voxman55

I think the way to do is to think in reverse. Set the EXP2 to eg 25% on the top line of Pod Go Edit and the bottom line to eg 100%. That way when you select the patch EXP 2 it will go to 25% immediately, and then as you heel back it will raise to 100%. I've just done it and it works.

Yes. You can set EXP 1 and/ or EXP2 to recognise real physical position. Have a read of the manual, it's all in there. p38. In Global settings you can select whether the POD Go expression pedal positions are recalled per snapshot, per preset, or applied globally. If you want a Volume Pedal or Wah to maintain its position when switching presets, set this to “Global.” Press PAGE and PAGE together to open the Menu Press Knob 5 (Global Settings). Global Settings > Switches/Pedals>Select EXP2>Select Global

Lol...sorry bout that! Here's your cigarette!

Unfortunately not. When an external expression pedal is connected, the on board expression defaults to EXP1 which is wah and you can't then assign a wah to EXP2. This makes an external expression pedal of limited value as all it does is avoid having to stomp change between wah and volume or whatever you've programmed external EXP2 to control.

Not necessarily - have you contacted Line 6 Support and raised a ticket with them? Regardless of warranty they should still be able to help you get it back running or arrange a replacement. If you can't get anywhere with Line 6 support you should contact the Line 6 distributor in your country? They should be able to replace the unit. If all else fails, contact Frank Ritchotte at Line 6 - Frank is a terrific guy, and is Senior Director of Operations at Yamaha Guitar Group (Yamaha owns Line 6) and I have every confidence that Frank will get it sorted for you regardless of warranty. Frank is on Linked-In: https://www.linkedin.com/in/frank-ritchotte-42865b5/ But try the offline method - it works slightly differently because you're not relying on a data stream through the internet but a direct input into Pod Go. Whilst I sympathise with your difficulty, if you are not following all the instructions that I sent you, which comes straight from Line 6, you're not helping yourself. Also, if it genuinely doesn't work after a couple of attempts then you can 'paste' the instructions back to them, confirm that you tried everything, feed back what you saw Pod Go do/not do at each stage, and then they won't waste your time sending the same instructions to you. But Line 6 say the offline route fixes 95% of all bricked problems - so follow the instructions exactly. As I said, I sympathise - but WORK THE PROBLEM - there's lots you can be doing to help yourself get this sorted and Line 6 customer support is arguably one of the best around, but sitting there moaning that you've blown $600 ain't one of them! Sorry, but time for some (well intentioned) 'tough love' I think! Let us know how you get on!

Well, hopefully that now at least gives you some helpful options to think about and experiment with. Let us know how you get on.

For what it's worth I have been seeing quite a few reports across various boards, youtube, and facebook pages, of difficulties with PGW dropping signal and range (even with no apparent obstacles). In theory, you would have thought that PGW would be very similar, and perhaps even slightly better, than a free-standing G10 Relay. I'm unclear whether these issues are due to a possible fault, firmware upgrade glitch, interference from other electrical equipment eg routers, or a channel or other settings issue. Whatever the reason is (and which might be different for different users) its odd that the G10 Relay which now has the same MkII transmitter as PGW, don't appear to give rise to very many similar issues. Indeed, I have a G10 relay with two Mk1 Transmitters and have never had a dropout problem - in fact the effective range (unobstructed and currently indicated to be 50ft) was pretty impressive and at 80-90ft before I got drops was way more than I needed.

Because the sound projection spread and clarity/definition is better. At a gig you want the right frequencies to get to their ears which means more of those 'nice mids' that our ears like. Raising it off the floor helps achieve that. Even better would be to mount it on a pole, and its why PA speakers are typically mounted on poles. (stating the blindingly obvious, but that's assuming of course you are using your FRFR as audience facing and not just as a monitor). Anyway, experiment, use the looper to record and play back a riff with the band playing and then go out to a typical audience position and see which sounds best - angled up from the ground or raised off the ground - and try different heights. I think you'll be surprised at the difference it makes!

Bummer - but have you tried the off-line method? And have you tried it with a different computer - preferably a PC not a MAC?

