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Line 6 HX Stomp
- Thread starter been_effected
- Start date
Anyone using the HX[xx] with a Boss looper? Wondering if the MIDI commands work to control the Boss from the HX, start, stop, etc.
If size matters, stomp. If size doesn't matter, stomp XL. For me, size matters.
If the buttons are a major selling point for the XL, be sure to check out the Pedalnetics stuff; I think a number of us in this thread have the Helauxy Duo or similar to get two extra buttons on the Stomp: Helauxy Duo Mini - Pedalnetics
The helauxy duo mini is awesome. I have one switch set to change modes or whatever - stomp, preset, snapshot and one switch set to the tuner. But I’m considering going with preset up and preset down instead and just bending over and pressing the tuner on by hand when I need it.
The XL is almost twice as long as the Stomp. That mattered to me. The Pedalnetics stuff is a great way to get an XL in a non XL box.
Stomp is better for integrating with other pedals or for ultimate compact-ness. XL gets you an easier to access tuner, inbuilt navigation buttons, and an often forgotten but notable feature, gives 4 snapshots to each preset, whereas it’s little brother does 3 per pre.
Still going to do this but I got a wild hair and decided to rebuild my core preset including the comp section. Semi-related: Minotaur in a Y split goes hard for vintage drive!
Anyone using an expression pedal with their Stomp? Trying to determine if it's worth the extra space to include for if it'll be more of a novelty for me.
Thanks everyone appreciate all the help and info. Just ordered the Stomp, very exciting!
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@DannyBGood and @Mo'Phat :
These are my parallel compressor settings as promised. The goal with this is to even out some playing dynamics, particularly from string-to-string without it sounding like there's a compressor in the chain at all. I don't really like compressors as a tone shaping or color device. I want to retain all of the uncompressed tone, but also do some work to make all the strings sit evenly in a mix such that I don't ever think about playing, for instance, a G on the fifth fret of the D string versus the tenth fret of the A string. I just want to play where it's comfortable and not worry about discrepancies in tone or volume. The bass I use for this patch is a Dingwall Super J which already does an exceedingly good job of achieving those goals, so this is just the last bit of icing on the cake. I'll also mention that this is being fed by a parametric EQ block emulating a resonant high and low pass filter and a slight reduction of frequencies I find muddy in the lower midrange. Lastly, and a very important note, this is a patch I made for playing through IEMs without an amp on stage. YMMV based on use case, bass being played, technique, etc.
All of the following is tested at a mix level of 100% and then blended back to 50% after I've dialed it in. Other mix values could work, but this felt right for my bass, so I just went with it. Threshold bottomed out so it catches everything. Ratio at the lowest I could get away with and still achieve pancake flat dynamics. 6:1 also worked but sounded less good. 10:1 and 20:1 get too "splatty" for my taste and I could still hear it when blended in, so I just went with 4:1. Attack set as fast as possible without incurring that early onset note envelope distortion from too-fast attack times. Release maxed out so that once it holds onto a note it holds as long as possible. Knee maxed out because it sounded more flattened at this setting. I don't know if +20 is all the way hard-knee or all the way soft-knee, but I know this achieved my goal of a hyper-compressed signal blended with a clean, so I just went with it. Level set to be at unity when bypassing the compressor block. I never bypass it, but this makes it easier to do an honest A/B and see if I actually like the results.
Addendum - Here's my go-to preset for IEM-only gigs if anyone's interested: Dropbox - Main Squeeze.hlx - Simplify your life
These are my parallel compressor settings as promised. The goal with this is to even out some playing dynamics, particularly from string-to-string without it sounding like there's a compressor in the chain at all. I don't really like compressors as a tone shaping or color device. I want to retain all of the uncompressed tone, but also do some work to make all the strings sit evenly in a mix such that I don't ever think about playing, for instance, a G on the fifth fret of the D string versus the tenth fret of the A string. I just want to play where it's comfortable and not worry about discrepancies in tone or volume. The bass I use for this patch is a Dingwall Super J which already does an exceedingly good job of achieving those goals, so this is just the last bit of icing on the cake. I'll also mention that this is being fed by a parametric EQ block emulating a resonant high and low pass filter and a slight reduction of frequencies I find muddy in the lower midrange. Lastly, and a very important note, this is a patch I made for playing through IEMs without an amp on stage. YMMV based on use case, bass being played, technique, etc.
All of the following is tested at a mix level of 100% and then blended back to 50% after I've dialed it in. Other mix values could work, but this felt right for my bass, so I just went with it. Threshold bottomed out so it catches everything. Ratio at the lowest I could get away with and still achieve pancake flat dynamics. 6:1 also worked but sounded less good. 10:1 and 20:1 get too "splatty" for my taste and I could still hear it when blended in, so I just went with 4:1. Attack set as fast as possible without incurring that early onset note envelope distortion from too-fast attack times. Release maxed out so that once it holds onto a note it holds as long as possible. Knee maxed out because it sounded more flattened at this setting. I don't know if +20 is all the way hard-knee or all the way soft-knee, but I know this achieved my goal of a hyper-compressed signal blended with a clean, so I just went with it. Level set to be at unity when bypassing the compressor block. I never bypass it, but this makes it easier to do an honest A/B and see if I actually like the results.
Addendum - Here's my go-to preset for IEM-only gigs if anyone's interested: Dropbox - Main Squeeze.hlx - Simplify your life
I’ve had one, it was more novelty for me and now it lives on my son’s board.
Yeah, after thinking about it, I pulled it off my board as well.
@silky smoove - thanks for the write up! I’ll be checking out your preset, hoping it illustrates your signal routing.
Played with the IMA presets last night without any adjustments just direct to a sound crew we had never used and wow absolutely incredible. We play everything from Motown to country and Metallica and no issues with any of it with his svt setting. Highly recommend
I use it to control a wah, a dunlop mini with the stomp makes for a very compact setup.
The cuts on a Timmy are for the OD not EQ. It's like an old school version of Darkglass' X without a compressor
I don't know what the UX would look like, but I would love to see Line6 add an LFO/Envelope/Auto-expression block that could target parameters of other blocks. I use a MIDI expression pedal from time to time (my Helauxy Duo Mini is in the EXP input), but the one I have is full-sized and awkward to lug around with my Nano+ board. But if I could sacrifice a block to get (albeit limited) expression functionality and leave the pedal at home, that would be sweet!
Downloaded and surprised how close the preset build is to how I do things. Compressor in the front, Regal in the back, parallel path for dirt. Very cool.
Reciprocating with mine - this is the basis for pretty much all my tones - swapping the dirt in the path for other distortions or fuzzes - but the comp (LA Studio) in the front and Regal in the back are always on.
Register - Dropbox
or
Couple of main differences are that I don't use a preamp or EQ block, relying on the bass onboard pre to do the heavy lifting there - so my compressor and Regal settings are probably much too colored for most users' taste...and I use the Global EQ set like this:
Main basses used - Modulus FB-4 with Audere or Aguilar preamps and Lane Poor pickups. Usually go from the Stomp through a Neve RNDI to the board.
