theElevators

It could be that your preset is very loud. Some of the presets I downloaded on customtone were extremely harsh-sounding and distorted. You can take the amp and turn it down in your preset, until it stop being so loud. Your "new preset" should be about as loud as your "[actual preset]".

Do a complete backup of your helix. Reset it to factory settings. Restore from your backup. I've had this happen to me when I downloaded somebody's presets, and they got corrupted. That's when I started seeing the "guitar pick" icon next to the presets. Did my backup/reset/restore routine, and no more issues.

The only other thing is that depending on what you turn on/off with snapshots you may get audible pops/boinks. For example I recently discovered yet another example of that when I bypass the compressor, I get that really loud pop. Workaround: don't bypass the compressor, simply set it to a lower sensitivity setting in other snapshots, essentially making it useless. Countless other examples of bypassing an amp block will also give you the same unfortunate artifact. Sometimes you may want to reorder your blocks to minimize it, or use an A/B path with both blocks in question being on, just switching the routing.

https://www.ebay.com/itm/126046784878 I got this as a backup. Pretty solid cable/adapter. The only thing I don't like is the fact that the plug is not angled.

The short answer is: "that's just how it is, use snapshots". Helix supports a specific workflow that I am personally using: each preset is for each specific song. Within each presets you have snapshots, for each section. On HX Stomp it's 3 of them. In addition you can assign several stomp effects to external foot switches. If you're playing in a straight-forward band, 3 sounds is all you really need: clean/dirty/solo with delay. Then you can use the additional buttons for chorus/reverb. Long answer is: it's a bummer that some processors do this! Not all, but some. I know that Kemper does not have this issue. Also my old Zoom processor pedal had no gaps. If there was a CPU-consuming effect in the chain, rather than having a break, it would fade out one preset and fade in the next one. But if you had two identical presets, there would be no silence whatsoever. I am sure that Helix could easily accomplish the same, by comparing what is different between the two presets and consolidating them, rather than dumping everything out of memory and reloading it. I also know for a fact that there have been rack processors from early 1990s that had delay spillover between presets--forget the name(s). You would pay extra money to get that feature. BTW, on the Helix Floor/LT/Rack you can have gapless preset switching, but the tradeoff is that instead of two signal paths you will have only one. That's because there are 2 digital signal processor chips, so one can be sacrificed and act as a buffer. On HX Stomp, there's only one.

24 decibels is a LOT! If you ever need more than 12, how about adding two EQ blocks instead of 1?

It's not just the update process I was talking about--it's the firmware bugs and unexpected behavior. I've personally seen several things completely break in my presets after updating. For example the new and improved bypass behavior in 3.17? (I think) completely messed up all the presets where everything used to work. Like you modify one preset in HX Edit, make wah turn on when you are in the "toe down" position, but it updates other unrelated presets and as a result their on/off wah switching is reversed, etc. Also I keep reading about Glitch delay working differently, or a level of some block being different after upgrading. Or my personal favorite known issue of the Helix LT going back to the signal path view after the tuner, instead of the performance view where you see the virtual scribble strips. I've had that annoying bug resurface and managed to make it go away by tweaking some settings back and forth. But do I really want this thing to come back again? Heck no. If I'm playing a show, I don't want to be tapping needlessly, it's unacceptable. So all I am trying to say is that if you are a studio musician or a tinkerer--go and get the latest and the greatest. For me though, when I had to rely on my Helix to be able to play 26-preset sets, I did not want to risk anything getting messed up. Sometimes some things are not immediately apparent. It's a computer, so a certain series of steps can lead to unacceptable live results. I would need to do a good amount of testing of all of my 100-or-so presets to check that everything is still good. If not, revert to the previous firmware version. Once again, if you only use one or two presets, this doesn't obviously apply.

I personally don't understand the point of upgrading firmware. On the Helix I'm on the same version 3.11 from a few years ago. All I see is constant new bugs that get introduced. If something is working, I don't want to risk messing up my presets that all work great, just so I could have a hypothetical ability to play around with a couple new effects.

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!