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The only official Bethel Music helix patches.

This patch can be used in the Helix, Helix LT, Helix Native, and Helix Rack. It is not compatible with HX Stomp. See below for more information.


My official Bethel Music song patches are guaranteed to be extremely accurate representations of the tones and effects that I have used on Bethel Music albums. These patches are designed on the Helix and compatible with the Helix LT, Helix Rack, Helix Native (the song patches are NOT compatible with the HX Stomp). All patches are in stereo (two amps with two IRs) unless otherwise noted and are intended to be used in SNAPSHOT mode, but can also be used in STOMPBOX mode (see the instructions tab for more info). My patches are meticulously dialed in and tested using multiple pro-grade monitoring sources (Proac Studio 100 monitors, Vintage NS-10m monitors, and 64 AUDIO A12t in-ear monitors) to ensure accurate and pristine tones that fit into a mix perfectly.



The amps in this patch are based on my UK-made AC30/6 TB with Greenbacks and Fender Prosonic with a Fender Custom Shop G10V. Impulse Responses of these exact speakers from my meticulously engineered IR library are included to ensure the most accurate tone achievable. Included IRs:

  • UK-Made Greenback from my AC30/6 TB mic'd with a Shure 545 (mic position 3 - see my IR page for details)
  • G10V Fender Custom Shop speaker from my Prosonic mic'd with a Shure 545 (mic position 3 - see my IR page for details)

These IR's were created from the EXACT speakers/mics/placement I use when recording and touring with Bethel Music. See the instructions tab for how to import the IRs. For more tonal options & flexibility with speaker/cab choice, mic selection/blends, and mic placement - check out my full IR library HERE



All patches include two versions: one dialed in for humbuckers and one for single coil pickups. The "S" at the end of the preset name indicates the patch was tailored to single coil pickups. The main difference is some small EQ tweaks in the midrange in the post amp/IR EQ. Regardless of what pickups you have, it is recommended to test out both patches and see which one suits your tastes and guitar better. Feel free to save a copy of the preset and experiment with the EQ, or any other elements of the patch to tune it as you please.



  • DH PRAISES  main patch, dialed in with humbuckers.
  • DH PRAISES S  the “S”  for "single coil” version.



  1. INTRO / VERSE 1
  3. VERSE 2
  4. CHORUS 2 & 3 LEAD
  6. SOLO

NOTE: "A" "B" "C"  in snapshot names notates separate presets for the same section of a song (verse, chorus, etc). For example, it is often an overdrive change halfway through a section of a song as it builds, but it may be other effects changes as well. 



All of my patches are designed to be run in stereo - It is highly recommended for optimal tone. If you intend to run mono please note: The Line 6 devices automatically “sum” or combine the stereo signal chain to mono when only one cable is plugged into the left output of the Helix/HX Stomp. However, this tends to blur and cloud the tone in my opinion - for that reason it is HIGHLY recommended that you still plug a cable into both the left and right outputs to keep the stereo signal paths intact, even if you only run mono out of the left output. You will notice your tone and the effects are clearer than if only one cable is plugged into the outputs and they are summed. 



In order to maximize effect options and tonal accuracy in the helix when compared to my full rig, this patch is rather complex and very intricate. There are many parameter assignments to almost every footswitch in this patch in order to fine-tune every tone and maximize the effect options to processing power ratio. Here is a helpful breakdown of how the patch was designed to operate (effects may vary by song preset):



I wanted to incorporate an easy and effective way to adjust the amount of amp breakup on clean tones without affecting the signal level going into the compressor or drives. In order to do this, the volume block is placed before the amps and by default is set to 92% maximum volume in the toe-down position. This is so you have the option to easily and quickly increase or decrease the max volume hitting the amps, causing more or less clean tone breakup. This is a great option to have when fine-tuning the patch to your guitar and pickups. A single coil and humbucker patch are already included in all presets, this is just another good option to have.



The drive section (Drive - first stage, Boost - second stage, and Fuzz - third stage) is designed to be used in a stacking / cascading format and not in an individual way. Meaning for the first gain stage, only the “drive” should be on. For the second gain stage, the “Drive” AND “Boost” should be on. For the third gain stage, the Drive Boost AND Fuzz should be on. This is because each gain stage changes a number of settings throughout the patch including drive settings, amp settings, compressor settings, post-amp EQ settings, etc, to emulate the tones and response of my full rig as close as possible. 


DELAYS (varies by song preset)

By default, there is a main Delay that is always on (the mix and decay change with certain reverb settings). Instead of using a footswitch to toggle this delay ON and OFF, I made it a “DELAY SUB” footswitch which changes the subdivision of the delay by giving you two different options with that one delay. Much more useful and frees up another block/footswitch. By default, the subdivisions are set to 1/8 and dotted 8th, but you can easily modify the subdivision to your preference.


REVERBS (varies by song preset)

Like the Drive section, the Reverb section was also designed to be stacked/cascaded. The footswitches for Reverbs in this patch are labeled Bloom, Cloud, and Ambient. The order of stacking is as follows:

  •  All Reverb footswitches OFF: some delay with a light bloom reverb running before the amps. 
  • “Bloom” ON: higher bloom mix & more decay, higher delay mix. 
  • “Cloud” ON: stacks a post-amps reverb on the pre-amps “bloom”.
  • “Ambient” ON: increases mix, decay, and high cut on the reverb. Switches the delay into a ping-pong delay.