Gained for Strats, and guys who use their volume knob to dial it in. Twin/Plexi switchable in series, stereo (Hard panned) cabs (Silver Bells, and Greenbacks) verb, delays (1/4, 1/4T), post-comp (left on, no switch), and lead boost. Created on stereo L2s (electric guitar mode), but ran in through headphones to make sure it was balanced. Verb and Delays are little hot, but are present in a full band context. Adjust to taste. Sounds good with LP, too. I usually set the volume pedal maximum down to 60%+/-, though.

This Helix preset emulates the Steinberger ZT-3 Custom with the TransTrem tremolo using a presentf or each tremolo setting.

***Re-Upload****This is my stereo preset I use for my band Laberinto De Reyes (https://www.youtube.com/@laberintodereyes4148). It is based on my Amplitube 5 preset intended to emulate modern Slipknot's sound. Left channel is intended for Jim Root's sound with Mandarine Rocker Amp+Cab, right channel for Mick Thompson with an ENGL Fireball (EQd to emulate his Omega Amp), Both use an 808 as a booster in FOA and optional Reverb block to use as per your needs. No EQ blocks, any EQing you may need could be done from Global EQ. There's a delay of 30ms in the ENGL lane in order to make the stereo more pronounced. (I recently reduced it to 10ms in my Helix). Pitch pedal reduces the tuning half tone down (E to Eb) (Adjust at taste). Volume blocks were removed from original preset, EXP1 controls volume by reducing output blocks' level. WAH is calibrated to get a combined sound (different settins in both lanes) to emulate Kirk Hammet's Dunlop KH95 WAH. Controled with EXP2 and activated via EXP Toe. The Send 1 in the 1st lane is to plug the Helix to a stage amp straight into it's Power Stage In (or FOA), bypasing the Cab/IR, I use a Boss Katana Artist MKII outputing the Orange's sound, which is my to-go mono sound. The MIC In lane with reverb and exit to send 3/4 is in order to take a monitoring XLR line from FOH and take it to my IEM system via Send 3. You can use either IRs or Cabs for each Amp, but it's recommended to never use both one after the other. The IRs I usually use instead of the Cabs are: Orange: OwnHammer - 4x12 ORNG H75-BB1 Cab Sim https://tormag.ezpz.work/y9edttxfk2 . ENGL: Kristian Kohle DV-77 (Mick's signature) IR Pack https://mega.nz/file/OU9n1ApQ#xlNJBUBMkvaFV80iD1-dV5b_QIrQKZtd6LE4IBq8jxM Pass for files is "leadguitar.mx" with no quotes. Enjoy!!!

Nothing sounds like a Dumble. That said, this patch is inspired by some of the sounds found in the great ODS. Use your volume and tone knobs to dial in shimmery cleans to responsive grind, to gritty & fuzzy dirt to violin-like solos. Use the 1st EQ to adjust for your guitar. Use the last EQ to match for your output (hi/low cut, etc.) Top row of footswitches are for "amp control" functions: "Gain Boost" for the grind sound, "Fuzzy" gives you bottom-end grit, "Mid Boost" does just that (you can adjust the +dB to taste), "Deluxe Comp" compresses the higher tones, and "'63 Spring" adds verb before the cabs. Bottom row adds a TS808 front-of-amp, a little slap delay, a room ambiance, and a simple delay. This is a very dynamic and flexible patch that runs 2 amps (Bassmann + Matchless DC30 Ch2) into 2 cabs (4x12 G25 and a 1x15). Start with neck pickup with volume rolled back a good ways, middle pickup with a little volume and tone roll-off, or the "woman tone" bridge pickup with a substantially cut tone control.

Tone used for Vestige live. The IR is the Hartke 410 from shitfline

Very compressed high gain tone. Harmonizer is run in parallel and with intervals of 3rd for D minor (they tune drop D)

Modern clean, ambient sounds. There are a few different delays and reverbs to play with. the "whitewash" label is more rhythmic while the others are more for ambient soundscapes.

In IR Select: Position 8 "Marshall1960A-G12Ms-SM57-Cap-6in.wav" Found in folder: 44.1 KHz-24bit/Shure SM57/Marshall1960A-G12Ms-SM57-Cap-6in.wav Download from : http://www.redwirez.com/free1960g12m25s.jsp

This is my attempt to replicate a classic '66-'67 Marshall 100 watt stack as used by Jimi Hendrix and Eric Clapton in Cream. The first Marshall 100 watt "Super" amps were an evolution of the JTM 45, using the same pre-amp configuration but with a quad of KT-66 output tubes and solid state rectifier. The head was typically run into two 4x12" cabinets loaded with 20 watt Greenback speakers. This is what Clapton was using in 1966 when Cream first began to perform publicly, which in turn influenced Hendrix to purchase the same set up. I am using then Brit J-45 amp with volume on 10. The J-45 is a cleaner and bassier amp than the later Plexi "Super Lead," so the volume at 10 will give a nice crunchy sound with PAF style humbuckers and a less gainier, bluesier tone with single coils. As with the real JMT45 amp, the bass is kept low to avoid flubbiness, while the mid and treble are boosted You can crank these all the way up for more distortion. I find that this model responds well to the volume knob on the guitar, so you can turn down for a cleaner tone. The amp is running into dual Greenback 20 watt 4x12" cabinets: one miked with the 57 Dynamic and the other with the 421 Dynamic for a slightly bigger sound than what you would get if you used a dual cab block with one mic. I've added a few simple effects. EXP 2 is the Chrome Custom wha. This is followed by the Uni-Vibe set to a typical Hendrix/Trower setting, although you can adjust the rate using the tap tempo. Next is an OCD for boost. You can replace this with the Arbiter Fuzz if you are going strictly for a Hendrix rig (Clapton did not use fuzz, or any pedals for that matter). A tape delay comes after the amp and cab so that it sits better in the mix. I've topped it off with a splash of hall reverb.

Hi, this is a cool patch that I use to create spacy clean tones with stereo delays... \- Volume pedal to swell. \- Ping pong + Sweep Echo delays \- Distortion pedal if you want to go solo with the same atmosphere \- Looper if you want to create some cool background textures . Well, this is how I use it ;-) Have fun with it .