The Edge's Iconic "Bad" Tone on the Helix - HX Stomp Liveplayrock

October 5, 2025

Edge of Glory: Dialing In The Edge's Iconic "Bad" Tone on the Line 6 HX Stomp

The Edge’s sound on U2's "Bad" is a masterclass in how to use Delay as a compositional element, transforming a simple guitar riff into a vast, rhythmic landscape. This song, from the 1984 album The Unforgettable Fire, demands precision, two delays working in harmony, and the chime of a classic British amplifier.

Since the Line 6 HX Stomp is a powerful yet compact unit, it's perfect for recreating this complex, stereo tone. Forget racks of vintage gear—let’s build this tone using only 6 blocks!

The Signal Chain Philosophy: Dual Delays in Parallel

The secret to The Edge's spacious sound, especially on songs like "Bad," is often the use of two parallel delays feeding into an amplifier, sometimes even split to two separate amps (stereo). On the HX Stomp, we'll achieve this by using the Split and Merge blocks.

The "Bad" HX Stomp Patch Recipe (6 Blocks)

Position	Block Type	Model Suggestion	Key Function
1	Compressor	Dynamix Comp or Red Squeeze	Essential to clean up the attack and add "pop" to the notes. (Mimics MXR Dyna Comp)
2	Split Y	Split Y	Splits the signal into two paths for the delays.
3A	Delay (Rhythmic)	Digital Delay (Path A)	The primary rhythmic delay.
4A	Amp/Cab (Left)	AC 30 Fawn Nrm or Matchstick Ch1	The core clean/slight breakup tone.
3B	Delay (Subtle)	Simple Delay or Transistor Tape (Path B)	The secondary delay, adding depth and space.
4B	Amp/Cab (Right)	AC 30 Fawn Nrm or Matchstick Ch1	Ensures a full, expansive stereo image.
5	Merge Y	Merge Y	Combines the stereo paths back into a single stereo output.
6	Reverb	Plate or Room	Adds a final touch of ambience.

Critical Settings: The Delay Times

The tempo for the classic Live Aid version of "Bad" is around 102 BPM. It is absolutely crucial that you set your HX Stomp's tempo (BPM) correctly using the Tap Tempo function before you start!

For 102 BPM, the quarter note ( $\frac{1}{4}$ ) is approximately 588 ms. The rhythmic complexity of the "Bad" riff is achieved with these two distinct delay times:

Delay Block	Subdivision	Time (MS) @ 102 BPM	Mix %	Feedback %	Notes
Delay 1 (3A)	Dotted Eighth ( $\frac{3}{16}$ )	$\approx 440 ms$	$45%$	$30%$	The main, clear rhythmic repetition.
Delay 2 (3B)	Quarter Note ( $\frac{1}{4}$ )	$\approx 588 ms$	$35%$	$25%$	A more subtle, spacious echo.

Tip: Set both delays to a single repeat or low feedback. The magic is in the timing of the initial reflections, not in long, muddy trails. Also, ensure the Mix values are high enough to be heard, but never overwhelming the dry signal.

Amplifier and Drive Settings: The British Chime

The Edge's core tone is the legendary Vox AC30 pushed just to the point of a gentle "break-up." It must remain articulate and sparkly (chimey).

Amp Model: Use the AC 30 Fawn Nrm or Matchstick Ch1.
Gain/Drive: 3.0 - 3.5. You need a hint of saturation, not full distortion.
Master/Volume: 8.0 (Use the Channel Volume of the HX Stomp to control final output).
Treble: 7.0 - 8.0. Push this high for the classic "chime."
Bass/Mid: Keep them low (around 4.0 - 5.0) to prevent the tone from getting muddy with the delays.
Cabinet: Pair this with a $2 \times 12$ Blue Bell cab model and mic it with a $R - 121$ Ribbon or a $57$ Dynamic to capture that crisp, classic British flavor.

Final Touches: Playing Technique

A perfect preset is nothing without the right touch!

Palm Muting: For the main riff, use a light palm mute near the bridge on the lower strings. This keeps the notes staccato and allows the delays to fill the gap rhythmically.
Picks: Edge famously uses Herdim Nylon Picks and often plays with the dimpled edge (the side meant for grip) scraping the strings, which emphasizes the high-end "chime."
Dynamics: The sound is built on the contrast between the dry, short attack and the long, ringing delay. Play with a strong, clean attack.