I’ve been out of the gear loop for a while, so when I saw people talking about the Line 6 HX Stomp online, I had no idea it had already been on the market since 2018. Spending most of my gig time roaming the canyons of the Americana/Roots scene, items like this were far off my radar. For the most part, I’m a straight-into-the-amp guy, but on the occasion when I play some “modern” music, my needs are simple—analog delay and/or reverb for solos, and some chorus for harmonics. Still, I was intrigued by how many players had adopted the HX Stomp as their main platform for live work. I have a generally stodgy/grumpy attitude toward effects, so shiny things that make funny sounds don’t thrill me. For it to make my “gotta have” list, there must be a practical application.
Apparently, it is very practical for bassists that play on amp-less stages, or who might normally use giant pedalboards, or do fly gigs. It’s an obvious boon for recording players, or online bass content creators looking for a versatile alternative to annoying their neighbors. I could clearly see how the HX Stomp would make my online bass forays much simpler, but I wondered if I could incorporate it as my “gig rig” monitored through my existing amp (GR ONE 800 and GR208 or AT210 cabs.) Would it work as a “set and forget” amp tone?
Last Year’s Model
I’m no stranger to modeling technology having spent a fair amount of time with the Roland amp models in the old VS-880 digital recorder. I also had the original “Red Bean” Line 6 POD, as well as the Bass POD xt Pro, and still regularly use amp plugins in my DAW. It’s easy to see how this technology has revolutionized home recording, and even in pro studios many guitarists prefer to use their modeling units instead of setting up multiple amps and effects chains. However, in the early days of digital modeling, live use was problematic as the models didn’t have the dynamic range to give you more than a two-dimensional “photograph” of the intended tone. Even when avoiding added compression, the models seemed flat and unresponsive in the 3-D world of live performance. Since the early 00’s digital processing power has increased exponentially, and now, with the use of Impulse Response (IR) files that contain highly detailed data about specific amp/cab combinations, and how various mics and placements react in a room with those particular combinations—shit just got real.
Bass Update
The guitar-oriented selections in the HX Stomp deliver most of the classic amp tones needed to get your shred on—and the presets definitely favor the skinny-stringed crowd. However, the bass offerings received a bump with last year’s 3.7.0 firmware release (3.7.1 as of this article). The much-coveted Noble Bass DI gets represented as the “Regal DI”, a simple B/T preamp/DI that is oddly found in the bank of Distortion choices. In addition to amp models reminiscent of Acoustic, Aguilar, Ampeg, GK, Mesa, Sunn, and three versions of the Pearce BC-1, now models representing the Fender Bassman, and Orange AD200 are onboard as well. Some of the cab models are brand-matched to the amps, with Ampeg, Mesa, Fender represented, but you’ll also find an Eden D410XLT simulation, and compact “Epifani 1X12 Ultralight” in the mix. The HX Stomp carries nice array of microphone simulations ranging from the indestructible Sure SM57, to a trio of Neumann condensers, several ribbon mics, an AKG 414, an EV RE20 to name a few. There are bass-specific effects too, the distortion category has models similar to the Ampeg Scrambler, Sans Amp Bass Driver, Noble DI, Darkglass Microtubes B7K, and Wounded Paw Battering Ram. The other effects groups like Modulation, Filter, Pitch/Synth, Delay, Reverb, Wah, Dynamics, and EQ are not bass-specific, but with their highly detailed editing capabilities, you can optimize them how you see fit.
I will admit I was not looking forward to learning how to operate this jam-packed box. It’s been a while since I had to deep dive such a seemingly complex piece of gear, and it felt a bit intimidating. First step was to download and install the HX Edit software, then update the firmware to 3.7.1 which has all the new bass offerings. The download/upload process was easy enough, connecting the HX Stomp’s USB port to my ancient Mac, the update went flawlessly. The HX Edit software is a great way to get familiar with the unit, it’s intuitive and a nice visual representation of what’s going on inside. However, after the initial setup, I found myself doing all my editing from the pedal. The menu screen is easy to read, and full editing is possible with the onboard knobs and buttons.
