voxman55

Have you updated pod go to the latest firmware? If not, do this first and your presets should appear.

Hi both - @cristt said: "oh well I didn't get that part! it's pretty obvious that if the wah is on and you change wah model, you can't expect it to work until you turn it off and back on! it's normal behavior." The above didn't sound right to me so I've just checked my Pod Go. When I select the wah (ie red led on) regardless of whether I change the wah in the Pod Go or via Pod Go Edit the wah model immediately changes type with no cut out or even any noticeable lag - it's immediate, so if I change the wah model even whilst hitting a chord or playing a riff, the model immediately transitions. So @boynigel I think you are either experiencing a settings issue re how your wah is set to switch on/off or there is a software glitch. I'd suggest a reboot back to factory (save your custom patches first via Pod Go Edit so you can re-import these). Before reloading your patches, check if the same thing happens with factory patches. If that doesn't work, I recommend you send Line 6 Support a link to this thread and a back up file to to see if they can clarify where the problem is. But I can confirm that what you are experiencing is NOT normal behaviour. Hope this is helpful.

If you only need fx the HxFx is the best way to go, no question.

No, 'fraid not

It's a nuisance isn't it. You can see the full name as you move the slider, but as far as I'm aware you can't expand the left hand list. Maybe future versions will give a bit more flexibility 're view options.

It's a very clumsy system. The editor software of my Vox Tonelab is much easier. If you do a full backup you can access any preset to cut, paste, copy or tweak it...even off line. So I can load patches and back ups and move patches around easily without even having to connect my Tonelab. I don't understand why Pod Go Edit forces you to connect Pod Go before you can do anything, and why it doesnt save backups as a collection of individual patches. Its such a long hard tedious process if you wanted to save every patch as an individual patch. Surely the software could give an option to do this even if it took a while to backup...even if it took half an hour you could just leave it. Nuts way of doing things.

I made enquiries with Beyerdynamics as to which version would be best with the 32 Ohm output rating of Pod Go and they advised the 32 Ohm version. My m50x sound excellent. I'm afraid I lack the technical expertise to comment on the article or the authors premise that the higher impedence the better the sound quality so I'm afraid I can't guide you here.

Hi, the Pod Go is 32 Ohms so I'd advise against any 80 ohms versions. There are two headphones that seem to be particularly well regarded for studio monitoring (which is what you really need for an MFX like the Pod Go) - the BeyerDynamic DT770 Pro 32 Ohms and the Audio Technica ATH m50x 38 Ohm - both are studio quality monitoring headphones that sound great. I have the ATH m50x that comes with a carry pouch and 3 detachable leads - a 3-meter coiled cable, a 3-meter straight cable, and a 1.2-meter straight cable. Typical UK price £110-130. It's collapsible and comes in different colours too although mine are just black. The BeyerDynamic DT770 32 Ohm has a fixed lead and is non collapsible. My only concern with the DD770 was that if the lead go's, which all leads can, it's a problem to replace. I also liked being able to collapse the ATH m50x. But both the DT770 Pro and the ATH m50x are great quality and very well regarded, and both are similarly priced and are similar performing albeit there are some tonal response differences. I think you'll be fine with either but here's a comparison review that you might find helpful: https://www.headphonezone.in/blogs/buying-guide/comparison-beyerdynamic-dt-770-pro-audio-technica-ath-m50x

Nope, but see here for more info re the blocks.

Hi, 1. How many cables are you connecting in your Pod Go and which sockets in your Pod Go are you physically connecting to? 2. what type of cables are you using to connect your Pod Go to your PA? 3. What length of cable(s) are you using? 4. Have you set your main outs to Line level (if that sounds harsh have you tried changing it to 'amp level') 5. When you say PA, I assume from your description this a bona-fide PA with a mixing board, (rather than you connecting Pod Go direct to dedicated powered-speakers?) When connecting to a PA it's usually best to connect Pod Go via XLR cables. Although Pod Go doesn't have physical XLR sockets, it has the equivalent. From p6 of the manual, you should be using balanced TRS cables to connect Pod Go to your PA board. These are exactly the same as XLR cables. You can use a 1/4" balanced TRS cable(s) to connect Pod Go to your board if your board has 1/4" TRS inputs. If your board only has inserts for XLR connectors, you can easily buy a 1/4" to XLR connector cable that will allow you to connect a double-ended XLR cable to Pod Go, like these and cost only £3.49 UK each: https://www.gak.co.uk/en/stagg-sac-male-xlr-to-stereo-jack-cable-1m3ft-sac1psxm/119051?gclid=CjwKCAjw_sn8BRBrEiwAnUGJDlhb3IQ9QjWNUqBTjAN1S0bCBSEm_9RErYNpzIpA-6U8NZpf3b6BbRoC060QAvD_BwE&gclsrc=aw.ds

