voxman55

Not a stupid question at all, and great way to free up your blocks. You could place it in front of your PG but you might get some noise - if you put it in your PG's FX loop you can then position the compressor wherever you want in the FX chain when the PG's built in noise-gate will avoid any unwanted noise/hiss, and you have greater control of the compressor signal. See page 24 of the Pod Go manual:

As I suspected, it's the PRS set-up & you're likely getting double toning - if the strings are older, re-string, check the pup heights (these likely need lowering a bit), intonation & neck relief.

At $69.99 the Pod Go bag looks hugely overpriced. https://www.zzounds.com/item--LINPODGOBAG?siid=285580 Dimensions are: 4"Dx12"Wx18"H If you want to pay way over the odds because it says 'Pod go' then fine. Otherwise, a Gator bag at $32.99 is less than half the price: https://www.musiciansfriend.com/accessories/gator-micro-key-controller-bag Interior Dimensions Interior Length: 16 in. Interior Width: 10 in. Interior Height: 3 in. Interior Lengh (Aux): 10 in. Interior Width (Aux): 7 in. Interior Depth (Aux): 1 in. Exterior Dimensions Exterior Length: 17.8 in. Exterior Width: 11.3 in. Exterior Height: 3.8 in. Exterior Weight: 1.2 lb. FEATURES Gig bag for midi controllers and production samplers; 16 x 10 x 3 in. Heavy-duty rugged Nylon construction Padded, soft-lined interior Comfortable, adjustable shoulder strap Large exterior accessory pocket perfect for cable and connectors

I corrected my OP re cable, as above. First thing then is to check your guitar set-up - is the tremolo tone worse (or only) on the wound bass strings?

That's what happens when you type late at night - doh! Quite right @woffles thanks for the good spot - I've updated the OP & given a link to the cable I'm using.

Hi Bruce, in your set-up you have 5 components, and it's a case of troubleshooting to find which one is the cause (- it's up to you re the order you want to check things and my order below is simply a suggestion): PodGo PRS SE 24 Headrush 12 Guitar cable (Guitar to Pod Go) Speaker cable (Pod Go to Headrush) (NOTE: The cable from the POD to the HeadRush should be a "balanced" cable instead of a guitar cable. It's the stereo type). 1. First thing is to check your Pod Go to Headrush cable - if you're using a guitar cable, I recommend you use a balanced stereo type cable instead of a guitar cable. This is the one I use: https://www.amazon.co.uk/Stagg-SAC3PS-DL-Deluxe-Instrument/dp/B0030LVCDK 2. If that's OK, next is to check your guitar set-up. (And based on your description, I think this is 'favourite') If the strings are too close to the pickups, i.e. the pickups are set too high, the magnetic pull can interfere with the strings natural oscillation. As you press strings higher up on the fret-board, the strings get ever closer to the pickups. Have a look to see how near your strings are to the pickups when pressing above the 12-15 frets. I'd suggest adjusting your pick-up height right down initially and seeing if this makes a difference - aside from getting a bit less volume if I'm right your warble should be gone. If this fixes the problem, then it's a case of adjusting the pickup height back up but not so high that the warble starts again. This warbling or double toning is typically more pronounced with distortion as opposed to clean tones, and impacts more on your wound strings, particularly the bottom E, because these are wound & thicker, and with more metal for the pick-up pull to affect - it's a particular problem with old Strats that have original pickups with non-adjustable set pole-pieces. Older or dirty strings can exaggerate the problem, so I'd also clean the strings with something like GHS Fast-Fret (especially any gunge underneath) or even change the strings if these are older, to ensure these are vibrating correctly. But for a proper set-up, including setting intonation and the neck, you really need new strings. If the neck is not set correctly, this can also be a factor as to how your strings are oscillating. 3. If a correct set-up and new strings does not resolve the problem then this warble could be caused by the electrical signal. Particularly if you are in the USA, the quality of electricity can vary enormously. Digital gear can be very susceptible to 'dirty' electricity by which I mean where the supply voltage and current fluctuates, and/or there is interference. Try your set-up in different locations both in your own home and, if possible, a neighbour or friends home, to see if the problem is still there. if this is the cause, you may need to invest in a line-conditioner that will clean & stabilise the electric voltage and current getting to your gear. If it's none of the above then it's possible there's an issue with your Headrush or Pod Go eg a software file-patch corruption glitch. 4. Next, I'd suggest backing up your Pod Go via Pod Go Edit, and doing a factory reset by pressing C&D foot-switch buttons whilst powering up. Then re-import your Pod Go back-up and test if the problem is fixed or still there. 5. If you have other gear to put Pod Go through, eg a guitar amp, or you have access to a friends guitar amp, see if the problem is still there. Let us know how you get on?