Friends Of Stomp
A great thing about joining the HX platform so late in the game is the virtual ton of tutorials and demos on YouTube. Representing the bass world, Ian Martin Allison, and Janek Gwizdala have invested a considerable amount of time into the HX, and they not only showcase how they use it, they offer packs of custom presets to load in. Though not bass-specific, Scott Uhl’s channel has some of the best all around tech-instruction video, and he’s done a lot with the entire HX series. His clear, professional demos made it easy for me to learn how the HX works relatively fast.
Now What?
For me, the biggest challenge was to figure out how exactly I wanted to use this musical multi-tool. As I mentioned, effects are not a part of my normal work routine, so why would I need to bring this to a gig? And beyond choosing what sounds to use—there is the matter of configuring the box for performance mode. Luckily, the HX Stomp’s programming architecture is comprehensive and super flexible. The internal routing is well-designed and easy to grasp, allowing you to customize the signal path many ways. You can order your effects chain any way you want, set up dual paths for a separate effects chain, use multiple amps, and outputs. Setups that would normally take a whole lot of time, cables, and switching devices in the real world are easy to do inside the box, making the HX an excellent “command center” for live performance. The three footswitches can be assigned to many different functions, and are sufficient for my simple needs, but expanding outward could be helpful. You can add a two-button external footswitch for a total of five, as well as an expression pedal, and full Midi In/Out capabilities.
The Great Pretender
I wanted to use the HX Stomp “always on” as my primary amp tone, mostly without effects. Looking at the selection, I naturally gravitated toward the venerable Ampeg B-15. While I’ve never owned one myself, I’ve played through many of them in the studio and in the realm of Americana/Roots music, it is an undisputed champion. The HX Stomp Ampeg model is based on the B-15NF which was introduced in 1965, an update to the original design that had fixed-bias power tubes, and a single baffle design for the cab. As you would expect, there are parameters for tone and volume—Drive, Bass, Low Mid, High Mid, Treble, Channel Volume, and Master. But the fun starts when you get into parameters that effect the amp’s performance like Sag, Hum, Ripple, Bias, and Bias X. I dialed in a classic tone quickly and started experimenting with using a cab vs. no cab. Since I’m using it through my existing amp (set flat, or in “Pure” mode which bypasses the eq), there is already an organic impulse response from the physical cab. I can hear the speaker simulation through my cab, but in a live mix onstage with other instruments, I’ve found it’s more effective to just use the head. The HX cab’s response seems to cloud the presence of the real cab. In my experience, cab simulations are better implemented in a direct context, or perhaps in conjunction with a FRFR (Full Range Flat Response) speaker, but the genius of the Stomp is you can configure a sound with an amp model and whatever effects you choose, split the signal path, add a cab sim to Path B, and route it to the right or left output to the board. The amp/effects path is routed to the other output straight to the amp. I am not what you would call a “power user”, but so far the HX Stomp has been able to accomplish everything I’ve thought of. With my “Beefifteen” model all dialed in, I added a +3dB boost and assigned it to FS1 just in case. From there, I set up a similar B15 patch but with more drive, dirt, and sag. These two models were all I needed for my folky gig, but on my next show with a country group that covered everything from the classics to Beyonce, I would need a little more to work with.
I chose the SVT model, dialed in a strong clean tone, and it sounded just like I would expect a well-maintained SVT to sound. I’m amazed at how much detail the Stomp has, especially compared to the old POD xt days—the models seem to transmit a “feel”. The SVT was great for all the classic country stuff, but one tune, “Next Girl” by Carly Pearce is a big, modern mix with thunderous extended low end. As it turns out, my buddy Craig Young played on that track so I picked his brain on how that was accomplished. He gave me the recipe to his secret sauce (don’t ask) but I didn’t have access to the specific pieces of gear needed, and there was nothing in the HX that came close. But I was able to approximate it by blending an octave down at just the right level. Assigned to FS2, it was ready when I needed it, and while it wouldn’t fool Craig, it definitely created the needed vibe.