But have you tried experimenting with the FX loop position? Its there of course to let you add external fx and place them anywhere you want in the signal chain. Thus, the fx loop is just another block and like every other block, when you place pedals in it, the order of your pedals in the block AND the position of the fx loop block will change your signal chain and how it sounds. Also, you can set the fx loop to line level, or to accommodate stomp boxes. Have you checked your settings and tried both? And you should also check the return out settings. See p32 of the manual for details.

If you've put the fx loop at the end of the chain, that's likely why...try changing the position of the fx loop. What external fx are you running in the fx loop and how does your on board chain look? Generally, but not set in stone by any means, you'll typically want time based fx after the amp and distortions before it.

As I said, Pod Go is not 'plug n play' - and it isn't for everyone but hey, I'm an oldie and I had to go on a learning curve too, but if I can pretty much suss it out enough to get good tones, I'm sure you can too. But (and I'm being serious) if you really don't have the patience/inclination and don't want to go through that effort and just want to plug in and play (which I totally respect & get!) I honestly think its the wrong unit for you and perhaps a more straightforward stomp pedal like unit such as the Boss ME80 might better suit your personal needs? It sounds great, its built like a tank, has loads of features, and is very straightforward to use - effectively it's a series of stomp boxes with real knobs. I seriously thought about an ME70 or ME80 but it didn't suit my personal needs. However, a very good friend of mine uses it professionally and he swears by it.

LOL! Well, that's why I suggested you don't buy IR's. Whether an IR is 'good' is wholly subjective. One buyer might think an IR is fantastic, another will think it's awful. A lot of folk who've spent time with IR's have come to the conclusion that they'd just rather stick with the stock cabs. IR's a rabbit hole you can get lost in. If you're expecting a magical solution there really isn't one - but try this one free IR to get you started, as it's pretty decent: https://www.dropbox.com/s/m4fwk8jx6m08hse/ML Sound Lab's BEST IR IN THE WORLD.zip?dl=0 So, are IR's really better than the stock cabs in Pod Go? Better is a highly subjective word, but they can be 'different'. Why do I say 'can be' - that's because the stock cabs are actually pretty good and you'll often be able to tweak these to sound pretty much the same as a lot of IR's. But I honestly think you need to start from the basics and learn a bit about what the stock cabs & mics etc can do. So, just concentrate on ONE cab to begin with. Use that to decide what you like and don't like. for example, I play classic rock so I like Marshall/Marshall type amps. A 4x12 25w Celestion cab is pretty classic. So I picked that cab to start with. I increased the output level by 3-5dB because I found it gives a fuller tone (a big reason why IR's can sound 'bigger' is just that most are set with more Cab output) plus it more clearly highlights the tonal differences from adjustments. I found through experimentation that, generally, I prefer the mic 2.5"-4" away which gives an airier more amp in the room feel without overdoing it. Adding 25% early relic gave me just a tad more 'bouyancy/fullness' to the sound, again without overdoing it. Re the mics, I quickly found that there were only a few favourites that 'did it' for me. No surprises in that these were the three big industry standards. There are really only 3 main MIC types - dynamic, ribbon, and condenser. See here: https://www.musicianonamission.com/types-of-microphones/ For me, I generally mostly go for: SM57 dynamic - this is modelled on the Shure SM57 which is probably the most used mic in recording and micing up amps 160 Ribbon (Bayerdynamic M160) - very expensive studio mic in the real world! I like the 121 too. Occasionally I'll go condenser - typically the 414 Condenser (AKG C414 TL11 The SM57 is very much 'in your face' and will usually sound louder, but the Ribbon mics & Condenser mics pick up different nuances that are more sensitive to touch playing. There's no right or wrong here' it's just what you like. Once you've found a few favourites it makes setting your cab much easier. But it's really easy to go through them all in a minute as a check in case a different mic happens to give a tone you like or are trying to match. Re high & low cut, these are essentially EQ - slide all the way to the left and the right to hear what these do. A common approach is to set these as per the real speaker specs. Look up a 25w Celestion greenback specs and you'll probably see a frequency response range from 70Hz to 5,000 Hz. So setting the low cut to 70Hz and high cut to 5000 Hz pretty much replicates the real thing. But unlike the real thing, you can 'cheat'. Sometimes I'll slide the low cut all the way to the left, and the high cut all the way to the right (off). You'll quickly find what your ears prefer and follow that for other cabs too. Mix - I leave it at 100% generally, just like in the real world. Once you've found a few favourite stock cabs that work for you (and generally I'll go for a Marshall cab with a Marshall, a Fender cab with a Fender amp etc) and set these as you like, THEN it's time to compare with some IR's of those cabs & see if you like the difference, or whether you can actually match the tone pretty much with some minor tweaks and don't need to load the IR anyway. Some IR's you won't be able to match eg they've used multicabs/mics or a cab version that's a bit rare. Think of it like choosing a car - before you buy you need to decide what makes you like - Ford, Mercedes, BMW etc (akin to Marshall, Fender, Vox etc), how many doors (3,4, 5 - akin to 1x12, 2x12, 4x12 speaker) then the specific model (eg Vox 2x12 Blues, Silver, greenbacks), then how does it feel to drive ie how does the cab sound to you? What you're hoping for is that someone can just recommend an IR for you akin to recommending a car for you. I'm afraid me old china that you really need to invest some time in to learn about all this, at least the basics. Although it's a much simpler avenue to Helix modelling than a Helix, the Pod Go is not a plug n play MFX. If you're not prepared to invest some time to learn to walk before you can run, I'm afraid you've just got the wrong unit for your needs. But I promise you, once you get a feel for the basics, it's all actually a lot more straightforward than you think - and learning about tone is a really enjoyable part of the journey because you can make some great discoveries that can transform your tone & your playing enjoyment. But don't get overly hung up on all the permutations - because it honestly doesn't work that way. Hope all this is of some help (others will have different views re approach etc, which is fine). It's a journey, so enjoy it - otherwise you could easily keep ending up at the wrong destination with no understanding as to why!

