Pedals v Helix - sobering thought

thecolourbox

Sporky said:

That's why I favour rock cakes and sausage rolls. 

Now there's a depreciation in asset value that we are all happy to take the hit on

Voxman

I think the moral here is buy what suits your needs, but try and buy it second hand not new because the initial depreciation is significant. 

But good digital gear that attracts a following will always command reasonable resale values. My Vox Tonelab SE sold with gig bag for £225 when it was launched in 2004. I picked mine up a couple of years back for £110 ...built like a tank it was practically new without a mark on it, original box, vox psu, manual and unopened gig bag.  These still typically sell for £100 to £175 depending on condition. Similar for the Tonelab LE. 

Yet there are more modern and technically superior Line 6 mfx pedals that sell used for a fraction of their new cost.  A Line 6 Pod XT Live retailed at £369 in 2006 but can be picked up for £50 today.  It's a similar story with individual pedals...some command very good used prices (especially if they acquire cult status like an Ibanez tube screamer or mxr phase 90) whilst others sell for a fraction of their cost new.  

Sometimes used prices reflect tone and build quality, but other times prices reflect sentiment and image.  Older Zoom pedals are often thought of as cheap and not very good, but some are really good and can be picked up dirt cheap.

Axe fx, Kemper and Helix are top end state of the art pieces of gear. New prices are high because these are aimed at the top end of the market, which is a smaller section, and development costs have to be recovered. There is also strong marketing that helps to give a more elite image.

Dyson sells it's products at silly prices .... their designs are good and they get good reviews, but is their hair dryer really worth £300?!.  My daughter just bought one for my wife, and trust me, it's way more about the look, image and packaging and the feeling of having something that's 'special and state of the art rather than inherrently being that much better performance wise.

So as always, any product is worth what someone will pay for it..and that applies to new and used stomp pedals and mfx units.

professorben

Voxman said:

I think the moral here is buy what suits your needs, but try and buy it second hand not new because the initial depreciation is significant. 

But good digital gear that attracts a following will always command reasonable resale values. My Vox Tonelab SE sold with gig bag for £225 when it was launched in 2004. I picked mine up a couple of years back for £110 ...built like a tank it was practically new without a mark on it, original box, vox psu, manual and unopened gig bag.  These still typically sell for £100 to £175 depending on condition. Similar for the Tonelab LE. 

Yet there are more modern and technically superior Line 6 mfx pedals that sell used for a fraction of their new cost.  A Line 6 Pod XT Live retailed at £369 in 2006 but can be picked up for £50 today.  It's a similar story with individual pedals...some command very good used prices (especially if they acquire cult status like an Ibanez tube screamer or mxr phase 90) whilst others sell for a fraction of their cost new.  

Sometimes used prices reflect tone and build quality, but other times prices reflect sentiment and image.  Older Zoom pedals are often thought of as cheap and not very good, but some are really good and can be picked up dirt cheap.

Axe fx, Kemper and Helix are top end state of the art pieces of gear. New prices are high because these are aimed at the top end of the market, which is a smaller section, and development costs have to be recovered. There is also strong marketing that helps to give a more elite image.

Dyson sells it's products at silly prices .... their designs are good and they get good reviews, but is their hair dryer really worth £300?!.  My daughter just bought one for my wife, and trust me, it's way more about the look, image and packaging and the feeling of having something that's 'special and state of the art rather than inherrently being that much better performance wise.

So as always, any product is worth what someone will pay for it..and that applies to new and used stomp pedals and mfx units.

If you can get £100 for a tonelab LE you are doing very well my friend, I got £70 for mine and I had to throw in p&p to close the deal. 

It it was a good unit, but a bit fatally flawed with the insert loop placement.
 

fretmeister

TheMarlin said:

Technology will continue to march on.

When Helix 2 comes out, Helix 1 values will plummet. Line 6 gear just doesn’t hold its value.  

