theElevators

Guitars don't need a subwoofer. Unless you are playing some kind of a 9-string guitar. Even still on stage, there is absolutely no need to have a woofer for guitar. All it will do is rattle the floor and interfere with other instruments/drums. Chords through a subwoofer... oof! Look at it this way, in a typical band, each instrument occupies its own frequency range, so there's no overlap. For reference, I always refer to Led Zeppelin. Their music is pretty heavy, but the guitar is always relatively twangy. But both bass and guitar together create this massive sound. I've worked with many sound engineers who always took the bottom of the guitar frequencies and simply scooped them out. When you play at home without any other instruments, it's very satisfying to djent and feel the ground vibrate. But with other instruments, it causes an incredible amount of interference as no 2 instruments are ever in tune--there will be rumble and waves beating when several instruments hit the same note--yes, even the bass drum! So they will turn up because they can't hear themselves, then you will also turn up because you can't hear yourself. So in short, unless you want non-guitar sounds to come out of your speaker (bass, bass synth, kick drum), for regular guitar there is no need for a sub. My method of amplification is still going direct to FOH, and on stage hearing myself through a power amp (Mooer Baby Bomb) running out of a single 12" cab. It feels great, and very familiar. And I do not even adjust my EQ in any way for the power amp, unless the sound guy insists to do so, when it starts interfering with his mix.

When I add a wah block to a preset, I remove all the assignments immediately: snapshot, wah contour. bypass, etc. Then I create my own assignments. I use Pod Go Edit for all this stuff, as it's just so much easier to tweak things on a computer. It's all completely configurable. What exactly do you need the wah to do? For me, I assign the wah to turn on when I start rocking it past 5%, then below that it turns off. On the Pod Go, I only use Expression 1 for everything. So I assign the wah position to Expression 1. I actually disable the expression pedal switching between 1 and 2 by plugging in a patch cable into the external pedal jack into the "return" jack--that makes the pedal non-switchable: it's always Expression 1. I also take the "mix" parameter and assign it to snapshots. That way, the wah is not heard if it's set at 0% in certain snapshots, and then it is heard in other snapshots where it's set to 100%. In my opinion, this is the best way to configure it. The built-in expression pedal is very small and flimsy, so clicking it in to turn on the wah is unacceptable to me.

....civil war

The concept of a snapshot really makes Pod Go better. Not everybody uses/cares about this "revolutionary" feature. For me, I can't imagine how I'd play my sets if snapshots were not available. Once you start using something, it's difficult to go back. There are some workarounds to assign multiple things to the same footswitch, but it's still not the same.

Go to global settings, and change whether the BPM settings are: Global / Per Preset / Per Snapshot. Global Settings -> MIDI/Tempo -> Tempo Select. For my personal needs, I have tempo saved per snapshot.

You already have the return 1/2 jacks in the that you can configure to run the separate piezo signal. In the preset you can go to eaxh signal path and configure it to have return 1 as input.

Use the effects loop. That way you retain the wireless functionality, and the effects loop will only have your wah. Place it in the beginning of your chain.

If your guitar has 2 separate outputs: one for electric, another one for piezo, then you can create presets that process 2 inputs. That way you won't have to switch anything on your guitar, just press a button and you will have acoustic or electric guitar sound. There is a rig rundown (don't remember the name), but the guitarist wired his guitar to output neck and bridge pickups separately. So the pickup switching is done inside the Helix.

FRFR's do that. You need to take it and put on a stand. It needs to be off the ground, that's how it's meant to be placed--on some kind of a stand. The muddiness will go away that way.

There are hacks to free up blocks: https://www.youtube.com/watch?v=JlDhCZOOv9U&ab_channel=HeyWorshipLeader But the whole point of Pod Go is to dumb down the signal routing for people. You always have an amp, wah, volume control, etc. I made it work for me, after downsizing from the full-blown Helix. It's more than enough to get usable and diverse sounds-- if you use one preset per each song, like I do. Rather than adding a bunch of stuff to the signal path, like I do on the Helix, I started making use of various blocks' controls more. Like you can use a reverb echo, which can double as both delay or reverb... so if needed I can change various parameters and make all my 4 snapshots sound however I want. So take it from somebody who REALLY likes his effects--Pod Go is great and with some creativity can give you more than enough sonic variety.

