab Plus speaker modes upon preset recall could sometimes result in a volume bump
• Using Learn to quickly assign a parameter to footswitch control could occasionally swap the switch’s Latching / Momentary setting
• Setting the Input block on Path 1A to S/PDIF could stop passing audio if a new Path 1B Input block had been created
• Connecting an expression pedal to Helix Control could sometimes cause the pedal position display to behave erratically
• Lots of other minor bug fixes

Known Issues in 2.90

• A slight thump can be heard when loading a Distortion > Kinky Boost, Arbitrator Fuzz, or Tycoctavia Fuzz model
• While backing up, the scribble strip on FS8 can sometimes flicker (Helix Floor, Helix Rack / Control)
• In very rare cases, leaving the unit on for many hours can sometimes cause reverb models to cease outputting audio
• In a preset with two IRs blocks, moving one IR block to Path B can sometimes cause the other IR block to reset its Impulse Response to slot 1
• In rare cases, after exporting and then importing presets using HX Edit, the Split block’s bypass state can sometimes change (Helix Floor, Helix RackControl, Helix LT)/
• When using Blue Cat Audio’s PatchWork VST host software, resizing the Helix Native window may not scale smoothly (Helix Native)

Helix / HX 2.90 | Helix Native 1.90

“The Always Level Presets By Ear at Stage Volume with the Rest of the Band Playing Update”

Helix / HX 2.90 and Helix Native 1.90 include new amps, cabs, effects, features, and bug fixes, and is strongly recommended for all Helix and HX owners.

Updating to 2.90

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

STEP 1 — Updating HX Edit to 2.90

1. Log onto line6.com, download, and install HX Edit 2.90:

• Mac OS X: link
• Windows 7/8/10: link

STEP 2 — Updating Helix / HX Firmware to 2.90

1. If you have Helix Rack/Control, turn off Helix Control. Also, shut down all Line 6 software or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc.
2. Connect your Helix/HX device to a Mac or PC via USB (do not use any sort of USB hub, which may include the front USB ports on towers) and turn it on.
3. Launch the new version of HX Edit 2.90 you installed in Step 1 above. If you’re not signed in, click “Check for Updates” in the lower right corner and sign in. If you’re already signed in, a dialog panel appears, indicating an update is available.
4. Click “Update Now.” A window appears, asking you to back up your Helix/HX hardware. Click OK, optionally rename the backup and / or choose a different destination folder, and then click “Create Backup.”
5. Continue following the prompts. Once updated, the window reads “Update Complete” and your Helix / HX hardware begins rebuilding its presets; wait for this to complete and click “Back to HX Edit.”
6. If you have Helix Control connected to Helix Rack, turn on Helix Control. Helix Rack reads “Helix Control must be updated to work properly.” Press Knob 6 (OK).

New Amp Models in 2.90

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

• Revv Gen Purple, based on* the purple (Gain 1) channel of the Revv® Generator 120

New Cab Models in 2.90

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

• 1x12 Fullerton, based on* the classic 1958 Fender® 5C3 Tweed Deluxe
• 1x12 Grammatico, based on* the modern 2016 Grammatico LaGrange

New Effects Models in 2.90

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

• Distortion > Alpaca Rouge (Mono, Stereo), inspired by* the Way Huge® Red Llama (modded)
• Distortion > Legendary Drive (Mono, Stereo), based on* the Carvin VLD1 Legacy Drive (high gain channel)
• Distortion > Xenomorph Fuzz (Mono, Stereo), inspired by* the Subdecay Harmonic Antagonizer
• Dynamics > Rochester Comp (Mono, Stereo), based on* the Ashly® CLX-52 and created in conjunction with Billy Sheehan
• Modulation> Pebble Phaser (Mono, Stereo), based on* the Electro-Harmonix® Small Stone phaser
• Split > Dynamic, Line 6 original. This new Split block type lets you dynamically route signals to Path B, depending on how hard you play. For example, you could roll your guitar’s volume back a bit and play clean chords through a Grammatico on Path A and then roll it back up and dig in to blend in a searing Revv Gen Purple lead on Path B
  • Knob 1 (Threshold) — Signals below the Threshold are routed to Path A; signals above the Threshold are routed to Path B
  • Knob 2 (Attack) — Determines how fast the signal routes to Path B once reaching the Threshold
  • Knob 3 (Decay) — Determines how fast the signal returns to Path A once falling below the Threshold
  • Knob 4 (Reverse) — Swaps dynamic path routing. When set to “On”, signals below the Threshold are routed to Path B and signals above the Threshold are routed to Path A

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 Helix/HX Firmware 2.90

Output Meters

Helix Floor, Helix Rack / Control, Helix LT

The following block types display output meters in the inspector when selected:

• Output
• Send/Return > Send
• Send/Return > FX Loop

IMPORTANT! Meters (in any product, not just Helix) are never appropriate for ensuring consistent levels from preset to preset. The models you use, the preset's frequency and dynamic response, your guitar or bass, your pickups, your playback system, your environment, your location in front of (or behind!) your playback system, and especially your bandmates all radically affect the perceived loudness of various presets. It's very common for the meters of one preset to show it's louder than another, while what you hear is the exact opposite. ALWAYS trust your ears when leveling presets, and whenever possible, level presets at stage volume, with the rest of the band playing.