Here are some free IR links, some you need to subscribe to get some free stuff but that's no biggie: https://wilkinsonaudio.com/products/gods-cab https://seacowcabs.wordpress.com https://redwirez.com/pages/the-marshall-1960 https://www.ownhammer.com/store/index.php?ma (new free pack in development, so one to watch for) https://pluginfox.co/products/catharsis-impulses https://www.soundwoofer.se https://tonejunkiestore.com/impulse-responses-1 https://laptopguitarist.com/category/downloads/cabinet-impulses/

I bought my Pod Go towards the end of June, and it was a tough decision as to whether I went for the Pod Go or the Mooer GE300 which would have been around £140--150 more but had a lot more features with an aluminium case, MIDI, tone capture, 10 stomp buttons, fast button access to 15 blocks, synth, 30 min looper with ability to save loops, and a twin chip set that made it a lot more powerful than Pod Go. Amp and cab models were comparable in quality and it had really good write-ups with no serious bugs reported, and a number of bona-fide upgrades. So, it's safe to say I was tempted as at least on paper, it looked a more sophisticated unit, with a size and weight that was not dis-similar to Pod Go. But the single biggest reason I went with Pod Go was because of Line 6's reputation for excellent customer support - at the end of the day, I was buying an electronic item that could fail and I wanted the peace of mind that if anything went wrong, I had the confidence that Line 6 would sort it. So three and a half months on, I'm pleased to report that, following the bug fix upgrades, my Pod Go has been functioning well with no problems. However, and forums such as The Gear Page refer (attended by Line 6 folk), a handful of others haven't been quite so fortunate and there have been a few cases reported of quirky behaviour that a firmware reload and/or factory reset couldn't fix, and even a thin white line appearing across some screens that appear to be a problem with the screen itself. But the good news is that once folk raised a ticket, Line 6 were brilliant. They arranged for the faulty unit to be returned and, to their credit, didn't even wait for the return before sending a brand new replacement unit out. With the number of Pod Go's sold it's inevitable that there will be a few breakdowns here and there, but the most important thing is that Line 6 Customer support was always there to put it right - no fuss, no arguments, no delays - they just got it sorted. And for me that's worth it's weight in gold. Owners of the Mooer GE300/250/200 haven't always been so well served not least because Mooer are based in China and there is no real UK/US customer support, certainly not with anything like the same infrastructure/dealer network as Line 6. And whilst these units have largely been very reliable a few folk have had to struggle with trying to get support from China and there have been some customer frustrations inc the difficulty of having to return units to China for repair/replacement inc language issues. I have no doubt that Mooer will get better here as they get bigger, and if you can get through to them they are supportive, but that's not much comfort if you're struggling with a problem unit. So whilst I find myself inevitably wishing the Pod Go had a bit more power and features, and the initial bugs were a bit of a pain, I'm confident that I made the right decision from the perspective of peace of mind and should anything go wrong I'm confident that Line 6 will be there to sort it quickly.

