Guitars used in this demo:
- MJT Thinline Telecaster (VTS) with Porter Pickups Vintage Tele pickups (single coil sounds)
- PRS DGT (humbucker sounds)
Firmware 2.6 Reverbs: The 2.6 Firmware update changed the mix levels of the new (HX) reverbs. This patch accounts for those changes, so if you are not updated to 2.6 or later on your Helix, the reverbs will not sound right.
IR vs Stock version:This download contains both stock and IR cab versions. We think they both sound great, but if you’d like to use the specific IR we used, it’s from the ATyp 2×12 IR Set from Live Ready Sound (link below). Here is the specific IR:
LRS M2 SM7b PR20 ATyp Mix(from the A Type 2×12 pack found here. In our Helix, it’s in IR slot 40.
Signal flow and Amps/Effects
You can set up a Helix in almost any way you can think of, but I like to set it up like a pedalboard – so we have effects mapped to switches.
Here is the signal flow and effects:
- Triangle Fuzz – mapped to switch labeled “Fuzz (Pi)”
- Volume (log curve) – mapped to EXP 2
- Deluxe Comp – not mapped to a switch, always on
- Tremolo – mapped to a switch labeled “Tremolo”
- Minotaur – Klon – mapped to switch labeled ‘Klon’
- Scream 808 – Tube Screamer – mapped to switch labeled “808”
- Stupor OD – Boss SD-1 – mapped to switch labeled “SD-1”
- Amps – A30 Fawn NRM and Brit J45 BRT
- Cab/IR – 4×12 Cali V30 (in the stock cab versions) – see above for IR info
- Transistor Tape Delay – Quarter note delay – mapped to switch labeled ‘Quarter DLY’
- Vintage Digital Delay – Dotted 8th note delay – mapped to switch labeled ‘Dotted 8th DLY’
- Hall Verb – acts as an always on verb – not mapped to a switch
- Glitz Verb – big modulated verb – mapped to switch labeled “Mod Verb”
- Transistor Tape Delay – big ambient delay mapped to button labeled “SWELLS’
- Glitz Verb – Big modulated verb – mapped to button labeled ‘SWELLS’
- LA Studio Comp – Always on compressor – acts like studio compression
This patch is meant to be used in either stompbox or snapshot mode. We recommend setting up your Helix to use all ten stomps (stompbox mode) or all eight snapshots (snapshot mode).
DRIVE TONES – DIRT PEDALS:
We’ve included three overdrive pedals: the Klon, 808, and Boss SD-1. These are in order of gain stage, but you can stack them for bigger sounds (we like the Klon stacked with either the 808 or SD-1). We also added a fuzz – give it a shot – we love it for something a bit different.
The two main delays (quarter and dotted 8th) are set up in stereo. The quarter note delay will output out the left side, and the dotted 8thout the right. When you use both of them together, you get a large spread. If you run the Helix in mono, both delays are summed to mono.
If you want to go really ambient with swells, the ‘Swells’ switch turns on the Tape Delay and the second Glitz reverb. It will sound huge and create big pad type sounds, especially when used in combination with the other big reverb.
We decided to try something new with this patch and put a 2ndcompressor (LA Studio Comp) at the end of the chain. This replicates what many recording engineers will do by adding a light level of compression to the final guitar signal. It will even out your tone when switching to higher gain sounds, and just fattens everything up.
There are eight snapshots included in this patch to get different sounds.
- Snapshot 1: Clean. This is the base clean tone with quarter note delay.
- Snapshot 2: Lt Drive. Klon + Quarter delay
- Snapshot 3: Med Drive. 808 + Quarter delay
- Snapshot 4: Big Drive. Klon + SD-1 + Quarter delay
- Snapshot 5: The Edge. This is U2 – dotted 8thand quarter delay together with a bit of drive from the Klon.
- Snapshot 6: Ambient. Quarter and Dotted 8thdelay + Glitz verb
- Snapshot 7: Trem Verb. Tremolo + Glitz verb.
- Snapshot 8: AngrySwell . Fuzz + Drive + Swells effects (try this – it’s pretty awesome)
GUITARS (and making changes for your guitar):
We created two versions of this patch – one meant for single coil guitars and the other for humbucker guitars. Your guitar may react differently, so you may want to tweak it to suite your guitar(s) and playing style. You may want to turn the treble or presence down on the amp if it’s too bright (or up if it’s too dark), and turn down the gain if it’s too dirty at the base setting for your playing style.
Another way to reduce the level of gain if your guitar has higher output pickups is to lower the output level on the first compressor. This will keep all the amp settings intact but hit them amps with less signal.