The tuner in the Helix family of products is absolutely fine. I have used it live and in studio: on both Pod Go and Helix. It's great. But... it depends what mode you run the tuner in. The default "fine" is really really frustrating. The main issue is that the "fine" mode is way too fidgety. The meter keeps jumping all around and you can't seem to find the center of pitch. Instead, simply use the "coarse" mode. It ignores the subtle little changes to the pitch, so you can tune faster without being distracted if you are 1/2 cent off. If I were to buy an external tuner, I would definitely go with Polytune, so convenient to strum all strings at once and fix what is off.

all presets have 4 snapshots. they can be all be identical, without any names and not turning anything on or off...... OR be actual snapshots that do stuff. when you create a new preset, you always have exactly 4 snapshots, that's all I'm trying to say.

press up/down buttons together -- ta-da.

Try changing the polarity of the expression pedal on the HX stomp. I think there are several settings (not in front of my Helix at the moment). If you go to global settings/expression pedal 2; you can cycle through various options. If that doesn't help, there's this thing, same pedal as you've got:

Yes, welcome to the club. Line 6 uses garbage microswitches. Helix microswitches are garbage as well. But I suspect Pod Go microswitches are even worse. Either way, yes, yes yes, it's maddening and inexcusable. It sucks, because I already got used to the workflow and love the sounds I'm getting out of Line 6 gear. But in my experience, cleaning/lubricating the switches is the way to go, and on my 3 products that I own, everything is functional. In my research, the only processor that uses something more reliable is the Fractal FM9. It uses contactless switching, also known as SSS. I have no idea what the heck that means, but all pros uses Fractal stuff and swear by it. Otherwise, every single brand out whose name is not Fractal uses the same garbage Chinese microscopic microswitches that you can buy a bag of 200 for for 5 dollars. This garbage technology is nothing new, it has been in use in the last 20 years at least. Anecdotally, I also know for a fact that Kemper Floor users suffer from the same exact issues. So there you have it. Anyway... Follow my procedure:

I submitted one a while ago https://line6.ideascale.com/c/idea/34421/activity

Try resetting the Pod Go to the factory defaults. See if this helps. If you didn't do anything and your Pod Go won't boot all of a sudden, definitely submit a support ticket, that's not normal. As for things failing right before showtime, this can unfortunately happen. I've seen lots of things fail right before the show, including a MacBook Pro's sound just failing all of a sudden--then rebooting fixed it. That's why you must have a backup for every gig you are playing. When I toured and relied on the Helix Floor, I'd take a Helix LT as my backup, much to the annoyance of my band mates. But knowing that it's just Chinese mass-produced printed circuit board plastic junk, I know better. If you have a backup, nothing ever goes wrong. When you do not, then that's when the fun starts. Recently I've downsized to a Pod Go for my drunk bar performances. Every time I play, I arrange for some kind of a backup situation, including my friend's Pod Go loaded with the very same presets I'm playing. Right now I'm seriously considering buying a second Pod Go for all these drunk beer-spilling situations. Pod Go is so tiny, that it won't break my back if I take 2 of them together--still way lighter than my Helix Floor. cheers!

There should be little difference between your rhythm/lead tone. What I do, and most people don't necessarily agree, is I take an EQ and boost 2K frequency to around 6 db, to taste. That makes the leads pop. I do a/b tests, and dial in the EQ so that the tone is nearly the same, just more present and in your face.

Check the mix parameter of the pitch block. Make sure that the mix is set at "100%", otherwise you could be hearing both the original and the pitch wham note, resulting in this garbled mess. Also, right click on the "pitch" parameter, see how it is assigned to the expression pedal. Check the min and max values, to make sure it goes up to the correct pitch. It's not exactly clear to me what is happening, but I hear two pitches being played together.