Can't be done because of the complexity of Helix/Pod Go, the way that DSP is managed, and the fixed block design of Pod Go. Pod Go Edit is just an interface with Pod Go and is simply a reflection of what happens in Pod Go - its Pod Go's CPU that does all the processing algorithms & DSP determinations. That can't be done from a free-standing edit program. Edit programs for simpler units, like my Vox Tonelab SE/LE can do this because the DSP restrictions are built in & preset so regardless of the amp, cab, FX selected there's no impact on DSP. It also has way less models and parameters with minimal FX chain control than Helix/Pod Go so hence its a modest 'finite' model re the changes you can make. With Pod Go & Helix it's a near infinitely varying model that gets evermore complex with every upgrade. Similarly there is no freestanding edit software available for any current 'Helix type' MFX that uses similar more complex algorithms & DSP 'dynamisation'.

There's also a version around with 10 user blocks. But the best solution is for Line 6 to give Pod Go enhanced flexibility. It can't increase Pod Go DSP power but it can give users more choice to make the most out of the DSP power it has. Pod Go needs two official additional blocks and to allow the amp/cab blocks to be removed so for folk using a real amp (even sometimes) this will give them greater scope to use Pod Go as a straight stomp pedal board with a bit more DSP 'freed-up'. Line 6 has been somewhat 'precious' regarding where it sees Pod Go in its gear range and the market and it has previously made it clear that it is wholly 'anti' giving more blocks to Pod Go and making the amp/cab blocks 'non-fixed'. But if it doesn't wake up fast to the reality of growing competition and what it's customers now want, and change its stance, it could be a costly mistake not only re new Pod Go sales but it could see existing customers voting with their feet and moving to other brands. When Pod Go was launched 2 years ago, there really wasn't much to compete with it. But competition is now hotting up and new more powerful units such as the Boss GX100 (with up to 15 non-fixed blocks, dual routing, touch screen, blue-tooth, fully customizable foot-switches throughout, and other goodies) will now be putting Pod Go sales under pressure. The much discussed debacle over the last few months regarding Pod Go (non wireless version) input impedance and 'tone-suck' (to which, disappointingly, Line 6 has remained silent on) also won't help to encourage new customers to Pod Go. Consider too that Summer NAMM (incorporating 2022 Winter NAMM that didn't take place) is only around the corner (3-5 June) and it's quite possible some new MFX options might start appearing from competitors. Pod Go v1.40 is in development and we can only hope that Line 6 wakes up to smell the coffee here and does more than just add in a few more amp/fx to Pod Go from Helix v3.15. Of course, it's always possible that Line 6 themselves might have some new MFX up its sleeve. Helix is now 7 years old and whilst it's pretty much led the modelling effects market, its architecture is now 'getting on'. Customers are now tending to move away from big heavy units like Helix/LT and are looking for more compact, lighter 'full' MFX units. In the more portable/compact sector Pod Go is now looking decidedly under-powered and overly restrictive and Line 6 will need to look to its laurels to compete with new competition like the Boss GX100. But it also needs to keep, and not risk disenfranchising, its existing Pod Go customers - and hence why it's now more essential than ever that Line 6 quickly re-assesses and re-positions its stance to give greater flexibility to Pod Go. As Bones said to Spock in Star Trek - 'Yield to the logic of the situation'!

This is straight from Line 6 - although it refers to an update failure, it applies for any 'bricked' situation & should sort the problem if you work through: Hi, in case of an update failure: 1. reinstall the latest version of POD Go Edit and Line 6 Updater: https://line6.com/software/ 2. boot the unit into "Update Mode": press and hold PAGE > (page right) and then power on POD Go. 3. reconnect the POD Go via USB to the computer. Use another USB cable and try different USB ports, don't connect to an USB hub. 4. shut down all Line 6 software including POD Go Edit, or any programs that use audio, like DAWs, iTunes, Spotify, video games, etc. 5. launch Line 6 Updater only and select "POD Go Unknown version", then (re-)install the latest firmware. 6. perform a factory reset on the POD Go (will delete all user patches, IRs, globals): while holding footswitches C+ D turn on POD Go. Wait for "Will reset Globals and restore stock Presets..." to appear and let go. 7. if this should fail, the same procedure should be tried again offline. For this you have to download the latest POD Go flash memory file, then launch Line 6 Updater, choose "Offline Mode", then choose the downloaded flash memory file for the update. 8. if it still fails, it needs to be tested with another computer. You can update directly from any version to the latest firmware version. In rare cases a gradual update via previous versions may help but normally that's not necessary. If none of the above should help, the unit should be checked by a service center. But please note that normally, even when an update attempt fails, the unit can returned to operational state with the above procedure. Best regards Line 6 / Ampeg Support Europe

Exactly my rationale for going FRFR and I too haven't had an opportunity to use in a live situation. But having cranked it up a bit (not fully) whilst family was out, I can tell you it's incredibly loud! But home or live, do get it off the floor!