Bit like old iPhones...

And computers and cars and even hookers when they reach a certain age.

But if you like the sound of a Helix today, you'll still like it when Helix 2 comes out.

And anyway - Line 6 have said they have years left in Helix and are not thinking of any hardware updates yet. They've got loads of firmware updates to come this year.

Did you factor in the free firmware updates that adds new pedals and amps all the time?

fretmeister

Here is a list of JUST THE NEW AMP STUFF - all added after the launch in firmware updates (Not including the original ones that were included at launch)

New Amps
* Cali IV Rhythm 1, based on* the Rhythm I channel of the MESA/Boogie® Mk IV
* Cali IV Rhythm 2, based on* the Rhythm II channel of the MESA/Boogie® Mk IV
* Cali IV Lead, based on* the Lead channel of the MESA/Boogie® Mk IV...
* Line 6 2204 Mod, Line 6 Original based on* a hot-rodded Marshall® JCM® 800
* Line 6 Fatality, Line 6 Original based on THAL
* Matchstick Ch1, based on* Channel 1 of the MatchlessTM DC30
* Matchstick Ch2, based on* Channel 2 of the MatchlessTM DC30
* Matchstick Jump, based on* jumping Channels 1 and 2 of the MatchlessTM DC30
* Archetype Clean, based on* the clean channel of the Paul Reed Smith® Archon
* Archetype Lead, based on* the lead channel of the Paul Reed Smith® Archon®
* Line 6 Litigator, new Line 6 Original inspired by boutique mid-gain amps-
* Line 6 Badonk, all new Line 6 original inspired by the original high gain Big Bottom model
* Woody Blue, based on* the Acoustic® 360 bass amp
* Del Sol 300, based on* the Sunn® Coliseum 300 bass amp
* Busy One Ch1, based on* channel 1 of the Pearce BC-1 bass preamp
* Busy One Ch2, based on* channel 2 of the Pearce BC-1 bass preamp
* Busy One Jump, based on* channel 1 and 2 (jumped) of the Pearce BC-1 bass preamp
* Voltage Queen, based on* the Victoria® Electro King
* Derailed Ingrid, based on* the Trainwreck Circuits® Express
* Brit Trem Nrm, based on* the normal channel of the Marshall® Plexi Tremolo 50
* Brit Trem Brt, based on* the bright channel of the Marshall® Plexi Tremolo 50
* Brit Trem Jump, based on* the normal and bright channel (jumped) of the Marshall® Plexi Tremolo 50
* Cartographer, based on* the Ben Adrian Cartographer
* Agua 51, based on* the Aguilar® DB751 bass amp
* Cali Texas Ch2, based on* the drive channel of the MESA/Boogie® Lonestar 
* Placater Dirty, based on* the BE/HBE channel of the Friedman BE-100 
* Cali Texas Ch1, based on* the clean channel of the MESA/Boogie® Lonestar
* Placater Clean, based on* the clean channel of the Friedman BE-100

fretmeister

And just the new Cabs

New Hybrid Cabs
* 1x12 Cali IV, based on* the MESA/Boogie® Mk IV 12” cab
* 1x12 Cali EXT, based on* the MESA/Boogie® 12” extension cab (EVM12L speaker)
* 2x12 Match H30, based on* the Matchless® DC-30 cab (12” G12H30 speaker)
* 2x12 Match G25, based on* the Matchless® DC-30 cab (12” Greenback 25 speaker)
* 2x12 Del Sol, based on* the Sunn® Coliseum 300 bass cab (12” speaker)
* 1x18 Del Sol, based on* the Sunn® Coliseum 300 bass cab (18” speaker)
* 1x18 Woody Blue, based on* the Acoustic® 360 18” bass cab

