voxman55

"Bias Bias Changes the bias of the power tubes. Lower values achieve a “colder” Class AB biasing. At maximum, the amp is operating in Class A. Bias X Determines how the power amp tubes’ voicing reacts when pushed hard. Set low for a tighter feel. Set high for more tube compression. This parameter is highly reactive with the Drive and Master settings."

I bought one of these - actually better - thicker, longer cable: https://www.ebay.co.uk/itm/164036024339

Are you sure its not showing in the display but just not turned on or not assigned to the expression pedal? If it's physically missing in the Pod Go display i.e, there is no volume and/or wah icon in the display, the patch you've loaded down could be a modified patch to give more than 4 user blocks with the volume and or wah pedals removed to make way for additional blocks? (did the patch have any text explaining this?). A modified patch is perfectly safe to use, these don't void warranties, they cannot damage your Pod Go, and cannot affect other patches. A modified patch is just where the JSON script code in the patch file has been modified (you can learn all about these patches on the internet and forums - sometimes unkindly called 'jail-break' patches).

Unfortunately this is not an uncommon issue, with umpteen reports of problems with Pod Go Wireless on every guitar forum that I'm on. Some are simply set up issues, but others are just inextricable. For example, where a second guitarist is using the Line 6 G10 Relay with no problems re range, signal quality or drop out, the guitar using PGW has the same issues as you regardless of channel. Even Line 6 customer support haven't come up with a plausible explanation as to why PGW seems to be less reliable than the Line 6 G10 Relay when on paper it's the same wireless system albeit with PGW giving channel control. Logically it should be more, not less, reliable. I have a PG and G10 Relay, and have to say if anything happened to my PG I'd only replace it with a PG and would never buy a PGW. Sorry this isn't helpful but other than checking set up, or rebooting your PGW back to factory and/ or changing the channel it's difficult to offer you any other guidance than suggesting you refer to Line 6 customer support. But based on what I've read on many forums I'm not sure how helpful they can be. Needless to say there are loads of PGW owners who are delighted with it, but I appreciate it's no consolation to those having problems.

Just double check that your global setting for volume is set to pre-set and not global

if you are new to Pod Go, I recommend you invest some time to read the manual, and check out the official Line 6 short video series that will help you with the basics. There is also a great resource here (when you apply to join this facebook page make sure you accept the group rules - I'm on there as moderator & group expert): https://www.facebook.com/groups/1232436117133426/posts/1904728809904150 This link is open to everyone - some great content here: https://bit.ly/3sK75WF

