Line 6 Helix FloorComfortably Numb95% confidence · High
Four snapshots built around the two solos — the smoother first one, then the biting outro — with quieter settings for the intro, verse and chorus in between. A Ram's Head Big Muff into a Hiwatt DR103, plus the Yamaha RA-200 rotary running alongside the amp rather than in front of it, which is why those solos widen instead of wobble.
Signal Chain on Line 6 Helix Floor
Authentic Wall-era lead signal path utilizing a high-headroom Hiwatt DR103 model pushed by a Ram's Head Big Muff Pi simulation.
New to this? A signal chain is simply the route your sound takes — guitar first, then each piece of gear in order, until it reaches your ears. Every box below is one piece of that route, with the exact settings to enter on your device.
Your guitar→
Pedals & amp→
Cab & effects→
What you hear
Song sectionsSnapshots
Path 1A
Path 2A
Output
This mark shows the real-world gear from the original recording that a block stands in for.
Tap a block for its settings.
TapClick any block above to view its settings here.
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Saves this tone as a .hlx preset you import into HX Edit and load onto your Helix.
Tested on Firmware 3.80
On your guitar
Designed for a Stratocaster bridge single-coil. If using lower-output vintage pickups, you can raise the Bighorn Fuzz Sustain parameter slightly to compensate.
Through your rig
Adjusted for FRFR monitors. If the high-end bite of the Big Muff feels too aggressive, lower the High Cut parameter on the Cab block to 6.5 kHz.
Every example at a glance
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Comfortably Numb — Pink Floyd on Line 6 Helix Floor
Line 6 Helix Floor · Comfortably Numb
Four snapshots built around the two solos — the smoother first one, then the biting outro — with quieter settings for the intro, verse and chorus in between. A Ram's Head Big Muff into a Hiwatt DR103, plus the Yamaha RA-200 rotary running alongside the amp rather than in front of it, which is why those solos widen instead of wobble.
Authentic Wall-era lead signal path utilizing a high-headroom Hiwatt DR103 model pushed by a Ram's Head Big Muff Pi simulation.
Parallel dimensional rotary speaker emulation modeled after Gilmour's studio Yamaha RA-200 setup.
Carefully calibrated compressor settings to supply the infinite, singing sustain needed for the legendary outro solos without excessive noise.
Slow Dancing in a Burning Room — John Mayer on BOSS Katana-100 Gen 3
BOSS Katana-100 Gen 3 · Slow Dancing
Mayer's stacked Klon-into-Tube-Screamer gain, rebuilt around a hard limit: the Katana allows only one booster block, so the stack cannot be copied literally. It is folded into a Dumble-voiced crunch channel sitting beside a Two-Rock-voiced clean — nothing here asks the amp to do something it cannot.
Boutique clean-to-edge-of-breakup voicing emulating John Mayer's signature Two-Rock Custom Reverb tone for the rhythm parts.
Vocal, mid-rich Dumble ODS style overdrive voice achieved using the Crunch channel boosted by a Tube Screamer emulation for the solo.
Vintage-style analog delay slapback and lush studio plate reverb configured to sit back in the mix without smearing the glassy single-coil attack.
Killing In The Name — Rage Against the Machine on Neural DSP Quad Cortex
Neural DSP Quad Cortex · Killing In The Name
Morello's pedals in their documented order — Whammy, then the DOD FX40B graphic EQ, then the Ibanez DFL flanger — in front of the Brit 2210, the Quad Cortex model whose circuit voice matches his photographed JCM800 2205 panel. Three scenes cover the verses, chorus and solo instead of duplicating blocks.
Faithful JCM800 split-channel gain structure with mid-forward focus and presence dialed almost fully off to eliminate brittle fizz.
The effects loop routing is preserved: Whammy (two octaves up), followed by Graphic EQ (mid bump/level lift) and a slow Digital Flanger.
Uses a dual-path single sequential chain optimized for Simple Mode, preventing phase issues and routing complications.
Enter Sandman — Metallica on Fractal Audio FM9
Fractal Audio FM9 · Sandman Master
Four scenes carry the clean intro, heavy rhythm, wah solo and hush bridge instead of one compromise patch. The record doubles a Mesa Mark IIC++ with a Jose-modified Marshall Super Lead alongside it, but that head is never the sole amp on any part — so the preset commits to the Mark IIC++ rather than pretend one amp block can be two.
Recreates the iconic Black Album tone using a channel-switched hybrid rig that transitions smoothly from pristine solid-state-style cleans to a scooped high-gain Mesa Mark IIC++ rhythm and a mid-forward CAE 3+ SE lead.
Replicates the studio outboard Aphex loop units with a parametric EQ block set to a sharp 1.2 kHz midrange scoop and subtle pre-amp compression.
Maintains separate signal paths using Fractal channels inside a single grid block structure, preserving DSP while matching the original album recordings precisely.
