Review: Line 6 HX Stomp

Line 6 is synonymous with digital effects modeling and guitar processing. Their ground-breaking modeling amps, POD products, and stompbox effects modelers such as the M-Series and DL4 have cemented this brand’s position at the forefront of the DSP-based effects world for more than two decades.

While Line 6 has been going strong and expanding their reach with the revolutionary and high-end Helix range of products, some effects users (myself included) have been waiting for an innovative pedal-based solution that integrates high-quality effects with cutting edge amp & speaker cab modeling in a compact all-in-one unit that can co-exist among other pedals. If you’re also in that category, then the Line 6 HX Stomp is likely the product you’ve been waiting for.

That’s not to say that Line 6 didn’t already have compelling solutions for achieving this goal. The full-sized Helix & Helix LT could exist on a large pedalboard with other pedals. And if you don’t need the amp & cab models, the powerful HX Effects is another solution that many guitarists have already adopted to gain access to Helix’s effects. But the HX Stomp just so happens to be an amazingly powerful all-in-one effects & amp simulation device that also comes in a reasonably compact package–a package that becomes more intriguing as you learn more about what it’s truly capable of.

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The Ultimate Compact Multi-Effects Pedal?

Now the HX Stomp isn’t the first reasonably small pedal to present itself as an all-in-one amp & effects pedal, but Line 6 have managed to create a product that stands tall above anything else ever attempted in this area for a few reasons.

The sheer amount of effects and amp models (for guitar and bass) contained within this black sparkle-coated beast is staggering. Line 6 boasts that the HX Stomp contains “over 300 amps, cabs, and effects from Helix, M-Series, and legacy Line 6 products”. While that number may seem abstract, it should give you some insight into the formidable collection of amp, cab, & effects block modules that you can use to construct your preset patches. We’ll discuss these more soon after I touch on some other impressive aspects of the pedal.

From the moment I first powered up the HX Stomp and plugged in my guitar, I was greatly impressed with the pedal’s intuitive layout and ease-of-use. Line 6 clearly spent a lot of time and attention on creating an interactive platform that allows musicians to quickly build chains of amps and effects. Blocks can be created with ease and moved & deleted just as quickly. Access to control parameters is also quite efficient thanks to 3 tactile knobs, and the pedal’s 3 angled foot-switches are an adequate distance apart for even the widest of boots to comfortably step on.

And let’s talk about that gorgeous full color LCD screen. It’s quite massive for something found on a pedal, and the info displayed has been thoughtfully refined to offer a clear readout of all necessary info relating to patches, blocks, and individual block parameters and.

I also appreciate that the main I/O, EXP/FS, power, and USB jacks are all top-mounted for pedalboard space-saving convenience. If you do plan to use the expanded functionality of MIDI via 5-pin DIN cables, the 5-pin MIDI Input & Output are thoughtfully placed on the left side of the pedal. This makes sense since the HX Stomp will likely be the last pedal in your pedal chain on the left side of your pedalboard. Also, if you want to patch other pedals into the HX Stomp’s signal path or use the “4-cable method” to route some effects in front of your amp as well as in your amp’s FX Loop, the HX Stomp’s Send/Return I/O on the right side of the pedal facilitates these expanded signal routing options.

Build Quality

I’m going to be completely transparent here. I’ve owned several Line 6 products over the past 20 years, and I’ve experienced some issues related to build quality on few occasions. So when I found myself in a convention showroom where Line 6 was showing off the Helix when it debuted, I walked right up to the head of the Helix project and expressed my concerns. I’d expect engineers to defend their product and maybe side-step damning criticism, but I was instead met with a detailed overview of the many ways that Line 6 sought to change the game with the Helix. Line 6 conducted rigorous research to determine the most pressing needs and concerns of their user base. I was assured that attention to detail was paramount and that no expense was spared in Line 6’s goal to create the most advanced and reliable effects processor ever conceived. The Helix & HX products do come with steep price tags after all, so even though they have a huge feature-set, it’s also easy to assume they’d have a premium build quality to justify the price.

But I still wasn’t convinced. To my surprise and as part of the in-depth demonstration I received that day, the head of the Helix project suddenly gave the Helix an aggressive, heavy stomp (no pun intended). While I wouldn’t recommend trying that at home, I did walk out of the convention that day with a renewed optimism that perhaps the Helix would be a truly road-worthy product.