Gain Reduction Meters

Helix Floor, Helix Rack / Control, Helix LT

The following block types display a gain reduction meter in the inspector when selected:

• Dynamics > Compressor (the 3-Band Comp displays three meters)
• Dynamics > Gate

Signal Present/Clip Indicators

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

The following block types now display a pale green background when signal is present and a bright red background if the block clips:

• Input
• Output
• Send/Return > Send (clip indication only)
• Send/Return > Return (clip indication only)
• Send/Return > FX Loop (clip indication only)

Improved IR Referencing

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

Impulse Response blocks now reference each IR file by waveform instead of index number. This means that when presets are shared and the recipient has the same IRs, they'll appear in the right place without having to manually reorder all IRs to match.

IMPORTANT! For improved IR referencing to take place, all presets must be rebuilt. Presets should've automatically been rebuilt after updating to 2.90, but if they didn't, you can manually rebuild them:

• Helix, Helix LT: While holding FS10 and FS11 (bottom row), turn on Helix. Wait for "Will rebuild all Presets..." to appear and let go
• Helix Rack: While holding Knobs 1 and 3 below the screen, turn on Helix Rack. Wait for "Will rebuild all Presets..." to appear and let go
• HX Effects: No preset rebuild necessary
• HX Stomp: While holding both the Upper and Lower Knobs, turn on HX Stomp. Wait for "Will rebuild Presets..." to appear and let go
• Helix Native: The first time you open the plug-in, a dialog appears, reading "Your presets are being parsed to associate IR blocks intelligently with the IRs they reference." Click OK.

Command Center > HX Preset

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

A new Command Center command type lets you assign any preset (or Next Preset or Previous Preset) to any stomp switch. Together with HX Snapshot and HX Looper commands, you can now customize Stomp footswitch mode to your liking.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Preset."
2. Turn Knob 2 (Preset) to choose Next Preset, Previous Preset, or any single preset within the current setlist.

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Preset commands be assigned to empty footswitches.

Command Center > HX Snapshot

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

A new Command Center command type lets you assign any snapshot (or Snapshot Up or Snapshot Down) to any stomp switch. Together with HX Preset and HX Looper commands, you can now customize Stomp footswitch mode to your liking.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Snapshot."
2. Turn Knob 2 (Behavior) to set the behavior of the stomp switch:

• Press / Release — Pressing the switch engages the Knob 3 (Press) function; releasing the switch engages the Knob 4 (Release) function.
• Press / Hold — Briefly pressing the switch engages the Knob 3 (Press) function; pressing and holding the switch for 1 second engages the Knob 4 (Hold) function

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Snapshot commands be assigned to empty footswitches.

Command Center > HX Looper

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

A new Command Center command type lets you assign any Looper function to any stomp mode switch or instant command. Together with HX Preset and HX Looper commands, you can now customize Stomp footswitch mode to your liking. Note that a 6 Switch Looper or 1 Switch Looper block must be present in your preset for HX Looper commands to function properly. Also, caution should be taken when assigning HX Looper commands, as only the Press function is displayed on the scribble strip (Performance View on Helix LT); Release and Hold functions are not displayed.

1. From the Command Center, select a stomp switch and turn Knob 1 (Command) to select "HX Looper."
2. Turn Knob 2 (Behavior) to set the behavior of the stomp switch:

• Press / Release — Pressing the switch engages the Knob 3 (Press) function; releasing the switch engages the Knob 4 (Release) function.
• Press / Hold—Briefly pressing the switch engages the Knob 3 (Press) function; pressing and holding the switch for 1 second engages the Knob 4 (Hold) function.

IMPORTANT! Although stomp mode switches can be assigned to multiple functions, to avoid unintended behavior, we strongly recommend HX Looper commands be assigned to empty footswitches.

Shortcut > Model Subcategory

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

You can now quickly skip through model subcategories without ever having to open the model list. Finding a specific amp or effect is now faster than ever.

• Helix / Helix Rack / Helix LT — From the Home screen, hold to jump to the the next subcategory. Hold PAGE> and press
• HX Effects — From Stomp view, press and turn the Big Knob to skip subcategories, then turn normally to select models within that subcategory
• HX Stomp — From Edit view, press and turnthe Lower Knob to skip subcategories, then turn normally to select models within that subcategory