fretmeister

And just the new FX

New Effects
* Distortion > Wringer Fuzz (Mono, Stereo), based on* Garbage’s special BOSS® FZ-2
* EQ > Cali Q Graphic (Mono, Stereo), based on* the MESA/Boogie® Mk IV’s 5-band EQ
* Modulation > Harmonic Tremolo (Mono, Stereo), Line 6 Original
* Delay > Vintage Digital (Mono, Stereo), Line 6 Original
* Distortion > Teemah! (Mono, Stereo), based on* the Paul Cochrane Timmy® Overdrive
* Distortion > KWB (Mono, Stereo), based on* the Benadrian Kowloon Walled Bunny Distortio
* Distortion > Bitcrusher (Mono, Stereo
* Modulation > Dynamix Flanger (Mono, Stereo
* Modulation > Deluxe Phaser (Mono, Stereo)
* Modulation > Tremolo (Mono) and Tremolo/Autopan (Stereo), based on* the BOSS® PN-2
* Pitch/Synth > Simple Pitch (Mono, Stereo
* Pitch/Synth > Dual Pitch (Mono, Stereo
* Filter > Autofilter (Mono, Stereo
* Delay > Dual Delay (Stereo): New Line 6 Original stereo delay with separate time, feedback, and mix per channel. Includes high and low cut filters and Chorus or Vibrato modulation
* Delay > Reverse Delay (Mono, Stereo): New Line 6 Original; whatever you play in comes back at you backwards (up to four seconds mono, two seconds stereo)
* Distortion > Stupor OD (Mono, Stereo), based on* the BOSS® SD-1 Overdrive
* Delay > Pitch Echo (Mono, Stereo), Line 6 Original
* Distortion > Obsidian 7000 (Mono, Stereo), based on* the Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
* Distortion > Clawthorn Drive (Mono, Stereo), based on* the Wounded Paw Battering Ram bass overdrive
* Dynamics > 3-Band Comp (Mono, Stereo), Line 6 Original multiband compressor
* Dynamics > Autoswell (Mono, Stereo), Line 6 Original
* Modulation > PlastiChorus (Mono, Stereo), based on* the modded Arion SCH-Z chorus
* Delay > Vintage Swell (Mono, Stereo), Line 6 Original
* Delay > Adriatic Swell (Mono, Stereo), Line 6 Original
* Pitch/Synth > 3 Note Generator (Mono, Stereo), Line 6 Original
* Pitch/Synth > 4 OSC Generator (Mono, Stereo), Line 6 Original
* Distortion > Kinky Boost (Mono, Stereo), based on* the Xotic® EP Booster
* Distortion > Thrifter Fuzz (Mono, Stereo), Line 6 Original
* Dynamics > Kinky Comp (Mono, Stereo), based on* the Xotic® SP Compressor
* Modulation > Bleat Chop Trem (Mono, Stereo), based on* the Lightfoot Labs© Goatkeeper
* Modulation > Double Take (Mono, Stereo), Line 6 Original doubler
* Delay > Cosmos Echo (Mono, Stereo), based on* the Roland® RE-201 Space Echo
* Volume/Pan > Stereo Width (Stereo), Line 6 Original utility to collapse stereo paths
* Delay > Multi Pass (Mono, Stereo), Line 6 Original bandpass-filtered multitap delay
* Reverb > Glitz (Mono, Stereo), Line 6 Original
* Reverb > Ganymede (Mono, Stereo), Line 6 Original
* Reverb > Searchlights (Mono, Stereo), Line 6 Original
* Reverb > Plateaux (Mono, Stereo), Line 6 Original
* Reverb > Double Tank (Mono, Stereo), Line 6 Original
* Legacy Effects