The HX Stomp seems to have that same solid build quality as the larger Helix products. It feels like a rugged, stout little unit. I don’t intend to “stomp” on it, but it certainly feels like a premium product that could handle normal stage abuse. The foot-switches seem solid, and the knobs are a clear upgrade from those on the M-Series range of pedals. While there is a vocal minority complaining about the HX Stomp’s hefty street price, I’d argue that you really get what you pay for here in terms of features, presentation, and build quality.

Throwing Down the Gauntlet

Let’s start getting into actually using this thing as this is where it really becomes evident how the HX Stomp shines.

The HX Stomp can run up to 6 dedicated effects via its 6 available “blocks”, and one of those can even be a hybrid amp/cab/microphone block, meaning you can simulate an entire amp setup and still have 5 more effects blocks available. Five effects and a full amp simulation from preamp to microphone are likely more than enough for most guitarists who never find themselves activating more than a handful of effects at time.

This also means that if you typically only use a small pedalboard with just a few pedals in your signal chain, you could instead arrive at a venue with just your guitar and an HX Stomp and be able to play the entire gig. And you wouldn’t have to break your back carrying an amp if you run the HX Stomp direct to the front of house. And even more possibilities open up if you do plan to use the HX Stomp with at least a few other effects on a pedalboard and/or in conjunction with a real amp.

If you can already imagine the possibilities of having an entire effects and amp setup in a single small pedal, you’re likely beginning to realize why the HX Stomp is a truly revolutionary product.

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A Room With a View

The HX Stomp’s LCD screen has 2 main views: Play View & Edit View. The views are easily accessible by pressing the Home button to toggle between them.

When creating original patches, you’ll typically start with Edit View. You’ll select blocks and order them accordingly, and when you’re ready to rock and jam out with your virtual pedalboard creation, you can hit the Home button to switch to Play View. If you’re using the HX Stomp on your desktop for recording, you might just stay in Edit View to have tactile touch control of various blocks and their parameters, but when you’re using the pedal on the floor, Play View lets you use the 3 main stomp foot-switches for controlling the pedal, toggling blocks on and off, and selecting “Snapshots” (more about those in a moment).

Play View also has 4 different Modes of operation for the 3 on-board foot-switches. Simply hit the Page buttons while in Play View to select the one you prefer. Stomp Mode lets you individually activate and bypass blocks and/or use the Tap/Tuner function. Scroll Mode lets you use the left 2 foot-switches to easily scroll up and down through presets while also giving you Tap/Tuner access. Preset Mode lets you select presets from banks of 3 while also allowing selection of different banks. And Snapshot Mode selects you select from 3 different “Snapshots” within a single preset patch. Now what are Snapshots, you ask?

Snapshots – Presets Within Presets

This is one of my favorite features, so I want to touch on it in more detail. When you start creating complex patches of up to 6 blocks–or even if you’re just using the HX Stomp as an amp sim and nothing else–you’ll probably find yourself wanting different sounds and settings within a preset for different parts of a song. At the very least, you could have your Clean, Crunch, & Lead sounds all coming from the same preset thanks to Snapshots. While Stomp Mode can let you activate and bypass a few different effects blocks, I find the Snapshot Mode to be way more powerful.

Imagine hitting a foot-switch to activate & bypass several effects–with delays and reverbs having spillover trails–and simultaneously changing several parameter settings (up to 64, if you’re wondering). Each preset can have up to 3 Snapshots which can allow you to easily shift your entire sound for, say, verse, chorus, and solo sections within a song.

Are 3 Snapshots not enough for you? What about the bridge, outro lead, and extended noise freakout at the end of your sprawlingly complex prog-rock masterpiece? If you have moments of silence in a song or don’t need spillover for certain sections, you can finagle your way into accessing more sounds by quickly changing presets. For example, you could simply copy a preset across up to 3 preset slots within a bank. Then, not only could you select from 3 Snapshots within each one, but when you press the left 2 or right 2 foot-switches for bank/preset selection, you can easily access the adjacent 2 presets within the same bank. Be mindful that while presets quickly load, spillover isn’t carried over when selecting presets. Also, each preset defaults to the 1st Snapshot when loaded. Still, if you need up to 9 different sounds within a song and don’t have to have spillover for more than 3 different sounds at a time, the HX Stomp offers clever ways to achieve a range of different sounds using only the pedal’s 3 onboard foot-switches.

The Ultimate Amp Sim Pedal?