Knights of Cydonia — Muse on HeadRush Core
HeadRush Core · Knights Cydonia
Four footswitch scenes carry the Telstar tremolo intro, the galloping verse, the fuzz chorus wall and the Whammy lead break. The Core keeps a second full parameter set on its ReValver Amp block — the A/B “doubling” — so a Vox AC30 clean and a Diezel Herbert channel 3 both live in one rig and a scene picks the half. The record’s heavy amp is a Diezel VH4, which the Core does not model; the Herbert channel 3 is the closest Diezel voice it offers. Bellamy’s Fuzz Factory is not on the Core either, and the result says so: it stands in the Octavio-style Oct Fuzz with the gain and level matched rather than quietly picking a model. On a Core the rig can be sent to the unit over Wi-Fi as a new rig (beta), and it also arrives as a numbered build sheet you can follow on the unit or in its Wi-Fi Remote Editor; no preset file is written.
Hybrid tone moving from a 1960s Tornados-inspired chop tremolo into a massive, modern high-gain Diezel wall layered with aggressive fuzz.
Doubled ReValver Amp setup leverages a chimey Vox AC30 clean voice for the surf intro and Diezel Herbert Channel 3 for the high-gain verses, choruses, and solo.
Front-of-amp chain features Digitech Whammy (+1 Octave) for the pitch sweeps and an aggressive fuzz circuit (Oct Fuzz) pushed for thick operatic distortion in heavy sections.
Studio delays and spring reverb are managed per scene to ensure the galloping rhythms stay tight and defined while lead and intro passages remain spacious.
Back in Black — AC/DC on Positive Grid Spark 2
Positive Grid Spark 2 · Back in Black
Angus Young's Plexi crunch fitted to the Spark 2's fixed chain, where block order is not yours to choose. Moderate-high preamp saturation on the Plexiglas model does the work, with the plate reverb kept on so the tone does not sound uncomfortably direct through headphones.
Recreates Angus Young's iconic Plexi crunch using the 'Plexiglas' model set to moderate-high preamp saturation.
Emulates the compression and front-end gain of the Schaffer-Vega Diversity System using a combined compressor and clean boost.
Maintains a dry, clear tone with a subtle, low-mix Plate reverb to simulate the recording's Electric Lady mix-bus plate.
Smells Like Teen Spirit — Nirvana on Positive Grid Spark Mini
Positive Grid Spark Mini · Teen Spirit
Two channels for the song's two halves: an AC-voiced clean carrying the watery chorus of the verse arpeggios, and a Tweed Bass crunch for the choruses. The Spark Mini's fixed order can only place that chorus after the amp rather than in front of it, so the preset compensates in the settings instead of pretending the order is the same.
Recreates the iconic quiet-to-loud dynamic using two discrete Spark preset channels modeled after the studio tracking sessions.
The clean channel pairs the chime of an AC30 emulation with a watery analog chorus to replicate the verse and pre-chorus arpeggios.
The distorted channel couples a hard-clipping distortion pedal with a cranked tweed amplifier to achieve the massive, grinding chorus and solo tone.
Sultans of Swing — Dire Straits on Fender Mustang LT25
Fender Mustang LT25 · Sultans of Swg
Knopfler's 1961 Strat into a brown Vibrolux — the amp the photographic record actually supports, not the Twin everyone assumes. The Deluxe Clean model stands in for its sag and warm midrange compression, with knob positions you can copy exactly.
Meticulously replicates Mark Knopfler's dynamic, fingerstyle clean tone from the 1978 Basing Street sessions.
Leverages the Deluxe Clean model to emulate the sweet sag and warm midrange compression of the original brown Vibrolux.
Employs an always-on compressor and studio plate reverb to replicate the console-level outboard signal path.
Hotel California — Eagles on Fender Tone Master Pro
Fender Tone Master Pro · Hotel California
Four snapshots including the part most presets skip. Felder's intro is one Takamine twelve-string captured twice at once — the body on a centre mic, its DeArmond soundhole pickup running through an Echoplex into a stereo-mic'd Leslie — and that doubling is where the width comes from. Both drop away for the verses and chorus, then the tape echo returns with a boost for the harmonised outro on a cranked tweed Deluxe.
Recreates Don Felder's iconic 'Hotel California' signal path using a vintage Tweed Deluxe (5E3) voice pushed by an Echoplex FET preamp emulation.
Employs a sequential series path where the Leslie rotating speaker shimmer for the 12-string intro is placed post-amp and activated only in the Intro Scene.
Varies the Tweed Deluxe's instrument channel volume across scenes to replicate Felder's volume-knob gain-staging from pristine clean-up to full organic sag.
Reference-Only Signal Chain — DMT Reference Session on TONE3000 TONE3000 Plugin / Standalone
Two complete DMT variations show a reference-only NAM and IR workflow, including exact model IDs, captured gear facts, verified defaults, an unavailable modulation requirement, and a public substitute warning.
A reference-only NAM and IR chain with separate rhythm and lead arrangements.
The modulation request is explicitly absent because TONE3000 has no native chorus block.
The real rig behind 100 songs — the guitars, amps, cabinets and effects that were actually on the record, researched from interviews and production write-ups. Open one to see the chain, then build your own version for your gear.