* Distortion > Tube Drive (Mono)
* Distortion > Screamer (Mono)
* Distortion > Overdrive (Mono)
* Distortion > Classic Dist (Mono)
* Distortion > Heavy Dist (Mono)
* Distortion > Colordrive (Mono)
* Distortion > Buzz Saw (Mono)
* Distortion > Facial Fuzz (Mono)
* Distortion > Jumbo Fuzz (Mono)
* Distortion > Fuzz Pi (Mono)
* Distortion > Jet Fuzz (Mono)
* Distortion > Line 6 Drive (Mono)
* Distortion > Line 6 Distortion (Mono)
* Distortion > Sub Oct Fuzz (Mono)
* Distortion > Octave Fuzz (Mono)
* Dynamics > Tube Comp (Mono)
* Dynamics > Red Comp (Mono)
* Dynamics > Blue Comp (Stereo)
* Dynamics > Blue Comp Treb (Mono)
* Dynamics > Vetta Comp (Mono)
* Dynamics > Vetta Juice (Mono)
* Dynamics > Boost Comp (Mono)
* Modulation > Pattern Tremolo (Stereo)
* Modulation > Panner (Stereo)
* Modulation > Bias Tremolo (Stereo)
* Modulation > Opto Tremolo (Stereo)
* Modulation > Script Phase (Stereo)
* Modulation > Panned Phaser (Stereo)
* Modulation > Barberpole (Stereo)
* Modulation > Dual Phaser (Stereo)
* Modulation > U-Vibe (Mono)
* Modulation > Phaser (Stereo)
* Modulation > Pitch Vibrato (Mono)
* Modulation > Dimension (Stereo)
* Modulation > Analog Chorus (Stereo)
* Modulation > Tri Chorus (Stereo)
* Modulation > Analog Flanger (Stereo)
* Modulation > Jet Flanger (Stereo)
* Modulation > AC Flanger (Stereo)
* Modulation > 80A Flanger (Stereo)
* Modulation > Frequency Shift (Stereo)
* Modulation > Ring Modulator (Stereo)
* Modulation > Rotary Drum (Stereo)
* Modulation > Rotary Drm/Horn (Stereo)
* Delay > Ping Pong (Stereo)
* Delay > Dynamic (Stereo)
* Delay > Stereo (Stereo)
* Delay > Digital (Stereo)
* Delay > Dig w/ Mod (Stereo)
* Delay > Reverse (Mono)
* Delay > Lo Res (Stereo)
* Delay > Tube Echo (Stereo)
* Delay > Tape Echo (Stereo)
* Delay > Sweep Echo (Stereo)
* Delay > Echo Platter (Stereo)
* Delay > Analog Echo (Stereo)
* Delay > Analog w/ Mod (Stereo)
* Delay > Auto-Volume Echo (Stereo)
* Delay > Multi-Head (Stereo)
* Pitch/Synth > Bass Octaver (Mono)
* Pitch/Synth > Smart Harmony (Mono)
* Pitch/Synth > Octi Synth (Mono)
* Pitch/Synth > Synth O Matic (Mono)
* Pitch/Synth > Attack Synth (Mono)
* Pitch/Synth > Synth String (Mono)
* Pitch/Synth > Growler (Mono)
* Filter > Voice Box (Mono)
* Filter > V Tron (Mono)
* Filter > Q Filter (Stereo)
* Filter > Seeker (Stereo)
* Filter > Obi Wah (Stereo)
* Filter > Tron Up (Stereo)
* Filter > Tron Down (Stereo)
* Filter > Throbber (Stereo)
* Filter > Slow Filter (Stereo)
* Filter > Spin Cycle (Stereo)
* Filter > Comet Trails (Stereo)
* Distortion > Deranged Master (Mono, Stereo), based on* the Dallas Rangemaster Treble Booster
* Distortion > Deez One Vintage (Mono, Stereo), based on* the BOSS© DS-1 distortion pedal (classic Made-in-Japan version)
* Distortion > Deez One Mod (Mono, Stereo), based on* the BOSS© DS-1 distortion pedal (Keeley mod version)
* Looper > 1 Switch Looper (Mono, Stereo), Line 6 original (doesn't leave Stomp mode)

WiresDreamDisasters

Sporky said:

I would just like to say that there is nothing more authentically rock n roll than concerning oneself with depreciation.