There’s a lot to talk about in terms of what the HX Stomp offers sound-wise, but I’m going to start with what sets the HX Stomp apart from every other multi-effects pedal: the amps.

What’s so different between the HX Stomp and other competing amp emulating pedals? It’s all about Line 6’s experience in this area, an experience that I’ve witnessed the growth of from nearly the beginning.

The first new amp I ever bought for myself as a kid was the Line 6 AX2 212, an early release that came out before the FlexTone & Spider series of amps and even before the original POD. Admittedly, the digital guitar tones of old left something to be desired compared to real tube amps, but I was sold on the versatility and vast potential of the digital modeling revolution.

Line 6 quickly established themselves as the leader in the field of amp modeling and continuously released new products that showed exponential improvements in their efforts at emulating iconic guitar gear. I also recall that when I bought a POD HD Desktop, I was greatly impressed with how far Line 6’s amp emulation had come. But Line 6 still hadn’t reached their peak. The Helix amp models are the pinnacle of Line 6’s two decades of emulating amplifiers, and the HX Stomp contains all of the Helix amp models.

With dozens of amp models that recreate sounds ranging from classic Fenders, Voxes, and Marshalls to modern amps from Friedman, MESA/Boogie, Paul Reed Smith, ENGL, and more, there is no shortage of amp models to choose from. There are also more than two dozen speaker cab models and more than a dozen mics. You can even adjust the mic distance, add some room reflections, and tweak the high and low response of your selected speaker cabinet. If you have some go-to favorite impulse responses that you’d prefer to use, you can forgo using the HX Stomp’s cabinet emulation and load up your own IRs in a separate block to use with just the Amp (no cab).

It’s also worth pointing out that you can even use just the Preamp section of the HX Stomp’s Amp models, a nifty feature if you want to run the HX Stomp directly into your favorite amp’s power amp section. If you’re a guitarist who understands how important an amp’s power-amp section can be in affecting cabinet response and the sound heard in a room, you’ll likely appreciate this aspect of the HX Stomp.

HX Stomp’s Delays & Reverbs

So to start off, the HX Stomp contains all the sounds of the classic DL4 Delay Modeler. Yes, the DL4 has been around for over 20 years and is still in production today, but many musicians still swear by it. It’s a legendary piece of digital gear in its own right, and the HX Stomp can produce the delay sounds of that classic pedal. Then it gives you plenty of reverb sounds from the Verbzilla pedal. So together you have a range of M-Series delay & reverbs, and many of these sounds still hold up pretty well. And yes, all those classic Line 6 effects models can be controlled via MIDI CCs and saved & recalled in presets that can also be controlled with MIDI, but we’ll get to that later.

Still, improved access to and control of classic Line 6 effects wasn’t enough to sell me on the HX Stomp. Enter the Helix effects.

There are 20 new Helix quality stereo delay effects, many of which can also be used in mono. These delays are a significant upgrade in terms of high-fidelity sound quality. A large portion of these are “Line 6 Original” effects that aim to produce compelling delay effects that satisfy a wide range of needs. You get some basics like simple digital delays, dual delays, ping pong delays, delays w/ modulation, and reverse. The Multitap 4 & 6 variations are quite impressive, giving you deep control over the tap timing, panning, and level for each tap, perfect for creating very unique rhythmic delay effects. Then you get some models based on the TC Electronic 2290, the Maestro Echoplex EP-3, the Roland RE-201 Space Echo, and some great takes on the Boss DM-2 and Electro-Harmonix Deluxe Memory Man, respectively. These are all new modeled emulations, revamped from the legacy DL4 versions which are also included.

So which delay effects are my favorites? While I appreciate the nuances of many of the modeled classics that retain control sets similar to the original sources of inspiration, I was surprised to find myself drawn to many of the new Line 6 Original delays which have deeper control of the tone thanks to Hi Cut & Lo Cut options. The standard Ping Pong is a go-to of mine for simple stereo delays. I really like the Multitap modes when I’m feeling like getting adventurous with precise repeat placement. Also, I quickly fell in love with the Ducked Delay; while I was intimidated at first by its deep control of the ducking amount, attack, and release, I soon found it to be the most rewarding and expressive dynamic delay I’ve ever experienced after spending a few moments listening and dialing it in. And I really like the Echoplex EP-3 & Space Echo inspired modes, and I still dig the old DL4 Lo Res delay.