Numerous ways. But for a clean volume boost I use the main out and increase it by 3db. Alternatively you can put the EQ at the end of the chain and increase EQ level similarly. It's easiest to set up in Pod Go Edit, and assign those parameters to F7/F8.

I have one patch where I use F7 to change mic type and distance. But because you can't see F7/F8 on the stomp mode screen, and name multi-functions even if you did, I concur that sticking to a set thing for each makes sense. But Line 6 needs to give us a proper upgrade so that we have at least this functionality. I'd also like the option to use F7/8 to patch up/down so that you can still change patches even when in 6-stomp mode view. Another option is to try & name a patch in a way that tells you what F7/8 do. Eg the patch I mentioned re different mic/distance I named: 2204GB4213576F7. 2204=Marshall JCM800; GB=Greenbacks (speaker cab) 421 = ribbon mic; 3 = 3" distance; 57 = 57 Dynamic mic; 6=6" distance; F7 = F7 is the control to switch these mic/distances. It's not ideal, and characters are limited, but at least its one possible way to tell you what F7/8 do. For gigging I'd simplify eg Rock-F7micF8dbst (dbst=distortion boost) etc

If you think you'll regularly need routing options and 2 amps at once etc, then Pod Go isn't the right tool - you need Helix, Helix LT, or Helix Stomp.

The factory EQ settings are pretty much neutral. You need to tweak these just as with a physical EQ'. They can make a huge difference and location in the chain is very important. You might hear the biggest impacts at the front and/or end of the chain.

I appreciate you're a newbie but I strongly urge you to read the manual. Whilst a lot in Pod Go is very intuitive, it's not entirely 'plug n play' and the manual is very helpful. P9 & of the manual - in edit view for the delay just press the knob far left under 'Time' and it will toggle between millisecond and note divisions:

The delay settings show time in m/sec and an alternative note setting in most or all delay types. Its easier to access in Pod Go Edit.

I too don't like Pod Go or my Vox Tonelabs (SE/LE) through the FX return of an amp, and also usually prefer it through the 'front' where the amp is set to clean. But the problem here is that it colours the tone, and time based effects sound bad when you switch between clean/gain channels. You can use the 4 cable method to solve that so if you haven't yet done so you might want to try the 4-cable method that allows you to use eg the gain channel of your amp with time based FX in the FX loop. But I now don't use my MFX units through an amp. Live, I'll go through the FOH PA, and at home I use headphones. However, I recently got a Headrush FRFR108 which sounds terrific with Pod Go and my Tonelabs. So if I do want to play 'amplified' with my Pod Go/Tonelabs at home, rehearsal or smaller gig where I might not have a PA option, or if I just need a monitor, the FRFR108 fits the bill perfectly. being Full Range Flat Response, it doesn't colour the MFX unit tone so I get a consistent tone that allows the modelling to shine through as intended. It's also very light (only 15 lbs) and very compact, with options to direct at an angle due to its shape. And it's incredibly loud and clear with lots of full bottom end. I've been so impressed with it I might even buy a second one once I start gigging again! And at under £200 (UK) these aren't expensive

I too don't like Pod Go or my Vox Tonelabs (SE/LE) through the FX loop of an amp, and also usually prefer it through the 'front' where the amp is set to clean. But the problem here is that it colours the tone, and time based effects sound bad when you switch between clean/gain channels. You can use the 4 cable method to solve that so if you haven't yet done so you might want to try the 4-cable method that allows you to use eg the gain channel of your amp with time based FX in the FX loop. So I now don't use my MFX units through an amp. Live, I'll go through the FOH PA, and at home I use headphones. However, I recently got a Headrush FRFR108 which sounds terrific with Pod Go and my Tonelabs. So if I do want to play 'amplified' with my Pod Go/Tonelabs at home, rehearsal or smaller gig where I might not have a PA option, or if I just need a monitor, the FRFR108 fits the bill perfectly. being Full Range Flat Response, it doesn't colour the MFX unit tone so I get a consistent tone that allows the modelling to shine through as intended. It's also very light (only 15 lbs) and very compact, with options to direct at an angle due to its shape. And it's incredibly loud and clear with lots of full bottom end. I've been so impressed with it I might even buy a second one once I start gigging again! And at under £200 (UK) these aren't expensive.