I've seen other posts from folk using a 3-button switch & they've been able to use it with no problem, so it seems odds-on you'll probably be OK. All you can do is try it and see! But I'm not sure if it will give you any more functionality than a double switch other than possibly replicating the mode switch with the 3rd switch.

Ahh...I can see that you've possibly missed one of the great features of Pod Go! And that is, footswitches can do an awful lot more than just putting an fx on/off - you can change umpteen parameters at the same time and set different pedals on/off at the same time. See here: https://www.youtube.com/watch?v=SJbw6Wz9iYM&t=167s So, for example I sometimes set FS7 as a clean volume boost for solos, and FS8 might be to increase amp or distortion gain, or both. If I wanted to alter the amp channel volume level and delay time and mix levels all at the same time, I can set any footswitch to do all this simultaneously. I can even switch the mic model if I wanted a different tone when I kicked in the footswitch. Now, you can do this with any 1-6 footswitch but the advantage of FS7/8 is that (a) you can kick these in from any mode (ie you don't have to go to stomp mode) and (b) these give you extra flexibility so if you wanted to keep your 1-6 footswitches for normal on/off you can, and then use FS7/8 for special changes as flexible 'control' pedals.

@luisriverIf my Google translation is working correctly, thanks for confirming that you personally are not bothered by this issue, and because you like the freedom of Pod Go 'as is' you are not interested in adding an external buffer. But because of the sheer volume of posts on this around the internet, youtube etc, you feel it's important that line 6, regardless of whether this can be dealt with by firmware upgrade or not, should be responding on this to help calm all these posts down. I've previously posted on 'the Gear Page' forum asking @Digital_Igloo(the handle for Eric Klein, the Chief Product Design Architect for Line 6) if he might be able to make some comment on this that could be shared, for the very same reason, as I think he's really the only person senior enough to do so, but he's a very busy guy and only looks into some of the sites periodically so may not have seen this.

Wow - 3 people with the same problem! I can't believe 3 units are faulty; common sense suggests this must be to do with settings or an issue with the firmware upgrade to v1.30 @crisstit@JNorrington@ograndry Guys, I think you all need to log a ticket with Line 6 Support 1. what computers are you all using - PC or MAC? 2. Did you all update firmware through Pod Go Edit v1.30? (which is how you should be upgrading) 3. Does your Pod Go display now show v1.30? 4. In factory patches, every preset has one Wah block (automatically assigned to EXP 1) and one Volume block (automatically assigned to EXP 2). Does it show that Volume has been assigned to EXP2 and Wah has been assigned to EXP1? If not, try assigning the EXP pedal (probably easier in PG Edit). If you find the solution from Line 6 Support, please post what the problem was and how it was fixed.

There's been a lot of chatter on this and whilst I'm not suggesting there isn't a difference with a buffer, I do think this has all got a little out of proportion & is being over-hyped. If you use cables and put a buffer in front of most MFX you'll likely hear a slight difference to top end. Since Pod Go came out, customers have been singing its praises and its tones. It's only over the last couple of months and since these 'tone-suck' videos, that suddenly some customers are unhappy with their tone and saying that the impedance value in one of the Pod Go FAQ's was incorrectly stated. I use a Line 6 G10 Relay with my Pod Go, but I tried it with cables and although there is a slight difference in top end it's not devastating, and I get a similar variance with my Vox Tonelab SE, LE & ST units. I think a lot of this has to do with your cables - I have Pirhana straight cables & a Vox coiled cable (all top quality)and they behaved very similarly. You can add top end with some EQ adjustment, or if you prefer the tone with a buffered device in front, then go for it. Almost all Boss stomp pedals will be buffered, and wireless units like the Line 6 G10 Relay are buffered. Unlike Helix, Pod Go has no option to select a different input impedance; it's unclear whether Line 6 might be able to do something here via firmware but if it is, Pod Go v1.40 is in development so it's at least possible this might be something that Line 6 is looking into. However, in view of the amount of discussion on this throughout youtube, facebook sites and forum boards, and the reports to Line 6 support, I can only think that line 6 must be aware. At this juncture I'm not aware that Line 6 has yet made any response on this and inevitably there may be some customers who might therefore be feeling some degree of frustration. But if customers were enjoying their Pod Go's before then this really shouldn't be impacting on their continued enjoyment. There are some great vids & soundclips of Pod Go, including live use with cables, showing off some great tones - if there really was any serious issue I think this would have reared its head as soon as Pod Go came out and not some two years later! I've just re-listened to the Pod Go launch demo by Paul Hindmarsh (great player) at Namm2020 - Paul uses cables - and I don't recall anyone throwing their hands up in horror complaining that Pod Go sounded bad with no top end!! lol