I was greatly impressed by the five new Helix reverbs–so much so that I felt that the HX Stomp deserves a strong placement in our Best Reverb Pedals article. The Double Tank has been doing it for me with its modulated plate ambience. The Glitz is useful for creating a big, blooming ambience comparable to a few other reverb pedals known for such sounds. The Searchlights reverb offers another variation of spacious, lingering reverb. The Ganymede reverb is a simple, modulated style reverb, but it seems to have roomier characteristics with less density–perfect when you want to let your guitar breathe in the mix a bit. And finally, Plateaux is Line 6’s take on a dual voice pitched reverb that’s capable of harmonized ambience, shimmers, and quaking lower octave reverbs.

I really appreciate that on the Glitz, Searchlights, and Double Tank reverbs, Line 6 added a Low Cut control which I find essential for creating reverb that doesn’t clutter up the low frequencies. And on the other hand, the somewhat less tweakable Ganymede is so simple to dial in that it’s always fun to play. While the new Helix reverbs are all solid, I’d like to see Line 6 roll out at least a few more, particularly an updated spring mode. But several of the Legacy reverbs are still pretty solid with some of my favorites being the Plate, Hall, and Particle Verb.

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Distortion, Overdrive, & Fuzz

I’d argue that the “digital vs analog” debate has been a non-issue for quite some time now. But even with that being said, I find myself scrutinizing digital drive effects more than digital effects in other categories. But the HX Stomp’s overdrive, fuzz, and distortion offer a lot of impressive tones to explore.

I want to stop here and point out that the original Line 6 DM4 Distortion Modeler was a surprisingly versatile pedal. It had a mixed reception among some tone purists who swear by analog, and yes, some of its dirt models may have seemed less authentic than others. But if anything, it’s hard to deny that the DM4 contained a wide range of dirt sounds, and many guitarists did realize that this unparalleled versatility made for an inspiring array of textures that no other dirt pedal could match. U2’s The Edge is probably the most notable DM4 user as he used a pile of them in the studio, coaxing as much texture as he could wring out from a stack of DM4s.

All of the DM4’s modeled drive sounds are included in the HX Stomp, but Line 6 didn’t stop there. There are many new Helix drive models that reinterpret some of the drive effects that were already modeled previously. So you get old and new models of previously emulated classics like the ProCo Rat, Ibanez Tube Screamer, Arbiter Fuzz Face, and a few others. Not to mention there are all-new models of the Klon Centaur, Xotic EP Booster, Z.Vex Fuzz Factory, Paul Cochrane Timmy, and more. Bass players will also be pleasantly surprised to find a model of the popular Darkglass Electronics Microtubes B7K Ultra.

Essentially, you get over 3 dozen drive models that you can use in front of your amp or with Line 6’s built in amp and cab models. There is no shortage of ways to sculpt the perfect dirt sound with the HX Stomp.

Modulation, Pitch, Filtering, Wah, & More

There are dozens more effects and utilities in the HX Stomp, and I want to take a few moments to cover some of my favorites.

In the Modulation section, the HX Stomp brings tons of excellent new creations. There are four Helix quality choruses including a lush stereo tri chorus effect and a great Boss CE-1 emulation. Line 6’s new take on the Shin-ei Uni-Vibe is a big step up from their M-Series attempt, both of which are included should you find yourself wanting to compare them. The pair of new stereo Rotary effects based on the Leslie 122 & 145 rotating speaker units are beautiful. And there are several flanger, phaser, and tremolo effects that cover a range of those needs nicely, my favorites being the updated Lightfoot Labs Goatkeeper emulation with waveform selection, the Electro-Harmonix Electric Mistress flanger emulation that’s capable of getting that parked flange effect, and a very nice take on the simple MXR Phase 90. The Double Take effect is also handy if you’re looking for instant double-tracking; it’s a neat effect that thickens up your guitar sound.

The HX Stomp has lots of effects that fall into the pitch & synth categories (along with all the classic synth and filter effects from the Line 6 FM4 Filter Modeler). The new Pitch Wham is one of the better DigiTech Whammy inspired effects I’ve heard in a multi-effects pedal; it lets you shift your guitar’s pitch from any one interval to any other interval within the range of -2 to +2 octaves. The Eventide H3000 inspired Twin Harmony effect lets you tune to harmonized voices that can be blended in with your guitar signal. The Simple Pitch and Dual Pitch effects offer yet more options for adding basic harmonies to your playing. As expected the pitch effects perform best with monophonic playing, but 4ths & 5ths can yield stable results as well. The 3 OSC Synth is a novel synth effect that lets you add 3 extra synth voices to blend with your guitar signal, and the 3 Note Generator and 4 OSC Generator are neat for sound design purposes; think theremin-like pitch risers and smooth drone effects.