I suspect this may just be a minor software 'file path corruption' glitch. Are you on the latest firmware v1.40? If not I recommend you upgrade your firmware. If you are on v1.40 I suggest you back up your patches & reset Pod Go back to factory. Before reloading your saved backups check to see that the restored factory presets are working as you'd expect. If OK, re-import your backups. If not OK I recommend you raise a support ticket with Line 6 customer support. If OK but the problem recurs when you re-import your patches then your backup might be corrupted. I strongly recommend folk back up their patches anyway as individual .pgp files. Here's a post did on one of the facebook pages with tips on backups -------------------------------------------------- NEW YEAR TIP: POD GO BACKUPS, SETS for GIGS, FRFR, AMP, HEADPHONE Hi guys & gals, and a very Happy New Year to everyone. Although I’d kind of assumed that this was pretty much common knowledge I’ve since picked up that it’s not, so the following might be useful especially for those who’ve used up all their Pod Go slots, & who need patches to suit different guitars, amps, FRFR, headphones etc and are worried about tweaking/over-riding settings and losing the originals. OK, I think Pod Go users are pretty familiar that when there’s a firmware upgrade (which incidentally you should only ever do through the latest Pod Go Edit) the process creates a back-up for you. You can also create a similar back-up if you go into ‘file’ in Pod Go edit and select ‘create backup’. These backups are a total backup of everything in your Pod Go and are convenient from a ‘safety’ aspect as these will get all your patches and IR’s back into your Pod Go if there was a glitch/failure & you lost everything. But it’s an ‘all or nothing’ backup and you can’t see and access individual.pgp or .wav (IR) files within the back-up file, which is a bit of a nuisance if you mucked up a single patch and wanted it back how it was. Now, I think most folk know you can save an individual .pgp file and export it to share or put on Line 6 Custom Tone etc. But some folk are under the impression that it’s a long and laborious process to save every .pgp and .wav file in their Pod Go – with up to 128 files in User, factory & IR sections that’s 384 files. But it actually only takes a minute to create a full back-up of all your user & factory patches & IRs in their proper .pgp and .wav format. Here’s how – I’ve made this step by step but the whole thing takes less than a minute: 1. On your PC or Mac create 3 folders and name them e.g. ‘My factory’, ‘My user’ and ‘My IRs’ 2. Connect your Pod Go to Pod Go Edit 3. Select ‘user’ patches in Pod Go 4. Click on patch ‘01A’ to highlight the whole entry in grey including the patch number (don’t select just the name where it highlights in blue) 5. Using the scrolling bar on the right of the patch list, not your mouse, scroll down to the last patch (let’s say you have used all 128 slots and its 32D but if you have less just go to the end of your list) and just hover the cursor over the patch name and it will highlight it in grey. 6. Now, hold down ‘shift’ on your keyboard and left click your mouse on the patch – you’ll now see ALL 128 factory patches grey highlighted. Now right mouse click and select ‘export’ or ‘Control+E’. 7. A ‘browse for folder’ dialogue box will appear. Go to the ‘My user’ folder you created in step 1, select it and press ‘OK’. ALL your patches will now load into that folder and they will be in full .PGP format that you can import back to Pod Go as individual files, or as a group set, or the whole list. So if you mucked up say patch 24B all you need do is go to that patch in your backup and drag and drop it back in to the relevant slot in Pod Go Edit. 8. Repeat the same process for your factory and IR patches, and you’re done. What’s great is that you can create groups of custom patches eg gig sets, patches for different guitars, patches for headphones tweaked for FRFR etc. Even if you’ve run out of blank slots, once you’ve backed up your original patches, it doesn’t matter if you copy these over other patches you don’t currently need because you have all of those patches backed up. And there’s no limit to the backups you can create. If you wanted to have 15 gigging patches for your Les Paul and 15 for your Strat and 2 for your acoustic, you can import and export these patch groups easily with no risk of losing anything you have. You can use the import & export set-list option within the Pod Go Edit ‘File’ tab, or just drag & drop these in. You can create umpteen patch groups eg those you’ve tweaked for FRFR or with your amp v those you’ve created for Headphones use. The options are virtually endless. You can even create template patches based on your favourite settings so that you don't have to start from scratch when you are creating a new patch.

Whilst I'm of course curious as to what v1. 50 might offer Pod Go users, it won't fundamentally change anything for me. I bought Pod Go primarily so I could play along to backing tracks and vids on YouTube during the pandemic lockdown. I also hoped it might provide a good solution for live gigging. I think it's a super little unit but I have decided that for my needs it's not suitable for gigging. This isn't a reflection of Pod Go, and it would be the same if I had a Helix LT, Boss GT1000, GX100, Headrush or any of the modern mfx units. On stage I need something that's easy to use, and can be tweaked in seconds. To do that a menu driven Mfx simply doesn't work for me and I need real knobs and dials. I would add that the Pod Go PSU is simply not fit for purpose for gigging. That's why my gigging mfx of choice after all these years is still my Vox Tonelab SE and LE units. Built like a tank, heavy duty power supply with no wall wart, but most importantly still sound great, and have real knobs and dials with no fx chain complications or DSP limits to stop me having any of the albeit more limited options available from the TLs. So if I need to add a distortion or a chorus I just turn a dial and I'm there. And the simplicity of an amp and pedal board is the other route of course, although I don't want to schlapp heavy amps around again. Everyone's needs and take are different of course. But any new amp, fx and cab engine in Pod Go will merely add to it's complexity, won't make it easier to use on stage, and won't fix it's dreadful PSU.

Also, real amp and fx names aren't used because of potential IP and copyright issues, so they are described as 'based on'. If L6 allowed facility to change model name it could fall foul of these.

Have you checked your global settings?

On every patch or just one?

Just make sure they are set to different wireless channels so they don't conflict.

I'd also mention that I have and still use a Vox Tonelab SE and LE. These are much simpler mfx units from 2004 & 2007 respectively. These used the same modelling architecture and although largely all the amp/fx models were the same there were some differences. The TLLE was essentially a smaller slightly 'stripped down' version with only a single expression pedal and no A/B amp/cab switching facilities in the same patch. Although a program was developed to convert patches between each other, the accuracy varied depending on whether the amp/fx were the same or not. These units had 'fixed DSP' so there were no problems with different processing power. Selections were limited to one option only from each of the amp, cab, delay, reverb, modulation & pedal sections. My point is that if,even at this much more simplistic level, a patch converter wasn't terribly accurate and not hugely popular or even known about, the problems and variations will be way more complex for Helix/Pod Go.

