How to Dial in a Metal Tone with Line 6 Helix Native

The Line 6 Helix has been a game-changer in the hardware world for years, but the Helix Native plugin brings all that processing power directly into your DAW. It’s a beast of a plugin, packed with amps, cabs, and effects that can build pretty much any tone you can imagine.

But with so many options, where do you start when you just need a punishing, mix-ready metal rhythm tone?

We're going to break down a practical workflow for dialing in a great metal guitar sound using Helix Native. The goal isn't just to find a preset; it's to build a tone from the ground up that sounds killer with minimal post-processing. A great source tone makes the final mix way easier.

Getting Started: Your Signal Chain & Gain Staging

Before you even open Helix Native, make sure your signal path is solid. We're starting with a clean, well-recorded DI guitar track. The first crucial step is gain staging.

• Input Level: Pay attention to the input gain on the Helix Native plugin itself. If your DI signal is too hot, it can clip the input of the amp model, creating a fizzy, unpleasant distortion that you can’t EQ out later. Don't be afraid to pull the plugin’s input gain down.
• DAW Fader vs. Pre/Post Inserts: Here’s a pro tip, especially for Cubase users. The last two insert slots on a channel are often post-fader, meaning your channel fader level affects the input going into those plugins. If you have an IR loader or other critical processing there, moving your fader will change your tone. For consistency, place your Helix Native instance and your IR loader (if you're using a third-party one like GGD Zilla Cabs or OwnHammer) in the pre-fader insert slots (usually the first 1-6). This way, your tone is locked in, and the fader only controls volume.

Auditioning Amps: Finding Your Core Sound

This is where the fun begins. Instead of just scrolling through presets, let's build a tone from scratch by trying out a couple of classic high-gain amp models.

First Attempt: The Cali Rectifier

The "Cali Rectifier" is Helix’s take on the legendary Mesa/Boogie Dual Rectifier, a staple of metal for decades. It’s a natural starting point.

After loading it up, you might find it sounds… okay, but maybe a little loose or not quite aggressive enough for the riff. This is a totally normal part of the process. Your first choice isn't always the right one.

Can We Fix It with a Boost?

A common move is to tighten up a high-gain amp with a boost pedal in front. Let's try it. Helix Native has awesome pedal models.

1. Compulsive Drive (Fulltone OCD): Place this in front of the amp block. The OCD is known for a more full-bodied, less mid-focused drive. While it adds gain, it might not give you the surgical tightening needed for fast, modern metal.
2. Screamer 808 (Ibanez TS808): This is the classic choice. The Tube Screamer famously cuts lows and pushes mids, which helps tighten the amp’s response and add clarity.

In this case, even with the boost pedals, the Cali Rectifier tone might not be hitting the mark. Don't waste time trying to force an amp to work. If it's not inspiring you, move on.

The Winner: The "UNK" Amp

This is where knowing the gear pays off. The "UNK" model is a modern Helix version of the old "Line 6 Big Bottom" amp from the POD XT and POD Farm era. This tone is a certified classic for a reason and is rumored to be based on a heavily boosted Dual Rectifier.

From the first chug, this amp model is often worlds apart from the stock Cali Rectifier. It’s instantly more aggressive, tighter, and has a focused punch that sits better for heavy rhythms.

Interestingly, after trying the Screamer 808 in front of the UNK, you might find it sounds better without the boost. The amp model is already tight and aggressive enough on its own. This is a huge lesson: not every metal tone needs a Tube Screamer. Trust your ears, not the formula.

Building the Tone for a Full Mix

Now that we have a killer core tone with the UNK amp, let's make it sound massive.

Creating Stereo Width

The easiest way to get that huge, wide rhythm sound is by double-tracking. But if you only have one DI performance, you can simulate it for writing or pre-production.

1. Create two mono guitar tracks in your DAW.
2. Put the exact same Helix Native patch on both tracks.
3. Pan one track hard left and the other hard right.

The result is an instantly wide, powerful guitar wall.

Blending Amp Sims with Real Mics

Here’s where you can take your tone to a professional level. Amp sims are incredibly consistent, but real miked amps have a certain three-dimensional depth and air that can be hard to replicate. Why not use both?

Try blending your stereo Helix Native tracks with a real miked amp track. For example, a Friedman BE-100 captured with an SM57. Gently bring the miked amp track into the mix underneath your Helix tracks. This adds a layer of organic character and "air" while the Helix tracks provide the tight, consistent low-end and attack.

The Power of Zero Processing

After blending the stereo UNK amp tracks with the miked Friedman, listen to the result. If you got the source tones right, it should sound awesome without any extra plugins. No EQ, no compression, nothing.

This is the ultimate goal. When you create a source tone this good, mixing becomes about enhancement, not repair. You can then use subtle moves to make it even better, like:

• Surgical EQ: Instead of broad changes, you can use precise subtractive EQ to carve out a little space for the kick or bass. Learn the fundamentals of EQing metal guitars to make every move count.
• Bus Compression: Use a touch of compression on your main guitar bus not to smash the dynamics, but to "glue" the different layers (the two Helix tracks and the miked amp) together into one cohesive sound.

Take Your Tones to the Next Level

This workflow—auditioning amps, being selective with boosts, creating width, and blending with real amps—is a powerful way to build a professional metal tone using Line 6 Helix Native.

But this is just one approach. The real magic happens when you see how different world-class producers solve these same problems on real-world tracks. Imagine watching pros like browse our list of instructors dial in tones, set up plugins, and make every decision from scratch on songs you actually know.

At Nail The Mix, that’s exactly what you get. Every month, you get the multitracks from a massive rock or metal song and watch the original producer mix it in a full-day livestream. If you want to see how these concepts are applied in a real mix, check out our full catalog of sessions and see what you've been missing.