As Keef once said, "let me just put that in my double-entry ledger book so I can write it down over three years as an operating expense and minimise my tax exposure. Do you do a lease option, only the current regime favours off-book capital leverage, and I've become very concerned recently with my risk exposure regarding consumer durables" 

"I had to become a better businessman to become a better artist." -David Bowie.

fretmeister

That lot really has to be taken into account when considering value for money over time.

Yes the hardware value will reduce when Helix 2 is released. But during the ownership cycle so much has been added that would cost over 100,000 for physical versions of pedals and amps etc.

Depreciation is basically what you have really paid to enjoy the product over several years. It's nothing to worry about.

John_A

@fretfinder makes a great point, the Helix is a bargain!  It sounds great, does everything I could ever want.  worst case, it's worth £0 in 2 years time and then stops working, that'll be £200 a year well spent

drpbier

I had a basic board with a pair of drives, tuner, delay, chorus and wah, powered by a daisy chain. My sister bought me a power supply for Xmas which turned out to be DOA. The amount of time I spent trying to diagnose whether I'd done something wrong, or whether the supply was dead, as well as the drive time to Andertons and back, took me way over my appetite to dick around with kit to make noises I like. I used the refund for the power supply and px'd my entire board - I now have an HX Effects on order which was fully funded by the old kit.
It's the same kind of decision to me as using an iPhone (over Android), using a Mac (over Windows) or driving an automatic car. I don't derive pleasure from managing a pedalboard and I don't care about the difference between an HX model and a boutique pedal - I DO care about convenience and ease of use.

Voxman

professorben said:

If you can get £100 for a tonelab LE you are doing very well my friend, I got £70 for mine and I had to throw in p&p to close the deal. 

It it was a good unit, but a bit fatally flawed with the insert loop placement.
 

I think you may just have been unfortunate @professorben ;;and a victim of unlucky market timing as £70 was dirt cheap and untypical.  I've been watching mfx prices for some years and £100 for a TLLE in good condition with the original vox heavy duty switch controlled psu is easily achievable provided you're not in a mad panic to sell it. These units have a definite and deserved following and good examples don't come up that often although there's 2 on EBay currently. 

I agree that the fx insert design is pretty inflexible and should have been better, but for the vast majority of buyers/users interested in these units it's immaterial and in no way a fatal flaw because they simply want a single mfx unit and don't actually want to insert an external fx anyway.  I certainly just use my TLs as standalone units and have no interest in external fx insert. For those for whom fx insert is essential, there are lots of other mfx solutions out there. The strength of the TLLE and TLSE is great valve-like tone and feel and ease of use with real knobs, which is why these still hold up so well even against more modern units. 

I have a Zoom G5n and there's a lot to like about it. But the menu driven layout is awkward, so if you want to add e.g. chorus into a patch, you can't just turn a dial. You have to find it in the menu and then insert it into a specific location in the fx chain. And if you've exceeded the memory storage, you're buggered.  With the Tonelabs there is no memory restriction, and if you want to add an effect or to change an amp model, you just turn a real knob. 

Lebarque

I had a Boss GT3, then a Tonelab SE, then the LE. I then tried a Princeton Reverb in Andertons and the rest is history. I've never gone back to digital or multifx since.

jeztone2

I'm still in a quandary. I've not bonded with it yet. Am thinking of putting together a cheap mini board as it's taking a while to put sounds together. 

professorben

Voxman said:

professorben said:

If you can get £100 for a tonelab LE you are doing very well my friend, I got £70 for mine and I had to throw in p&p to close the deal. 

It it was a good unit, but a bit fatally flawed with the insert loop placement.
 

I think you may just have been unfortunate @professorben ;;and a victim of unlucky market timing as £70 was dirt cheap and untypical.  I've been watching mfx prices for some years and £100 for a TLLE in good condition with the original vox heavy duty switch controlled psu is easily achievable provided you're not in a mad panic to sell it. These units have a definite and deserved following and good examples don't come up that often although there's 2 on EBay currently. 