Your One-Stop Stomp
The Line 6 HX Stomp is capable of so much more than I would ever ask of it, but it’s nice to have access to so much at the turn of a dial. As I learn more about what it can do, I find myself getting inspired in new ways. For video, the Stomp’s USB out will greatly simplify recording amazing bass tones. In the studio, it’s like having several trunks full of gear in your gig bag pocket. Even for someone who is not into effects, the amp models are accurate, flexible and offer a dynamic range that doesn’t hinder live performance. But if you ARE into effects, the possibilities are endless—though you will have to create your own presets. The factory stuff is mostly guitar-oriented, and while the supplied bass presets may point you in a direction, don’t expect the Stomp to be plug and play. Getting the most out of this piece requires you to get inside the box and tweak, but thanks to a well-designed interface, solid documentation, and so much video available, it’s easier than it seems. The Stomp has developed a thriving community online—definitely check out what real power users like Ian Martin Allison and Janet Gwizdala are doing. Notice that the HX Stomp can serve players like them who regularly use effects in a focused, musical way, but it also works for someone like me, a guy who could go years without plugging into a stomp box. It is a great tool for players that need to go amp-less—a disturbing trend in live work that is only getting more common, but with good in ear monitors, and a Buttkicker, the HX Stomp has the capacity to deliver a realistic performance with no sound onstage. Any concerns I had about the dynamic range for live performance are a thing of the past. The HX Stomp is not only a wonderful tool for exploring a huge palette of effects and tones, you can simply make it your “pocket Ampeg” and have the security of sending the sound you want to FOH. As a middle-child of the Line 6 Helix Family, there is some compatibility with other models in terms of loading presets, and support from the overall Helix community online, and there are resources for bass-specific HX Stomp users as well. Overall, the HX Stomp is a game changer for this once die-hard “Roots” dude. It not only inspires with a seemingly endless set of possibilities, it offers many practical uses for live work, and can be easily adapted to a wide range of circumstances.
HX Stomp Online Resources
Ian Martin Allison – The indefatigable Mr. Allison has put a lot of time into the Stomp, check out his many videos, presets, and tips for bassists.
Janek Gwizdala – A master player who uses the full range of the Stomp’s capabilities.
Scott Uhl – A general gear channel on YouTube that has a lot of HX Stomp-specific content.
Line 6 Helix Forum – The Line 6 in-house forum for the entire Helix family of products.
CustomTone – The Line 6 in-house storage bank for custom uploads, add yours, find new ones!
Helix For Bass on FB – A fairly large FB group for bass.
Helix For Bassists on FB – A slightly larger FB group for bassists.
My Three Amps – Three amp models I put together for gigs!
- Beefifteen – the classic Ampeg, using the LA Studio Comp in front, B15 cab IR to FS1, +3db Boost assigned to FS2
- SVT Octave – Regal Bass DI into SVT Nrm model, Rochester Comp/Simple Pitch 8vb assigned to FS1
GK Clean – An all purpose GK model, starting with Regal Bass DI, Rochester Comp. For solos there is an EQ/Transistor Tape Delay/Dynamic Hall Reverb chain assigned to FS1, and the Ampeg Liquifier Chorus to FS2.
For more, visit: Line 6
Ed Friedland is the author of numerous bass instructional methods for Hal Leonard, a former long-time columnist for Bass Player, and contributor to several other music magazines, as well as being a long-time industry influencer as “The Bass Whisperer.” From 2015 through 2023, Ed toured and recorded with 90s Country favorites The Mavericks. For more, visit Ed HERE and follow him HERE.