In order to release DSP for the looper you have to physically remove at least one (possibly more) of the effects in your 4 user blocks to create room for the looper, which will take up one of your 4 user blocks. So if you have any patch where all 4 user blocks are already allocated, you will have to delete one block so that you can add your looper. Turning blocks off has no impact on DSP allocation, it simply means they are not active in the patch until you switch them on, but the effect is still there and so is still taking up its allocated DSP. Re the looper, be sure to read the manual re your options (stereo/mono, single or 6 button operation etc) and functionality. The Pod Go looper has certain limitations not just re its short recording time but also functionality ie ability to use different patches - you can't switch tones from one patch to another whilst using the looper unless that patch is set with a looper in one of its user blocks, and the looper is set in exactly the same format for each patch eg mono, single switch etc. The looper is fine for more basic applications but if you are a serious 'looper' you might be best to consider using an external looper with Pod Go for easier and more comprehensive operation that will let you switch between any patches, and to also release that 'block' in your Pod Go so that you can use (up to) all 4 for other effects.

As a gigging player (well, not at the moment sadly due to Covid in the UK) I actually like that the Volume, wah and EQ are in every patch. I own two Vox Tonelabs and in these you have to manually set Wah in a patch. There are 11 options inc wah, compressor, distortions, uni-vibe in the pedal section. But you can only select one pedal per patch. The TLSE has two expression pedals so you can have one for Volume and one for wah/expression. The TLLE only has one expression pedal. The TLSE/LE had no EQ pedal option although the TLLE gave you EQ controls in one of its global Line-outs. Where Tonelab was good is that its static DSP meant you could always have: 1 amp, 1 cab, 1 reverb, 1 delay, 1 modulation, 1 pedal, noisegate, and volume expression control in every patch. The Zoom G5n that I had for while was a pain to use. It was advertised as offering up to 9 different amp/cabs/effects in a patch, but it's grossly misleading. If you wanted to assign volume control, wah, and add a noisegate, you had to do this per patch & each would use up one of its 9 slots. An amp model uses up 2 slots, a cab one, and certain effects and EQ's also took up two slots each. So you could use up your 9 slots very quickly. It was also a pig to tweak because of its long scrolling menus but it did have an extra screen to see the effects chain. So, if you chose one amp (2 slots), one cab, a noisegate, volume and wah control on the expression pedal, and added a simple EQ, that's 7 of your 9 slots gone leaving you room for just two effects! With the Pod Go, noisegate, volume pedal, wah, EQ and cab are all available globally in every patch without impacting on your 4 user slots - these alone would take up 5-6 of the 9 slots in the Zoom G5n (the Zoom G3n only gives 6 slots!). In Pod Go I can kick in a wah on every patch without having to program one in, and the cab is linked to the amp model so the cab doesn't take up a user block.

"For me an EQ is just a very ordinary FX." Then I suspect you might not be that familiar with what an EQ can do. Having been playing for almost 50 years, I can share with you that an EQ is arguably one of the most under-rated and single most important FX on a guitarists pedal board, and can be a vital tonal 'secret ingredient' because (used properly) it can help sculpt your tone in a way that no amps on-board EQ can. It's also incredibly versatile as depending on where you place it in the signal chain you can use it as a clean volume boost or a gain boost, or both, to scoop mids, add high and/or low frequencies, to shape your cab tone, fx tone etc. If you're not using the EQ in your Pod Go you are missing out and I strongly recommend you spend some time with the models and experiment - the 10 band & parametric versions in Pod Go are particularly good. The EQ slot in Pod Go uses very little DSP so there would be no benefit in removing it as a 'fixed' block because it wouldn't release anything like enough DSP to use somewhere else - think of it as the EQ's DSP use being equivalent to a tennis ball, and all other amps/fx being at least the size of a soccer ball!