There is no way to lock settings. I too accidentally changed the calibration of the tuner. Since that happened, I just learned that I need to be mindful of the values that are there. You can make a checklist for yourself of what to do. I made a video of various other tricks that may help you with playing live. https://youtu.be/o0S6WNKXQKc?si=QO_5CCgPRhhGnE20 As for locking the knobs, you can literally tape them all down with some tape. Or take a piece of rubber and glue it to the Helix so that it touches all the knobs, but lets them be turned. Or find something online, like this thing: https://www.gearbyceba.com/line6-family-usa/p/helix-floorlt-rack-knob-protectors-short-for-use-with-gearbyceba-full-screen-guards Honestly, for me, the knobs are not a problem anymore, because I simply learned to double-check this stuff before I start playing.

Lots of mixing headphones you can buy. Amazon is your friend. https://www.amazon.com/s?k=mixing+headphones As for wireless--wireless (bluetooth) won't work because of the high latency. Stereo wireless IEM systems exist, but professional ones cost over a thousand dollars. If you want a decent wireless IEM system, this is what I use to practice. It's not for professional use, but perfect for apartment practicing. The sound is mostly very good, but there are a few notes that somehow seem to crack / resonate. https://www.amazon.com/gp/product/B097PCY5X4 For home practicing, I simply connect my trusty Bose noise-canceling headphones to the wireless IEM system, and it serves its purpose EXTREMELY well. And again, I would never ever gig with that wireless system, because for 139 USD you will never get anything trustworthy, that's an axiom.

Maybe the issue is because the preset behaves differently in mono/stereo mode? Not sure how you connect your Helix to the PA, etc. But I've had cases where stereo effects (in particular doubler) behaved completely differently in mono vs. stereo... in mono, the overall volume was way quieter. ... Meaning, if I connect left/right to speakers, the balance is as I expect it to be. Then when I disconnect the right speaker left/mono signal has a significant drop in volume with the doubler enabled. I suspect phasing issues are responsible for this, waves cancel each other out and you get a volume drop. But in stereo mode, the left/right signals are separate, and there is no cancelation.

I like the Tube Compressor the most. I only use it when I want to have my clean sounds to not die on me, but sustain. I have a video I recently made with a free preset download link.

Why don't you simply try running your Pod Go at home and connect headphones, to hear for yourself what it sounds like? It could be that your sound is very in fact very tinny. That happened to me when I got Headrush FRFR 108 to dial in my sound. The problem with that speaker is that it's very bass-heavy. It must be placed on a stand, otherwise it rattles the entire stage. It's not as unbiased as a mixing monitor is. So when I played my very first concert using Line 6 Helix, the sound guy told me that my sound was absolute garbage--it has absolutely no bass, and was tinny and shrill. Afterwards I got myself mixing monitors and that's what I've been using ever since to dial in my sounds. Once I figured out the main formula of what worked, I stick to the same amp/EQ settings, and simply dress up my sounds as needed for any new song I need to play. Take a look at the Helix forum, there're lots of "lessons learned" posts about dialing in your sounds. If your sounds are great coming out of the FRFR, maybe the FOH guy has to do some adjustments to make your guitar sounds suitable for the house PA. But if you take that very same sound without any adjustments and run it into your headphones, you get that tinny AM radio sound.

Download the Pod Go edit version that matches your firmware version on the POD Go. You will see what version that is when you boot it. Go to this website, select Pod Go as hardware, Pod Go Edit as software, and your OS. https://line6.com/software/index.html Sometimes Pod Go Edit crashes. But for me, that doesn't happen consistently, only very rarely. If you've downloaded the right software and it still crashes, then back up your Pod Go on another computer, if you can. Last resort is to perform a factory reset, but you will unfortunately lose your personal presets/settings in the process.