Guys, I've been following this thread with interest but I found my self asking some key questions? 1. Is there really enough interest to justify the huge work involved? 2. How would this square the circle re different effects and facilities in Helix that Pod Go doesn't have, especially dual routing/2 amps and 2 cabs at once, that Pod Go currently can't do? And with more processing power Helix can have much longer signal chains that won't 'convert' to Pod Go. So if it can't accurately replicate Helix tones, is there any real point? 3. How would this be adaptive to future Helix upgrades eg Helix v3.5 has a new cab engine and amps/cabs that Pod Go doesn't yet have. And even if Line 6 build a version of the new cab engine in Pod Go, it won't be the same version as Helix and it now seems likely that v3.6 Helix will be dropped before v1.5 Pod Go. Pod Go might fall more and more behind Helix and it will always be a 2nd priority to Helix. 4. Helix was launched in 2015. That's ultimately an 8 yr old architecture which is now 'old'. We've got to assume that Line 6 is already developing something completely new and its likely that Line 6 will launch something in eg 24 mths. So will this conversion program be really worth it?

The other thing I'd mention is that there is a lot of hype with the Governor as being the 'holy grail'. As I explained, this can be a great pedal when used for its intended purpose, but if you have a conventional pedal board to plug into the front of an amp, in my view the later Governor GV2 Plus is a much better solution and is one of the most under-rated 'Marshall in a box' pedals out there - put it in a boutique badged casing and folk would gladly pay £200 for it!! It's 'deep' control really does help give you more of that big 4x12 kick in the pants type of feel & it has more gain and better EQ control than the Governor. And hence why the GV2Plus permanently resides on my (simple but effective) conventional pedal board.

What are you hoping/wanting the Governor to do for you and what amp model are you using the Governor with in your Pod Go? If you are simply wanting it as a normal distortion pedal, it's not actually it's strength. To explain, the Governer was highly regarded because it was primarily intended to solve a big problem of the day. It was designed specifically for use with a non master volume Marshall amp that would only really go into higher gain when cranked right up at ear busting volumes and even then guitarists wanted a bit more gain. The Governor would push the front end preamp stage of eg a JTM45 or JCM800 at much lower volumes. In fact, whenever you're hearing eg a JCM800 or JTM45 on a record, the chances are that the front end is being driven by a Boss SD1 or a Governor or similar because neither has as much gain as you might think (I've owned both these amps btw). So in my view the Governor arguably has more limited utility for use with Pod Go because all the Marshall and other models let you crank up gain at any volume anyway. I think the trick might be to try treating the Marshall model as if it was non master volume ie turn down the gain but raise the master volume to emulate a pushed power amp section, and let the Governor push the front end, placed immediately in front of the amp.

First, gig patches are very different to home patches and these should be created at gig volume. At gig volumes you need to up the mids because those are the frequencies our ears like (see "Fletcher Munson"). Second, when going through a real amp cab, you'll likely prefer tone with the cab models off. Third, if you have no fx loop and your only option is to go through the front of your amp, you're usually best to set the amp clean so you can use amp models. If you have an fx loop, I recommend you plug Pod Go into the fx return to bypass your amps preamp section and give you a more usable and consistent base with which to use Pod Go amp models.

Simple pitch shift - make sure you place it first in your signal chain. I use it for songs in Eb like 'Sweet child of mine' and even posted this patch on Custom Tone. The patch is saved with pitch shift on but its assigned to a footswitch so you can switch it on/off in stomp mode. If you prefer for the patch to be 'normal' when you select it, just save the patch with the pitch shift 'off' and switch it on in stomp mode as needed. You can download it for free here: https://line6.com/customtone/tone/5868979/

I'm hoping Pod Go will get dual cabs albeit in the same signal path so you could switch between them and/or use both together. An extra cab would require more DSP but if its not much more and if the new cab models are more DSP efficient then its a definite maybe. We're speculating of course. But I believe this is Line 6's response to Boss who, in the GT1000 & GX100, cleverly combine good quality IR's with their amp models to give users a better tone & feel from the off without having to do all the fiddling. The new cab engine won't necessarily simplify the 'fiddling' but will sonically lift the stock cab quality which, for many, has been Helix' and Pod Go's 'achilles heel'. The legacy cabs will still be there and users can switch between them or not. So if they have patches they like, made with stock cabs, the new engine won't replace those cabs unless the user selects a new cab for it.