There are plenty of good free IRs out there and there really is no need to buy. It's a huge rabbit hole you can get lost in and waste a lot of money with. IRs are very much down to personal taste, the type of music you play, amps you like, and the guitars you use. Don't be swayed by demos of IRs. Just like patches that sound great on vids but sound like crud through your gear, IRs are just the same. I'll send you some links later. But bear in mind too that the Helix/Pod Go cabs are actually very good. It's all down to choosing the mic you like, the mic distance, high and low frequency settings, and dB levels...increasing the latter by 3-5dB can make an astounding difference. Based on the IR packs I've tried, which is quite a few, I can get 'there' or pretty darned close with the stock cabs most of the time. For what I play there's only a few cab types I really like e.g. Greenbacks for Marshallesque crunch, Fender cabs, and Vox Celestion Blues/Silver's. So I just ignore all the stuff designed for heavy metal, grunge, doom metal etc. I'd be very surprised if you genuinely need more than stock Line 6 cabs and free IRs.

+1 - I really like that. I have a nice 'Park' amp patch and I thought I'd try it with that. It's a very nice blend of the cabs adding some T75 top end and clarity to the Greenbacks whilst retaining the Greenbacks warmer characteristics. The cab mix has a nice airier quality so although the patch has Plate reverb set at 35% mix I had to reduce that a tad to 30% to compensate. What mic and distances were you using? Please do share any more you put together.

First thing is to make sure you have new strings, your intonation is set up correctly, and your pickup height isn't too near the strings. Lower tension means the bass string is more affected by the pull from the pick up magnets. If that doesnt sort it then it's likely to be your guitar set up not the Pod Go. Drop C is notorious for causing problems with a guitar intended mainly for standard tuning because the strings are so slack and it exaggerates any buzzing etc. Its why a lot of players will often dedicate a separate guitar for drop C. Ideally you need thicker gauge strings, a higher action, and a nut that is cut specifically to suit. If you only have one guitar for everything you'll have to make some compromises. I recommend you discuss your needs with a good luthier to see what might be possible 're achieving acceptable results for a wide range of different tunings.

Open request to Line 6: (@Frank Ritchotte and @Digital_Igloo ) Hi guys, now that Pod Go users have stuck through the initial Pod Go frustrations, with a number of bug fix firmware upgrades from Line 6, it would be really great if we could please now start to get some bona fide upgrades. Please can you update us on whether you are working on something for us, and if so when you hope to get something to us? I appreciate that there are processing power limitations and so we're unlikely to get DSP hungry upgrades like additional amp/fx models but some favourite wants that hopefully shouldn't use up too much DSP are likely I think to be snapshot and multi-switch naming. The ability to see F7/F8 in the display, and option to use F7/F8 for patch up/down would be very cool too. Please tell us what you can, Many thanks guys.

Totally your taste 're fx loop settings and mix ....just experiment to see what the controls do and go with what you like. Good to hear things are improving down under, and you keep well too.

Do you have a usb connected to pod go?

It's a mistake which Frank Ritchotte of Line 6 checked with the technical team, and confirmed. It's 32 ohms not 63 so 32 ohm headphones are the best match.

Yup, its likely the known USB cable issue then as per prev post. But different colour snapshot buttons is wierd, although many would like that themselves!

Is this when you are only connected to Pod Go, or are you connected to Pod Go Edit via USB. If the former, reset your PG back to factory settings by switching off, then holding buttons C&D when powering up. If you have custom patches/IR's, back up your PG first ('export') then import them back once you've re-set to factory. Don't worry re losing v1.2 - that will stay. If the latter, try Pod Go with no USB cable connected (still some USB connection bugs, see here): Known Issues in 1.12 In rare cases when connected via USB, POD Go may appear unresponsive after powering down a connected PC. If this happens, unplug the USB cable from POD Go, at which point it should behave normally On rare occasions, audio can be lost if POD Go is powered on while a connected Mac/PC is passing audio via USB On rare occasions, POD Go can freeze while restoring from a backup. In this case, attempt the restore again Sending a MIDI CC68 message from your computer can sometimes cause a graphical glitch If Global Settings > Switches/Pedals > FS Auto Assign is set to "Off," changing a block's model category can sometimes reflect the previous category color on the footswitch