There are plenty of other effects and utilities I haven’t really gone into. The 10 wah model choices (and Volume Pedal option) give you plenty of reason to plug in an expression pedal. There are some killer compressors onboard, and I find at least a couple of those superior to the original hardware versions I’ve played. And there are a few useful EQs, some basic blocks for Gain & Pan, and a cool Stereo Width plugin that can be used creatively to morph your stereo image between mono and stereo. And while there are a couple dedicated Noise Gate blocks, there’s an optional Gate on the Input Main L/R that lets you dial in a useful gating function that may keep you from giving up one of your blocks to reduce signal noise.

Input Impedance (In-Z) In Use

I thought it was really fascinating that Line 6 included an impedance circuit for loading your guitar’s pickups with several different options. This simulates the effect you’d get from plugging your guitar into certain pedals that change your guitar’s tone and response due to the load variance. I had to create a Hendrix inspired chain with the Arbitrator Fuzz up front with my guitar plugged directly into the Main Input L. As I cut the impedance from its maximum setting of 1 Million Ohm down to 10k Ohm, the sound of my guitar would get noticeably darker. Also, with the lower gain signal going into the fuzz, the sound became somewhat muted while my guitar seemed to have a saggier response. For maximum responsiveness and a modern full range sound, you’d probably want to either leave the In-Z set to 1M Ohm or “Auto”. But it’s fun to explore the warmer, vintage sounding vibe of the other options, and this setting alone can have a dramatic effect on your playing experience with the HX Stomp as a whole.

FX Loop Possibilities

The HX Stomp’s dedicated stereo FX Loop will be an important component of this pedal for many users as it opens up plenty of routing possibilities. You can use the 4-cable method to use HX Stomp’s effects in front of your amp and in your amp’s effects loop. You could run another stereo instrument into the HX Stomp’s return inputs. You can route other stereo pedals like delays and reverbs into the Stereo FX Loop L/R block. You can even split the stereo FX Loop into 2 Mono Send/Return loops for routing up to 2 mono signal chains into your audio path; this would take up two blocks though, so be mindful.

Here’s an example of using the HX Stomp in the “4-Cable Method”

In my main pedal setup I wanted to run a mono signal path from the HX Stomp to a mono-to-stereo signal chain and then back into the HX Stomp. But there’s no Mono/Stereo FX Loop block. Luckily, making a TRS cable (with the Ring end floating) and using it with the Stereo FX Loop L/R block enabled me to pull this off.

Bedroom Practice & Home Recording

On the left side of the HX Stomp is a ¼” stereo headphone jack. This can be used for silent rehearsal and bedroom practice or to monitor your signal when recording direct with the HX Stomp in a home studio setup or in a professional studio environment.

It’s super convenient that the pedal’s dedicated Volume knob–with its smooth taper and solid feel–can be used to control the volume of your headphone signal. There’s also an option for the Volume knob to control both your headphones and the main outputs in case you’re connecting the HX Stomp directly to a pair of studio monitors. You could also use the Volume knob to control the output level if you’re simply feeding the main outputs into an external audio interface or directly into one or two amps.

The HX Stomp can also function as a dedicated USB audio & MIDI interface with up to 24-bit, 96kHz recording quality. My review of these aspects is based on testing the HX Stomp with Ableton Live 10 on an iMac running macOS Mojave. The HX Stomp was instantly recognized by my Mac, and I was immediately impressed with the sounds I was hearing as well as the convenience of being able to use the pedal’s Volume knob to monitor my playback audio.

You’ll get slightly different results when using the HX Stomp as a USB audio interface versus connecting its Main Output(s) into another audio interface. If you run your HX Stomp directly into your computer via USB for recording, you’re going to get a pure representation of the preset sounds you’ve created. Not mention it’s just easier to do. If you run the HX Stomp’s output(s) into another audio interface, your sound will be converted to analog and back to digital and subjected to additional coloration & alteration by your audio interface’s preamps and conversion algorithms. For this reason, unless you have some super nice preamps in an ultra high-end audio interface, I’d say that the best way for most musicians to record guitar with the HX Stomp is direct via USB. Not to mention that the HX Stomp as a USB audio interface seems like a perfect companion to Line 6’s Helix Native plugin, a combo that would let you seamlessly use effects and amps from both the HX Stomp and the Helix Native plugin in and out of your DAW.

