The blank slate is a smooth, edge-of-breakup tone that responds well to your guitar’s volume control and your playing dynamics. Dig in for a medium-gain crunch rhythm tone or play lightly (or roll back your guitars volume) for clean parts. The basic tone of this preset is made up of the Essex A30 (modern AC30) amp head with the 2x12 Blue Bell (vintage AC30) cab. There is an Minotaur overdrive (Klon) always on at the beginning of the signal path to introduce more compression, a smoother overdrive feel, and a push in the mids, though the settings are very mild. There is an always on Plate Reverb and Retro Reel in the wet path for texture.

Footswitch 1 toggles between the basic amp tone and a more overdriven tone suitable for lead lines and overall more intense rhythm parts. Think of this as switching channels on your amplifier. It changes the drive and bias x parameters in the amp and the gain parameters in the Minotaur to alter the quality of overdrive. It also changes cut and presence (amp), high cut (cab), and tone (Minotaur) parameters for tone shaping.

Footswitch 2 engages the tape delay, which is set up differently in the tap tempo and fixed delay presets. In the tap tempo presets, this is a rhythmic (think of U2/The Edge) type delay with moderate flutter, a higher mix, and limited repeats. The tap tempo is set up to quarter notes - this is the best option since you’ll be able to tap in any subdivision easily. For example, tap in time with the quarter note of the song for quarter note delay, tap your foot to a dotted eighth rhythm for dotted eighth delay, and so on. In the fixed delay presets, the delay tempo is set to a more generic tone that you can toggle between two options with FS3.


Footswitch 3 is reserved for tap tempo in the “TD” presets. You’ll need to set this up in global settings since that type of information can’t be recalled on a per-preset basis. If you’re on the Stomp XL or a larger Helix product with a dedicated tap tempo, you’ll notice that FS3 toggles between quarter and dotted eighth subdivisions. For the fixed delay (FD) presets, FS3 will toggle between a light, all-purpose delay and a more present 4:3 polyrhythm delay. The feedback, mix, and scale parameters are changing to achieve this.

Footswitch 4 engages a Strymon “Cloud” emulation that I’ve come up with using the Glitz stereo verb block.

Footswitch 5 on the “+S” presets is an autoswell. On the “+V” presets, it’s a secondary discrete delay. Don’t forget to check out the Favorites folder of this bundle - I’ve saved a few tremolo, chorus, and delay settings that you might want to use. I figured you would replace the autoswell or discrete delay when needed.

Footswitch 6 is a 3.5db boost that also brightens up the tone slightly and brings in a tad more overdrive.

Footswitch 7 toggles parameters in the plate reverb for a warmer tone with a longer decay.

Footswitch 8 toggles between clear and slightly more modulated “Cloud” reverb settings.

EXP 2 is set up for volume control on the presets ending with “V.” If you’re on the original Stomp, this takes away your ability to use footswitch 5, which is fine - this is where I’ve placed the extra effects.

What are favorites? This folder contains a few effects that I’ve dialed in for use in the CCM / worship genre. The idea is that depending on the song and how you use your HX device, you might switch these in or out of the preset you’re using. I use the auto swell on presets with the suffix “S” (for swell) and the stereo delay on presets with the the suffix “V” (for volume).

Autoswell - A stereo delay with an auto swell. Strike a chord and the signal will cut to minimum and bloom back to full volume over the course of about a second. This effect is useful if you don’t have a volume pedal. If you use an external volume pedal or an expression in the Helix that works as a volume pedal (or, you’re happy just using your guitar’s volume knob), there is really no need for this effect. 

Delay (M) - A warm sounding, bucket brigade delay in mono. This is a comfort delay, and I usually leave it always on. It just provides a bit of ambience and depth that helps my guitar fill up more space.

Delay (S) - A slightly brighter digital ping pong delay in stereo. It’s also meant to be left always on for the same reason as lifted above. This delay bounces back and forth from left to right and is slightly more present than the mono delay.

Chorus (M) - A mono chorus using the Boss CE-1 model. Experiment with flipping the chorus / vibrato switch. I’ve set up both to work well for this genre.

Chorus (S) - A stereo chorus using the new 4-voice model. Try placing this in the B path after the plate reverb to affect only the wet and not the dry tone of the guitar. A modulated plate verb is an iconic sound to the CCM guitar tone.

Tremolo (M) - A mono tube tremolo. Although optical tremolos were used in Vox amps, I think the sound of a tube tremolo fits better in the worship guitar pocket.

Tremolo (S) - This is set up to bounce left and right using a pretty neutral sounding tremolo. Try placing it after your reverbs for a more intense effect.
   *Important - If you’re summing your preset down to mono, the left to right panning of this tremolo will actually cancel itself out and you’ll be left with no effect.*

I am not affiliated with Line 6 or any of the amp brands mentioned. Specific amps and artists are trademarked by their respective owners. Any use of brand/artist names are strictly for comparison and descriptive purposes. You are purchasing a license to use these presets for your own professional use, however the files are not for resale or any other unlicensed distribution.

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