“A new type of product”: Line 6 ushers in a bold new era of amp modelers with the Helix Stadium – an extensively upgraded family of touchscreen-equipped floorboards that take the term ‘all-in-one rig’ to unprecedented heights

Line 6 has ushered in a new age for digital amp modeling and multi-effects pedals by unveiling one of the biggest and most-anticipated gear drops of the past few years: the Helix Stadium collection.

Introducing an entirely new modelling technology; a hugely requested high-resolution touchscreen; proxy amp, cab, and effect cloning; Wi-Fi and Bluetooth control; and much, much more, the first entry into the new Helix era is, at long last, here.

Ever since its launch back in 2015, the Helix family has become one of the most celebrated and popular lineups of digital gear gear. Over the course of numerous hardware pedals that run the gamut of all shapes and sizes – as well as a series of free firmware updates that keep them all at the cutting edge of the industry – Line 6 has cemented the HX umbrella as one of, if not the, premier floorboard modelers of its time.

Since its arrival, though, the Helix family has been forced to face off against mounting competition, including – but certainly not limited too – the likes of the Neural DSP Quad Cortex, Boss GT-1000, and the Fender Tone Master Pro.

As such, a top-to-bottom overhaul of the 10-year-old Helix catalog, one that introduced player-requested upgrades and updated tech that could trump Line 6’s closest rivals, was always merely a matter of time.

Now, on the 10th anniversary of the original Helix, Line 6 has introduced two new products that will pave the way for the collection’s new era: the Helix Stadium XL Floor and Helix Stadium Floor.

The headlines across both ’boards are the same. For the first time – in a move that will please just about everybody – the Helix units come equipped with a high-definition touchscreen. It’s a huge update that previous Helix models lacked, and something that puts them on a level playing field with the likes of the Fender Tone Master Pro and Neural DSP Quad Cortex.

Both of those latter units were heralded for their upgraded and modern user interfaces (touchscreens at the heart of them), and while the Helix 1.0 models were still intuitive in their own way, improved screens (which literally display the amp model selected) immediately make them all the more appealing – and no doubt more usable.

But that’s not all. Line 6 is also rolling out an entirely new Agoura modeling methodology, which replaces the outgoing HX modeling for “extraordinary sound and responsiveness.”

Supposedly establishing “a new benchmark for authentic sound when modeling physical amplifiers,” the Agoura tech is also said to greatly increase the accuracy of how amps respond to your unique playing dynamics.

Digital amps sounding ‘too digital’ is, again, often a problem that prevents many skeptics and tube amp loyalists from trying out modelers, and while other companies have made such responsiveness a priority in their own products, the decision to emphasis Agoura’s ability to do so might tip the scales for many.

As an extension, the two Helix Stadium models offer a ‘Hype’ feature, which tilts between “ultra-authentic” and “idealized” sounds using one control. In other words, it can harness the genuine break-up tone of vintage tube amps, as well as the pristine, produced digital sounds of more futuristic amp rigs.

In a further bid to catch up with Neural DSP, whose Capturing tech is a huge draw for players, Line 6 also has new cloud-based processing, which it seems can be used to capture the sound of physical amps, cabs, and effects.

Along with UI, gear capturing is becoming a key factor in the digital amp arms race, with more and more firms pinning their own modelers around the ability to let players put their own equipment into the digital realm – see Mooer, for instance.

So, with vastly improved usability, new modeling tech, capturing capabilities, and the unique ability to jump between tones with what looks to be exceptional finesse, the Helix Stadiums look to be worthy successors to the flagship models.

A​​nd we haven’t yet mentioned Showcase – a new automation engine for live shows that lets players automate every aspect of a sophisticated stage setup. It goes beyond tone, too: while it can trigger MIDI changes, engage presets, and recall Snapshots, it can also play up to eight audio tracks and automate lighting for live rigs.

Other appointments worth shouting about include extensive connectivity, Wi-Fi and Bluetooth connectivity, and Focus view with contextual parameter control.

In terms of the pedals themselves, both Stadiums feature 11 knobs, 13 buttons, and 12 footswitches to deliver “one of the most ergonomic, intuitive, and inspiring user interfaces available,” while the XL Floor throws in OLED scribble strips and an expression pedal for good measure.

“Helix Stadium XL Floor and Helix Stadium Floor are in many ways a new type of product,” says Eric Klein, Chief Product Design Architect. “In addition to featuring the best-sounding, most powerful, and most flexible processing Line 6 has ever offered, they can serve as performance workstations that aim to upend the way you approach playing – whether that’s writing and learning songs, jamming with friends, or controlling your band’s entire stage rig.”

You get the picture: the Helix Stadium is, without a doubt, a serious upgrade on the original HX design, and then some. Line 6 hasn’t just moved to meet Fender and Neural DSP on the matters of tone and usability, it’s also gone above and beyond in order to cater to every demand a performing player may need.

The term ‘all-in-one rig’ is bandied about a lot, but when you assess the sheer power and functionality of the Helix Stadiums, it feels more relevant and applicable than ever.

The Line 6 Helix Stadium Floor and Helix Stadium XL Floor will be available later this year for $1,799 and $2,199, respectively.

Visit Line 6 for more.

Matt is the GuitarWorld.com News Editor. He has a Masters in the guitar, a degree in history, and has spent the last 16 years playing everything from blues and jazz to indie and pop. When he’s not combining his passion for writing and music during his day job, Matt records for a number of UK-based bands and songwriters as a session musician.