As far as how reliably the HX Stomp performs as an audio interface, I tested it using sample rates of 44.1kHz & 48kHz, and the unit performed great with my recording software, HX Stomp firmware, and computer’s operating system all being up to date. I also tested the pedal with OS X El Capitan. I noticed a few audio glitches in that scenario, so I’d definitely recommend making sure that everything is up to date. Also, if you’re using a Mac, be sure to download the HX Stomp audio driver if you plan on using sample rates other than 48kHz. But overall the HX Stomp’s audio interface capabilities are proving to be an invaluable addition that add an immense value to an already stellar package.

And about those MIDI interface possibilities–the HX Stomp will also be immediately recognized by your Mac’s Audio MIDI Setup utility when connected to your computer via USB. You can then select the HX Stomp in your DAW to send & receive MIDI. I put it to the test by recording in stereo at 48kHz while sending some intense MIDI Continuous Controller automation from my DAW through the HX Stomp on 4 MIDI channels simultaneously. My Audio was recorded flawlessly, and audio playback was unaffected. The possibilities of using the HX Stomp as your all-in-one audio/MIDI hub are simply staggering. And that’s not all, MIDI-wise…

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HX Stomp & MIDI Control

Full MIDI implementation is an essential inclusion for any serious digital/multi-effects pedal. The HX Stomp seems to handle general MIDI switching and preset selection pretty well, so it’s ready to be controlled from your favorite MIDI effects switcher. You can control all 5 foot-switch functions, expression control, tap tempo, and more via MIDI. The 1 Switch Looper even gains a full suite of MIDI controlled looping functionality including Full/Half Speed options, Reverse, and One-Shot triggering.

My one small gripe here is that while the HX Stomp’s presets are labeled as Program Changes 0-125, patches are commonly displayed on MIDI gear starting at 1, so this could be a minor annoyance when picking presets from some external MIDI gear as all your presets may be offset by 1. On my two preferred MIDI switching sources, presets start from 1 which is generally standard, so I’d really like to see a “1-126” preset labeling option in a firmware update. Preset switching still works fine though as expected.

Now a few of you might be asking, “What, no Command Center?” While the larger members of the Helix family of products contain “Command Center” functionality, allowing them to take full control of your amp switching, effects loop switching, and other MIDI compatible pedals, the HX Stomp was designed around more of a “stompbox” mindset. While it could have been neat to use the pedal’s 3 onboard foot-switches (and up 2 external foot-switches) to turn it into a mini MIDI controller, at least we can take full MIDI control over the important aspects of the HX Stomp from an external MIDI control source.

The Desert Island Effects Pedal?

I spend a lot of time thinking about effects. I’ve played a lot of pedals, and I often contemplate their merits. I think about which effects I like best, which ones I can’t live without, and which effects best serve the greater community of musicians. And of course I often write this stuff down and post it online. While I want to avoid over-hyping the HX Stomp, I really think it has proven itself to be one of my highest ranking contenders for desert island effects pedal. If I had to give up all my pedals one by one, the HX Stomp would probably be the last one I’d want to keep. It just does so much and excels at just about everything. But I’d say the range of effects it offers and the stellar amp modeling seal the deal for me. And it’s just so convenient to have so many great sounds in a pedal this size with a great interface for accessing them. The upgraded build quality and Line 6’s commitment to updating the Helix range of products with new effects & amps also inspires confidence that the HX Stomp will provide years of enjoyment.


The Line 6 HX Stomp is one of the most versatile and incredible sounding guitar pedals released in recent years with a range of effects and emulated amps that eclipses every other product in its class. It contains over 300 amp and effects models, and up to 6 can be used simultaneously. It can be an entire small pedalboard, a unique multi-effects unit with several different effects chained together in creative ways, or it can even replace your whole effects chain and guitar amp for gigs and recording. And the USB audio/MIDI interface possibilities add an immense value that could make the HX Stomp the central hub of your home recording setup. The HX Stomp does a lot, and it does it all very well overall. The potential convenience offered by the HX Stomp is already enticing, but its impeccable execution on all fronts–particularly in areas of sound quality, design, and build quality–makes it one of the few truly essential pedals for the modern musician.

That concludes our Line 6 HX Stomp review. Thanks for reading!

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