That only happens when you've reached your DSP (Digital Signal Processing) limit and there isn't enough DSP 'space' available to hold those two delays in addition to your other blocks, including your amp which, although a 'fixed' block, it shares the remaining DSP. Think of your DSP allowance as a container with a lid that can only hold 1 litre. The amp models & FX all take up different amounts of space in your container. Have a look at the Helix DSP chart at Benvesco.com (see link below) to see how much DSP your favoured delay and amp and other fx are using. As an example of high DSP usage models, the Marshall® Super Lead 100 (jumped) amp uses up 40.83% of your DSP container whereas the normal channel Super Lead 100 is only 34.88% and the preamp version of the jumped Superlead 100 is only 25.52% (pre-amp versions are essentially the same but just have fewer parameters for you to tweak) The highest DSP reverb is a spring reverb that uses up 36.03% whereas a room, plate, hall, tile, cave, chamber or echo reverb use only 13.61%. The highest DSP delay is the multitap 6Line 6 Original that would use up 28.07% whereas a simple delay uses only 7.6% of DSP. Your other fixed blocks of EQ, volume, wah, and stock cab (IR's use up an extra 3.2% of DSP) are all allowed for and their DSP is 'reserved' so these don't affect your remaining DSP ie these don't take up space in your 1 litre container allowance - think of these as being kept in a small side container that you can't alter - so if you don't use an EQ you can't release its DSP allowance - but in this small container there's very little DSP in there anyway. Hence in the chart, these are all shown as 0% DSP in Pod Go). So, if you've reached a DSP limit, try using less DSP hungry options to free up DSP. See the chart (look for the Pod Go column on the right) here: https://benvesco.com/store/helix-dsp-allocations/

Dynamic DSP just takes a mindset change if you're used to static DSP. I had to make the adjustment having been used to my Vox Tonelabs, but I now see the benefits. There are always different options you can use if needed and rarely am I not able to use all 4 user blocks with some sensible compromises. My only 'beef' is that Line 6 has not provided data for users to help them see the DSP heavy amps and effects, and it took a non Line 6 person to create and share a brilliant comparison table and video on the topic (see Benvesco.com).

It's always best to research gear before you buy as your question suggests you haven't seen the Line 6 videos, or read the reviews, manual or read the FAQ's here. Pod Go is designed for simpler operation. It's specifically designed with fixed blocks and user blocks. Amp, Cab, EQ, volume, Wah are in every patch. You can turn them on or off and you can select any version available ie you can replace your EQ, Amp, cab, volume and wah with a different type of EQ, Amp, cab, volume and wah but you can't replace these blocks with something different. ie you can't change EQ, volume, wah etc to a distortion or modulation pedal. In addition you have up to 4 user blocks. Pod Go uses dynamic DSP, so from time to time if you are choosing amps, FX that are high in DSP usage you might find some options are restricted. There are a lot of videos, and a lot of posts and FAQ's here that provide a ton of info, You need to do a bit of reading/watching. EG:

Glad it solved your problem, but its really @spaceatl you should thank as it was his post. Lol

There you go, boasting about your large dongles again! Lol

No, Pod Go cannot run parallel routing or allow you more than one cab and amp model at a time. It is not a Helix, it's a 'Pod' that benefits from Helix modelling. If you need those sophistications, the Helix LT will likely be your best option from a cost perspective, particularly as used prices have reduced significantly, partly due to Pod Go arriving on the scene. There are other differences eg in Pod Go you can't currently name 'snapshots' but in Helix/Helix LT you can, and in Pod Go it has a single rather than the dual processor in Helix/Helix LT. Pod Go architecture means you have certain 'fixed' blocks that you cannot change eg you can change an amp, cab, EQ, Volume, Wah for different types of each, but you can't make an EQ a chorus, distortion pedal etc. You then have UP TO 4 user blocks. Different amps & FX use different amounts of DSP processing, so depending on the models you choose you may have some options restricted. Helix and LT are much more powerful and you have greater flexibility/options but these units are a lot more expensive, and a lot bigger and heavier. Pod Go does sound exactly the same as Helix though, but is missing 3 very DSP intensive FX that are too draining for Line 6 to offer effectively in Pod Go. It's early days, but Pod Go is unlikely to benefit from Helix upgrades because it is not a Helix and doesn't have the processing power. So far Line 6 firmware updates have only focussed on fixing bugs, but as yet Pod Go has had no true upgrades of features. It's a very good unit, but it's a much simpler beast than Helix, intended for a different market.

Perhaps keep an inexpensive laptop in the studio so you can load Pod Go Edit on it, and back up all your patches from home Inc new patches, changes on a USB stick to import. I'm not quite sure why you can't use Pod Go Edit without plugging in Pod Go as the Vox Tonelab Sound Editor for SE and LE allow you to open, see/import/export/tweak patches offline. I too find it a bit annoying. Of course a mobile app with Bluetooth would resolve, but then Pod Go has no bluetooth or Wifi capability.

Yeah, probably right! LOL