I agree that the fx insert design is pretty inflexible and should have been better, but for the vast majority of buyers/users interested in these units it's immaterial and in no way a fatal flaw because they simply want a single mfx unit and don't actually want to insert an external fx anyway.  I certainly just use my TLs as standalone units and have no interest in external fx insert. For those for whom fx insert is essential, there are lots of other mfx solutions out there. The strength of the TLLE and TLSE is great valve-like tone and feel and ease of use with real knobs, which is why these still hold up so well even against more modern units. 

I have a Zoom G5n and there's a lot to like about it. But the menu driven layout is awkward, so if you want to add e.g. chorus into a patch, you can't just turn a dial. You have to find it in the menu and then insert it into a specific location in the fx chain. And if you've exceeded the memory storage, you're buggered.  With the Tonelabs there is no memory restriction, and if you want to add an effect or to change an amp model, you just turn a real knob. 

Possibly I did have it advertised for a good couple of months before I had even a bite, and it was more the option to route the unit 4CM which I was lamenting, tbh if I had that option I’d prob still have it as the Klon and SD-1 models were great and the modulation was lovely, particularly the phaser and vibe. 

meltedbuzzbox

jeztone2 said:

I'm still in a quandary. I've not bonded with it yet. Am thinking of putting together a cheap mini board as it's taking a while to put sounds together. 

@jeztone2 I've been like that for over a year now.
I use a clean hiwatt sound on the helix and my pedal board for all my effects

jeztone2

meltedbuzzbox said:

jeztone2 said:

I'm still in a quandary. I've not bonded with it yet. Am thinking of putting together a cheap mini board as it's taking a while to put sounds together. 

@jeztone2 I've been like that for over a year now.
I use a clean hiwatt sound on the helix and my pedal board for all my effects

Awww man. That’s worrying. I’m going to try and use it as FX only. But I found a photo today of my old board from 2012 & it looked kind of inviting. 

NelsonP

fretmeister said:

And just the new FX

New Effects
* Distortion > Wringer Fuzz (Mono, Stereo), based on* Garbage’s special BOSS® FZ-2
* EQ > Cali Q Graphic (Mono, Stereo), based on* the MESA/Boogie® Mk IV’s 5-band EQ
* Modulation > Harmonic Tremolo (Mono, Stereo), Line 6 Original
* Delay > Vintage Digital (Mono, Stereo), Line 6 Original
* Distortion > Teemah! (Mono, Stereo), based on* the Paul Cochrane Timmy® Overdrive
* Distortion > KWB (Mono, Stereo), based on* the Benadrian Kowloon Walled Bunny Distortio
* Distortion > Bitcrusher (Mono, Stereo
* Modulation > Dynamix Flanger (Mono, Stereo
* Modulation > Deluxe Phaser (Mono, Stereo)
* Modulation > Tremolo (Mono) and Tremolo/Autopan (Stereo), based on* the BOSS® PN-2
* Pitch/Synth > Simple Pitch (Mono, Stereo
* Pitch/Synth > Dual Pitch (Mono, Stereo
* Filter > Autofilter (Mono, Stereo
* Delay > Dual Delay (Stereo): New Line 6 Original stereo delay with separate time, feedback, and mix per channel. Includes high and low cut filters and Chorus or Vibrato modulation
* Delay > Reverse Delay (Mono, Stereo): New Line 6 Original; whatever you play in comes back at you backwards (up to four seconds mono, two seconds stereo)
* Distortion > Stupor OD (Mono, Stereo), based on* the BOSS® SD-1 Overdrive
* Delay > Pitch Echo (Mono, Stereo), Line 6 Original
* Distortion > Obsidian 7000 (Mono, Stereo), based on* the Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
* Distortion > Clawthorn Drive (Mono, Stereo), based on* the Wounded Paw Battering Ram bass overdrive
* Dynamics > 3-Band Comp (Mono, Stereo), Line 6 Original multiband compressor
* Dynamics > Autoswell (Mono, Stereo), Line 6 Original
* Modulation > PlastiChorus (Mono, Stereo), based on* the modded Arion SCH-Z chorus
* Delay > Vintage Swell (Mono, Stereo), Line 6 Original
* Delay > Adriatic Swell (Mono, Stereo), Line 6 Original
* Pitch/Synth > 3 Note Generator (Mono, Stereo), Line 6 Original
* Pitch/Synth > 4 OSC Generator (Mono, Stereo), Line 6 Original
* Distortion > Kinky Boost (Mono, Stereo), based on* the Xotic® EP Booster
* Distortion > Thrifter Fuzz (Mono, Stereo), Line 6 Original
* Dynamics > Kinky Comp (Mono, Stereo), based on* the Xotic® SP Compressor
* Modulation > Bleat Chop Trem (Mono, Stereo), based on* the Lightfoot Labs© Goatkeeper
* Modulation > Double Take (Mono, Stereo), Line 6 Original doubler
* Delay > Cosmos Echo (Mono, Stereo), based on* the Roland® RE-201 Space Echo
* Volume/Pan > Stereo Width (Stereo), Line 6 Original utility to collapse stereo paths
* Delay > Multi Pass (Mono, Stereo), Line 6 Original bandpass-filtered multitap delay
* Reverb > Glitz (Mono, Stereo), Line 6 Original
* Reverb > Ganymede (Mono, Stereo), Line 6 Original
* Reverb > Searchlights (Mono, Stereo), Line 6 Original
* Reverb > Plateaux (Mono, Stereo), Line 6 Original
* Reverb > Double Tank (Mono, Stereo), Line 6 Original
* Legacy Effects

