![]() Many venues in Nashville and elsewhere have prohibited live amps being on stage. The HX Stomp also provides for the very real, if not preferred, possibility of needing to go direct on a gig. Additionally, if a song requires a sound not covered by the other pedals on ’board, the Stomp can pinch hit, providing access to esoteric effects you enjoy, but perhaps don’t want to carry-like envelope filters, synths, and pitch benders. The HX series is a significant evolution from the company’s M-series effects, as the increases in processing and algorithmic power are considerable and particularly evident in computationally-intensive effects like reverb. From overdrive and distortion to reverb and delay, the Stomp does a great job of providing lots of options in a very compact package. The Line 6 HX Stomp is a multi-effect unit that models all sorts of classic and cutting-edge effects. At subtler settings, the Copper is great for enlivening a dark amp or adding sparkle and a hint of grind to your basic signal-a lot like a good top-boost AC30 might. It doesn’t just excel in high-gain applications, though. And when that’s what a song calls for, the Copper delivers. That said, the Copper’s capacity for gain means you can tap into a lot of really fun, gnarly, cranked-amp-style lead and crunch sounds. By the time I reached noon on each control, I was slamming my amp much harder than I normally would. ![]() Unity gain usually hits at about 8 o’clock on the pedal’s gain and volume controls. Like the top end, the gain in this pedal comes on strong, especially for a design that’s not categorically a high-gain pedal. It’s still predisposed to some eviscerating brightness-probably just the way a lot of top boost AC30 fans like it-but the tone knob does a great job of tailoring that treble edge to suit the amp you’re driving. With a darker, warmer tweed-Deluxe clone, however, the Copper’s transformative powers shone more brightly and usefully. With a very Vox-like 65Amps London, for instance, the pedal was altogether too much, yielding trebly, brittle results without aggressive EQ adjustments at the amp, which left the London too dark to enjoy once the pedal was switched off again. It might be self-evident, but it’s worth noting that a pedal intended to perform like a top-boost AC30 works best with an amp that’s lacking life on the treble side. But it’s important to consider the amp you want to revoice before switching the thing on. The Copper has a lot of transformative, tone-twisting capabilities. There’s no room inside for a battery, and the 1.1 pound heft of the thing suggests it’s pretty well packed with quality components. ![]() But it’s important to consider the amp you want to revoice before switching the thing on.”īoth the input and output are on the crown of the enclosure, with a center-negative 9V DC input between them. ”The Copper has a lot of transformative, tone-twisting capabilities. On an AC30, the cut control adjusts the treble at the output stage, and the V1 Copper’s tone control assumes a similar role to very practical effect. It’s effectively a stand-in for the cut control on the top-boost AC30s that inspired the VC35 Copper amp. Instead of a mids control, there is a tone control. The control complement offers a slight modification of the gain, volume, and 3-band EQ control configuration on the VC35 Copper amp. Either way, the piece that forms the top, front, and back is finished in metallic copper and decorated with a heraldry-style lion and unicorn on either side of the footswitch, a purple amp-style jewel light, and a shining crown between the knobs. We’re not sure whether it’s named after the British slang for a penny or a policeman. ![]() ![]() The rugged, folded-steel enclosure measures 4.75" x 2.5" x 1.5" and is slanted gently toward the player to aid control visibility. Like Victory’s amps, and Adrian Thorpe’s very exacting pedals, the V1 Copper is handsome and built to last. ![]()
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