Silly question, sorry - but you definitely have saved the IR in your IR folder? I'd suggest uninstalling the patches and IR, and re-install the IR file and then reload the patch to see if it now recognises the IR. If this doesn't solve it, although each patch allegedly uses the same IR, have you checked that the IR name in each patch you bought is identical? - it only needs to have one character different or an extra space, and Pod Go won't recognise it. Even if the name looks the same, try loading the IR's down into your IR folder individually (so you might have 2 or 3 with the same name) and see if the patch then 'gravitates' to one or other of the 'same' IR.

P6 para 11 of the latest OG Wireless manual...when you connect an external expression pedal, the onboard expression pedal defaults to EXP1 which means only EXP1 can be used as a wah and EXP2 can control volume or fx parameters....but it can't be used as a wah. A bit restrictive I agree, but unless Line 6 changes this, I'm afraid it's just how it is.

I appreciate the kind words but please appreciate I am not an expert patch creator. I have a reasonably good ear (I think it's the left one lol) and I can usually get in the ball park of what I'm looking for. I'm also not a great player, more of a reasonably decent bread and butter player that can more or less hold his own in the genres of classic rock and blues which is mostly what I tend to play. Because I'm an oldie, I have some advantage based on experience. When I started playing, there was only valve amps and solid state, so I grew up with valve amps. My first foray into modelling was with a Boss GT3 and my first modelling amp was a Line 6 Flextone II Plus rig. I then switched to Vox with a Valvetronix AD120VTX rig and later Vox Tonelab SE and LE MFX units. So I had a fair bit of experience with modelling gear. But even for me, Pod Go was a new level of learning curve, and I'm still learning, simply because there is just so much in it. So don't be too hard on yourself and give yourself some time. The more you learn, the easier it gets. Watch the vids on building patches, try the free patches on Custom Tone, and start off slow in the manner I suggested. Once you've got a better feel, then you can decide whether you want to buy more patches. But by that time you'll be learning about IRs and a good IR can really make a difference providing you use it with the right patches. Anyway, good luck and I hope these posts have been of some help. PS- I'm not familiar with your headphones but they are studio monitoring so should be decent. You could always try the ATH m50x to see how they compare. The other popular choice is the 80 Ohm version of the Beyer Dynamic DT770 Pro.

If the factory presets sound great with the FR112, then that's a huge win. It's likely the factory presets were designed using FRFR which allows the modelling to shine through without any undue colour being added. As I explained, headphones and FRFR cabs can be quite different. What headphones are you using? I use the Audio Technica ATH m50x that are studio monitoring and give very similar tones to the those when I use my Headrush FRFR 108.

I think your points are fair comment and on reflection I think my post could have been a little more balanced so I've tweaked the post accordingly. I also appreciate that folk sell presets through the Line 6 sections so in the words of Ben Elton 'there's a little bit of politics' here too. But I stand by my cautionary note that folk need to be wary before buying presets. If you buy a preset and need to tweak it, which you invariably will, and are buying it as a short cut because you don't have the tonal vocabulary to create your own...then how do you have the skills to tweak it? I'd therefore strongly recommend folk invest some time learning basics themselves before buying presets. The other thing to look out for when buying presets is where a preset uses a third party IR. Always check that that the IR wave file is included as part of the package. Otherwise you'll have to buy the IR separately if you want it to sound like the creator intended.