It's a whole new cab engine with IR's. Major sonic improvement by all reports from Helix users.

This is from The Gear Page 26th March Re Helix DSP savings with the new cab engine in Helix v3.5, the DSP's hardware accelerated IR convolution is already in use in POD Go. In other words Pod Go is already maximising how DSP is used so there are no savings to be made & basically everything is pretty locked in and set regardless what Line 6 do. From Digital Igloo: " Agreed, but it's trickier getting them into POD Go. Unfortunately, we may end up having to drop Helix/HX 3.60 before POD Go 1.50, but rest assured we're working on it. " So it seems Pod Go v1.50 is still likely to be quite some months away yet.

This. Helix has been out way longer than Helix which came out in 2015. Had Pod Go been out then I'm sure there would be a lot more patches. However, it's not just Custom Tone ... there are several good face book Pod Go groups that have good patches too.

If you think something is loose, and if you bought new, I would advise the store you bought it from & ask them to check it and if it isn't 'right', to change it. The connection should be tight - better to get it sorted now than wait for it to potentially get worse and when sorting it might be more awkward and time-consuming.

As said here, simply raise a Line 6 support ticket and Line 6 will arrange the fix for you which is just the removal of a capacitor. They turned around mine ( uk) in 5 days.

Interestingly there's quite a few Helix owners that have gone to Pod Go because their needs are simpler, they don't need all the extra LT features and they want a smaller, lighter unit. So you probably just need to have a think of your needs. Some potential LT advantages: 1. Dual routing so you can have 2 amps and 2 cabs 2. More processing power for longer effect chains 3. Command centre for greater flexibility to combine snapshots and stompbox modes. 4. All the latest upgrades in full immediately eg v3.5 includes the new cab engine ... we're not yet sure what Pod Go will get and when but hopefully Pod Go will at least be getting a variation of this. 5. All metal construction with a built in mains transformer so it just uses an amp/ kettle lead with no ugly wallwart. The Pod Go PSU is just plain awful and not gig worthy. 6. Greater flexibility with no fixed blocks 7. 8 snapshots per patch 8. Greater connectivity options 9. More rugged, larger expression pedal 10. More footswitches 11. Capacitive touch sensitive foot switches to help you see and set up e.g. next patch without engaging it. Some potential LT disadvantages: 1. More complexity and more things to learn about 2. Bigger, heavier unit 3. An LT is much more expensive. A new LT is over double the price of a Pod Go at getting close to £1,000. Even used LTs are £700 plus. 4. No fixed blocks may be more versatile but it potentially makes patch building more long winded because you are starting with a clean sheet every time, although you can create templates. 5. Personally I much prefer the Pod Go colour screen with its nice solid graphics, and dislike the outline only graphics in LT. A lot of Helix users have commented similarly. 6. All the extra features are great if you are going to use them, otherwise you could be wasting your money. Only you can decide whether you need or would likely use the additional features and increased processing power. You then need to consider whether the extra cost for these extra features represent good value to you. Now, I'm not affiliated with Line 6 in any way. So even if you did need some of the LT extra features, you should also consider other non Line 6 solutions. The Boss GX100 offers a touch screen, more processing power, robust build, and dual routing. Its AIRD approach that combines IRs with amp.models is well regarded tonally. The Headrush MX5 and gig board are also good units. There are always trade offs and pros and cons so you need to do your research, and it depends on your needs and budget. For example the GX100 and MX5 can be found new for half the cost of an LT. But there's also Line 6 Customer support to consider which in my experience is generally much better than most other manufacturer's. Line 6 also provide regular updates whereas many other providers can be a bit sparser here. Gear prices are currently insane, in my view are unsustainable, and I'm not sure this is the best time to buy an LT. Last year I could have picked up a pre-owned LT for £420 when a new LT could be found for £649. Even a used LT will currently be c£700. The world has gone mad! Finally, 2023 NAMM is round the corner next month. I'd be inclined to see what's new first, and if that forces gear prices down to more sensible levels. But if having considered all of this, unless your needs have seriously changed the old adage that comes to mind is "if it ain't broke, don't fix it". But being devils advocate, even if you think you don't need more, new features and extra power could open up a new world of tonal and functionality possibilities that once experienced you might wonder how you lived without them. So, it all depends on your needs, budget and perspective ...there's no common right or wrong answer here as it's going to be different for everyone.