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No, the Engl Z12 can only send MIDI PC (program change) messages - you can use it switch select presets. It can't send CC messages which are required to do the stuff you asked for.

Had mine for about 9 months and I've basically now settled on a single patch for guitar, with 4 snapshot variations within it. To my mind, the appeal of the Pod Go (and probably all modellers) is that it's an all-under-one-roof solution that plumbs straight in the PA, with no humping heavy gear around up and down flights of stairs. Sound guys love it. It's quick, efficient and sounds more than good enough. It really comes into its own when playing bass as there's nothing more disruptive to a good onstage sound than a thundering great bass rig pounding away. So yeah - for me the depth of the menu is great, but once you've found your sound, lock it in and forget about it :-)

You are correct. Your license is yours, not attached to the device. The device allowed a discounted price which is now not available to the new owner.

Here's the section on the Dynamix from my eBook, The Big Book of Helix Tips and Tricks (v1.1). FYI - For those who already have the book, the free update to v1.2 with the new goodies from 3.50 is [finally!] coming out this month. ----------------------------------------------------------- Dynamix Flanger This flexible flanger has three control options: LFO, Envelope, or Manual. This is a complex effect, particularly with Envelope control, so we’ll cover each control option as if it’s an individual effect. LFO Control Fig. 2.31 shows the controls that affect the LFO mode. Figure 2.31 The relevant controls for LFO mode. Speed (Rate), Depth, and Mix are standard LFO flanger controls. Phasing chooses two different flanging characters. Negative values produce in-phase flanging, which gives a more resonant sound. Positive values create out-of-phase flanging, for a more hollow sound. At 0, there’s no flanging effect. Also at this setting, there’s no audio with Mix set to 100%. Recycle adds feedback, which emphasizes the Phasing parameter’s effect. Max Delay sets the longest point of the flanging sweep, up to 100 ms. Chorusing and chorused echoes are available at longer delays, with low Depth settings. If the delay is long enough to give audible echoes, Recycle adds repeats to the echo effect. CV Tracking changes the sweep direction, so that it spends more time at the top part of the sweep. It’s more useful for Envelope control. Envelope Control With this control mode (fig. 2.32), the flanger’s sweep responds to the dynamics of your playing instead of an LFO. Hitting your string after a brief period of silence triggers (or re-triggers) the sweep. Until the next silence, the sweep tracks your dynamics. Mix, Phasing, Recycle, and Max Delay work as described above. Figure 2.32 The relevant controls for Envelope control mode. Note that the envelope controls interact. Referring to fig. 2.33, here’s how they work: CV Dynamics sets the sweep range, based on your dynamics. With low settings, playing dynamically covers a narrow sweep range. Higher settings cover a wider sweep range for similar dynamic changes. Env Input matches your playing’s dynamics to the sweep range. Set this so that hitting the strings hardest covers the highest part of the sweep set in CV Dynamics. When first triggered, CV Tracking determines whether the initial sweep goes from high to low (Normal), or low to high (Invert). CV Decay sets the initial sweep time, from X1 (barely noticeable) to X4 (still fairly fast, but obvious). It also smooths the envelope, so with chords, the envelope sweeps smoothly instead of jittering. Env Lag introduces a slight delay before the sweep starts. Note that when re-triggered from silence, the 0.0 ms setting seems to be the same duration as the 100 ms setting. For minimum Env Lag, choose a 0.1 ms setting. Fig. 2.33 shows the relationship of these parameters for a decaying guitar chord with maximum Env Lag, and a long CV Decay. Figure 2.33 How the CV Dynamics, Env Lag, and CV Decay parameters interact. Manual Control With manual control (fig. 2.34), no parameters are affected by the LFO or the Envelope. The remaining parameters work as described for LFO and Envelope control, and they are good candidates for use with the Expression Pedal. Figure 2.34 Parameters that are relevant to Manual control.