My advice is to be wary about buying presets because they are created with different gear and with different ears to you. Different guitars, pickups, amps, speakers, FRFR, headphones etc - the permutations are considerable so whilst its possible you might buy a preset that sounds great off the bat, you will almost always need to tweak these to suit. People can pay good money often thinking they are buying a magic plethora that will instantly sound fabulous. It's often a misconception. All purchased and free presets however can be useful to give you ideas to play with and tweak. There are lots of good vids on youtube guiding you through how to build presets and its essential you learn about tone and how to do this yourself. It's a learning journey and there are no quick fixes - but it's important to enjoy the journey and not be afraid to experiment because there are no 'rules' to speak of. Pod Go creates option paralysis because it gives you so many choices of amp, cab, microphone & effects models. And that's before you even start thinking about EQ and fx chain order. It's a huge learning curve. The Laney FRFR112 is excellent - but it's something else you're going to have to learn to use because it gives you cab model options too. If you use these and the cab models in Pod Go you're going to make like overly complex because now you've got to think about blending cab models too! And FRFR is different to headphones & different again through an amp. Patches that you've made with headphones will sound very different when going through FRFR. And a patch made with your headphones might sound very different through mine. For Pod Go you ideally should be using studio monitoring headphones, rather than hifi headphones. Studio monitoring units have a different frequency response and are more akin to FRFR. Also, patches that might sound great for home use can often sound awful live - & vice-a-versa! Live you'll want to up mids to punch through the mix. Your ears and gear are receiving audio info in different ways. So you need to design patches for different uses. It's just physics & is just how it is I'm afraid. So, start slow. Pick one favourite amp model and a cab. Forget effects. Experiment with the parameters to hear what they do - go to each 'extreme' and then find somewhere in the middle that sounds good to you. With the cab, raise the output dB by 3-4dB and add some reflection. Don't overdo gain on the amp - just like a real amp, if you overdo settings it will sound muddy/mushy. Channel volume doesn't affect tone - master volume does. If you max master volume you're effectively pushing power-tubes and that will add a certain type of distortion that you may or may not want. Experiment with different mics and distances The mic type and settings can drastically change your sound. Steer clear of thirdparty IR's for now - you have enough to learn about first - IR's can come later. The stock cabs are very good so learn how to get the best from these first. Re EQ, you may or may not need/want this. But using a fixed EQ block at the end of your chain is the easiest way to start. Play with each slider to see what they do. Raise the level by a couple of dB if you want the parameter changes to be more noticeable. If you find a patch where you really like what the EQ does, copy the EQ type & settings and tweak from there. Next thing is to add some reverb. Keep it simple, use room, plate or hall to start with. For delay, use eg the simple delay to start with. Again, experiment with parameters and get the feel of what these do. When you find a favourite setting you can save these so next time you don't have to start with the factory default. There are lots of free tones to try on Custom Tone - some you'll like some you won't. Don't expect instant gratification - have a look at how the patch is made up. You might love the reverb choice and settings but hate the amp distortion. So, experiment with the amp, cab & mic model before rushing to another amp model. Learning takes time. Re FX chain, there are no 'rules' but generally you'll likely want compressor & distortion in front of the amp, with deal after the amp and reverb after delay. Modulation can vary - some will sound good in front of the amp after compressor/distortion, sometimes you might want it immediately after the amp and before delay. but experiment! Don't overdo any model. Start with subtle effects before progressing to more extreme versions. It's like oil painting - you start with an undercoat and gradually add pain in layers - the trick is knowing when to stop adding paint and how to mix the colours so they give a pleasing result. If you bought Pod Go thinking it's plug n play, it isn't - as I said there's a lot to learn. I've been using it for two years and I'm still learning & scratching the surface! If you're not already on, you might want to check out the Facebook " Line 6 POD GO - Free Patches Group" It's run by Ivan Pesut who's a lovely guy and very talented with audio and building patches. He has a ton of tutorials and great free patches to try (I'm on the group & now moderate it too), and it has really nice helpful folk on it. Finally, there's a few of my patches on Custom Tone (search 'voxman55') you might want to try. Again, these may or may not sound good with your gear, but see how you get on with them. And you don't need tons of patches - you can do a lot with even just one patch. As an example, one of the patches I created was suggested to me by someone else with an amp model I'd not used before (remember, 'experimentation!'). I wasn't crazy about the original patch as it was so tweaked it to fit what sounded good to my ears. I also did a quick homemade audio demo - it was designed to be a general purpose patch that in theory you could cover a gig with - it was fun to make so see what you think (cleans right up to Led Zep/Rush tones): https://line6.com/customtone/tone/5101684/ Audio clips

No news yet I'm afraid. @Digital_Iglooif you're looking in, anything you might be able to share with us? Thanks!