voxman55

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.

There are unofficial 'jailbreak' .pgp variations where the patch script file is altered - these delete certain fixed blocks and add user blocks in their place. Totally safe (these can't harm your Pod Go as it's nothing to do with the firmware so NOT a hack although it's often wrongly referred to as a hack on sites and on youtube). You can find these on youtube links and also on various eg facebook pages. Some might be more stable than others & generally these will be where the amp and cab haven't been removed. Have a look here: Line 6 POD GO - Free Patches Group: https://www.facebook.com/groups/1232436117133426 If you apply to join just make sure you accept the group rules or you'll be rejected, and once join you'll have access to different versions in the files section. Whilst these block 'exchanges' can add versatility, these don't increase DSP, but provided you make sensible amp & fx choices, these can be very useful. My favourite one is sacrificing the FX loop block (that I don't use) so I have 5 user blocks. Some will also sacrifice the volume pedal and that's easy to 'replace' because you can assign any volume level in an amp or effect to the expression pedal so it acts similarly. If you want to know how much DSP is used by each amp/fx model, see here: https://benvesco.com/store/helix-dsp-allocations/

I posted this here & on a few other boards beginning of the year: 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.

Do you possibly have the fx loop switched on but with nothing in it? If it's not that, check your global out settings.

MAIN OUT/RIGHT and/or MAIN OUT/LEFT (LEFT for mono, both LEFT & RIGHT for stereo)

Re 'everyone would like' I suspect you're in the minority & I can't see Line 6 bringing such a feature in - in fact, I'm not aware of any MFX unit anywhere that has such a feature. Many users don't use IR's & those that do will usually have figured out a few favourites that they regularly use and keep at the front of their IR list. That's what I do and anything I'm unlikely to use I'll either delete if I hate it or I'll back up in case I might want to try it later, or I might just keep in the list for tonal comparisons. So although it might be useful for you personally it's probably not something that will attract wider appeal. However, by all means post your suggestion on Ideascale - if sufficient numbers of users vote for it, line 6 might look at it.

Interesting - I've not come across this before with snaphots & I'm curious to see whats happening & if it behaves the same in my Pod Go. Would you be able to post the patch on Custom Tone with a link or send it to me? One other thing...I'd strongly suggest you change the title of your post as it reads that Pod Go physically exploded!

Because Amp out is the same as the 'main out' and includes the cab unless you set this to be tapped off in global settings>ins/outs otherwise you'll still get the cab model & everything after it. Per p7 of the manual: 20. AMP OUT This unbalanced output is meant to send directly to the front of your guitar amp. By default, it reflects the same output as the MAIN outputs (except in mono), but it can be globally switched to be tapped off directly before the Cab/ IR block. This way, you can send a cab-emulated signal to your mixer (or FRFR speaker) while simultaneously sending a non-cab-emulated signal to your guitar amp. P37 of manual: Global Settings > Ins/Outs>P1, knob 3: Amp Out Source Choose “Main Out” if you want the POD Go AMP OUT jack to echo the MAIN OUTS (except in mono); choose “Pre Cab/IR” if you want the AMP OUT jack to be tapped off directly before the Cab/IR block (and therefore, would not include the Cab/IR block or any blocks after it). This way, you can send a cab-emulated signal to your powered speakers (or mixer) while simultaneously sending a non-cab-emulated signal straight into your guitar amp. However, where your patches have FX after the cab if you tap it off directly before the cab/IR, you'll not only lose the cab but also all the FX after it. If you don't want that it's just easier to turn the cab off in a patch. As above, this 'tap off' feature is only really useful where all your patches FX are before the cab/IR and where you are going through a guitar amp AND a powered speaker or mixer. Exceptions might be where you don't want effects in Pod Go going to your amp but where these are already provided by your amp - e.g. reverb. The problem with this type of set up is that what you will hear in front of your amp will be quite different to what you or the audience will hear through a powered speaker or the main PA and you'll have two distinctly different outputs to sound-check & balance.