* Distortion > Tube Drive (Mono)
* Distortion > Screamer (Mono)
* Distortion > Overdrive (Mono)
* Distortion > Classic Dist (Mono)
* Distortion > Heavy Dist (Mono)
* Distortion > Colordrive (Mono)
* Distortion > Buzz Saw (Mono)
* Distortion > Facial Fuzz (Mono)
* Distortion > Jumbo Fuzz (Mono)
* Distortion > Fuzz Pi (Mono)
* Distortion > Jet Fuzz (Mono)
* Distortion > Line 6 Drive (Mono)
* Distortion > Line 6 Distortion (Mono)
* Distortion > Sub Oct Fuzz (Mono)
* Distortion > Octave Fuzz (Mono)
* Dynamics > Tube Comp (Mono)
* Dynamics > Red Comp (Mono)
* Dynamics > Blue Comp (Stereo)
* Dynamics > Blue Comp Treb (Mono)
* Dynamics > Vetta Comp (Mono)
* Dynamics > Vetta Juice (Mono)
* Dynamics > Boost Comp (Mono)
* Modulation > Pattern Tremolo (Stereo)
* Modulation > Panner (Stereo)
* Modulation > Bias Tremolo (Stereo)
* Modulation > Opto Tremolo (Stereo)
* Modulation > Script Phase (Stereo)
* Modulation > Panned Phaser (Stereo)
* Modulation > Barberpole (Stereo)
* Modulation > Dual Phaser (Stereo)
* Modulation > U-Vibe (Mono)
* Modulation > Phaser (Stereo)
* Modulation > Pitch Vibrato (Mono)
* Modulation > Dimension (Stereo)
* Modulation > Analog Chorus (Stereo)
* Modulation > Tri Chorus (Stereo)
* Modulation > Analog Flanger (Stereo)
* Modulation > Jet Flanger (Stereo)
* Modulation > AC Flanger (Stereo)
* Modulation > 80A Flanger (Stereo)
* Modulation > Frequency Shift (Stereo)
* Modulation > Ring Modulator (Stereo)
* Modulation > Rotary Drum (Stereo)
* Modulation > Rotary Drm/Horn (Stereo)
* Delay > Ping Pong (Stereo)
* Delay > Dynamic (Stereo)
* Delay > Stereo (Stereo)
* Delay > Digital (Stereo)
* Delay > Dig w/ Mod (Stereo)
* Delay > Reverse (Mono)
* Delay > Lo Res (Stereo)
* Delay > Tube Echo (Stereo)
* Delay > Tape Echo (Stereo)
* Delay > Sweep Echo (Stereo)
* Delay > Echo Platter (Stereo)
* Delay > Analog Echo (Stereo)
* Delay > Analog w/ Mod (Stereo)
* Delay > Auto-Volume Echo (Stereo)
* Delay > Multi-Head (Stereo)
* Pitch/Synth > Bass Octaver (Mono)
* Pitch/Synth > Smart Harmony (Mono)
* Pitch/Synth > Octi Synth (Mono)
* Pitch/Synth > Synth O Matic (Mono)
* Pitch/Synth > Attack Synth (Mono)
* Pitch/Synth > Synth String (Mono)
* Pitch/Synth > Growler (Mono)
* Filter > Voice Box (Mono)
* Filter > V Tron (Mono)
* Filter > Q Filter (Stereo)
* Filter > Seeker (Stereo)
* Filter > Obi Wah (Stereo)
* Filter > Tron Up (Stereo)
* Filter > Tron Down (Stereo)
* Filter > Throbber (Stereo)
* Filter > Slow Filter (Stereo)
* Filter > Spin Cycle (Stereo)
* Filter > Comet Trails (Stereo)
* Distortion > Deranged Master (Mono, Stereo), based on* the Dallas Rangemaster Treble Booster
* Distortion > Deez One Vintage (Mono, Stereo), based on* the BOSS© DS-1 distortion pedal (classic Made-in-Japan version)
* Distortion > Deez One Mod (Mono, Stereo), based on* the BOSS© DS-1 distortion pedal (Keeley mod version)
* Looper > 1 Switch Looper (Mono, Stereo), Line 6 original (doesn't leave Stomp mode)

This is simultaneously incredible and potentially overwhelming. But you definitely can't argue with the range that Helix offers. Try buying this many effects pedals for the same price!

John_A

jeztone2 said:

meltedbuzzbox said:

jeztone2 said:

I'm still in a quandary. I've not bonded with it yet. Am thinking of putting together a cheap mini board as it's taking a while to put sounds together. 

@jeztone2 I've been like that for over a year now.
I use a clean hiwatt sound on the helix and my pedal board for all my effects

Awww man. That’s worrying. I’m going to try and use it as FX only. But I found a photo today of my old board from 2012 & it looked kind of inviting. 

Took me a week before it replaced my amp and all my pedals.  Why aren’t you ‘bonding’?  It really is liberating once you get to grips with it

keir

meltedbuzzbox said:

jeztone2 said:

I'm still in a quandary. I've not bonded with it yet. Am thinking of putting together a cheap mini board as it's taking a while to put sounds together. 

@jeztone2 I've been like that for over a year now.
I use a clean hiwatt sound on the helix and my pedal board for all my effects

Do you play live using the helix for amp sims only and run your board into it?

I broke my pedalboard up for a diy recording session my band did and haven’t summoned up the enthusiasm to put it all back together (PTpro completely packed). Have been strongly considering leaving the pedal game behind and just going full helix, even selling the pt pro so I can’t add any additional pedals. 

I could easily recoup £2000 plus selling off what I have now but I’m not quite there yet. 

I think a big thing is getting used to the roatary knobs on the helix. When setting analogue pedals it’s quite visual, for me anyway, gain at 9 o’clock etc, whereas using the helix you need to use your ears which I’m finding takes a bit of getting used to