grdGo33

https://line6.com/software/index.html?hardware=All&name=POD Go Edit&os=All&submit_form=set Damn, just updated thinking we'd get new goodies lol Plus just noticed it caused vox more stabilities issues... *cries*!

Not so bad I think, it's ~3% more expensive than the Double Tank, so good chance it's included in the next Go patch, as it's nowhere near as expensive as the poly effects. Last time, think it was 6 months before getting the new Helix 3.0 in Go... But hmm, the legendary drive has the same % as the hot springs, and I don't think it's in the Go... So who knows! 50/50? Less? 30%? https://benvesco.com/store/helix-dsp-allocations/

I just tried the TAP + power button. I think it's pretty much the same as using the CD/mp3 in in terms of sound characteristics; so imho, doesn't sound very good in my case with the Spider 3. I think it's because the Spider 3's speaker, unlike probably the speakers in a Marshall cab or whatever, aren't really designed to sound good by itself? I think it's more tailored to work in conjunction with the Spider's emulation software; so the driver has to have a more generic, or bland (flat; neutral?) sound so that the drastically different Spider sounds can all be reproduced with some sort of credibility. But for some reason, even with IR or Go Cab, just sounds meh... maybe tweakable via Go EQ, but I think it's just a bad idea to use it with Go; as it's a tremendous bottle neck. So yeah, for someone wanting to use a Spider, I think I'd use a Spider 3 Amp model; like one of the 2 Crunch channels (depending on style) with Spider EQ at noon, no reverb, etc., and maybe bypass the cab in the Go. To my ears, sounds better than CD or Test mode. But IMHO, it just sounds way better with a pair of studio monitors though, so if going Go, definitely think buying some FRFR, Studio monitors or amp + speakers to get the best out the Go! (or at least not make it sound like pooo...)

Nice demo of what it's possible to do with snapshots! Crazy the range with just 1 preset, way more than you'd normally need for a song! A bit weird to have to work around the small gap between switching presets, but yeah when snapshots are used creatively, it's impressive the range of sounds/tones you can achieve. Always compromises and workarounds lol But yeah also in one sense, we're talking changing 50 different settings with 1 button press, something you never would be able to do with a real pedal board. (ok ok with MIDI controller you could, but just the controller likely costs the same as the Go lol)

And how do you like it? I have a way older Spider which I did initially try to use, and wasn't really happy with the aux. Guitar in seemed a better choice, but using Spider's amp block you would have to manually change them along with your PGO settings... Anyway, if the later Spiders have a better speaker, might work out better... But I kinda feel like the Spiders and maybe other digital processing amps might 'correct' for the speaker with digital processing, but maybe that's just my assumption and giving too much credit. (would make sense to correct driver FR in the system using software, which you would lose bypassing the digital processing section)

Mistakes were made! The PGO wireless comes with a G10 dongle, but it comes with no charging dock... So if you just buy a PGO wireless, you have to charge the G10 in the PGO... I thought the PGO might have just cost slightly more to support wireless, and you had to buy the wireless G10 kit (dongle + charger) to use with PGO... So yeah... Sold as a kit, the part I had crossed of the above post isn't as irrelevant as I thought. Just looking at the rear ports; I'd have expected it to charge in the storage compartment; and that there would have had a distinct circuit for the charger, allowing it to charge when plugged even if the Go is shutdown... Oh well. Still, sweetwater & musicianfriend have PGO 479 vs 579 with wireless. 99 for G10 dongle, 180 for G10 + dock. So if it's 100 extra with PGO, the price of the dongle, but with wireless support... Not bad if you want wireless I guess... Do all L6 products that support the G10 also have to remain powered on to charge the G10? Or is this specific to PGO? Ugh... Like... Seriously? Ah ok that was from some of the pre-production unit, might not have make it to production, hopefully... Oh no! From the manual: "Select the Input block on your POD Go Wireless device, press the lower knob, and choose either the “Guitar+Wireless” or “Wireless” as your input source.". So it appears that they didn't change it. Nothing about changing it globally in global settings either... OUCH!!!

Annoying oversight? As you're probably using the wireless adapter when you're playing with the Go and turning off the Go when you're not playing it... I'd be kinda disappointed if I learned of this behavior.. Just extra hassle to do what most people would have assumed it should have done in the first place... (charging even if off) :\ And since the charge port is the guitar in, you can't use the PGO using a cable if you're charging the transmitter? But yeah I guess the G10 comes with its own charger, so using the external charger is an easy fix, likely not a big deal then! It's even likely much more practical to just plug the G10 in its charge station, rather than having to plug it in the rear of the Go...

Using the effects loop or any additional pedals? Go's signal is maybe too loud and causes one of your other pedals to clip. Try lowering the volume of your amp in Go (ex; amp levels from 10 to 5 see if it clips less).

It was a joke, no need to insult people's intelligence... :( https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fi.postimg.cc%2F7hPPpvR7%2Fquote-irony-is-wasted-on-the-stupid-oscar-wilde-41-58-85.jpg&f=1&nofb=1

You would probably have to decompile the PGO software as well as the Helix software, and then make your own custom firmware update with your updated code containing the Helix freeze effect. It will involve some work though... Or... I haven't opened up the PGO, but maybe there would be space. So by drilling some extra holes in the chassis and running a couple of wires here and there, you might be able to fit the circuit off an harmonix freeze inside the PGO chassis. You would also have to run power and a switch, witch would involve more drilling, but yeah, getting a freeze effect in the PGO might also work. Saves the DSP from the freeze effect also. Other than that... I don't see any other way... :(

Did you renew your license? Where did you buy them?

Yeah dynamic blocks is something which comes up often; kinda like a dynamic feature request; get the very high DSP effects from helix, at the cost of blocks... But I don't think that'll be happenin... The Jason test is up btw, if anyone wants to hear with and without oversampling. I think I could hear a very very slight difference, but as I mentioned, it could very have well been placebo; really nothing to lose any sleep over. That will not be the difference whether your album/show flops or whether it's a success...! LOL (IMHO; very very minor difference..) Here's the link to comparison: https://www.youtube.com/watch?v=F0qmP3-4cYM

Two small things I'm curious about; 1) Has anyone noticed a bug where the footswitches stop working and and don't change when you switch patches? It happened twice for me, and both times was with the new Glitch Delay... 2) Just curious on your thoughts about using Go as an audio interface and leaving it on for 12+ hours a day? I switched it to work station and now also use it for that PC's sound; so I've been using it all day, and have tended to leave it running even afterwards just to use with guitar setup; but then it's 90% just sitting there idle... Thoughts? My thoughts; I think the Go is pretty much a computer; so using it almost full time shouldn't really be an issue. And with computers, I even remember reading that powering it on causes even more wear and tear than simply leaving it running; ex; running for 6h is better than turning it on and off 3 times for 3h usage...

Ha... Just look at it that way: A bunch of Pros have been raving and using the $1,699.99 Helix for years now, and it always sounded great. The $450 Go has the exact same effects quality. And the quality of the amps/effects/etc., is already at a level where it's pretty darn tough to tell which is the emulated sound vs which is the sound of a real amp. Jason Sadite for instance has more than a couple of comparisons; try to see if you can tell the real deal vs emulated: Now, they added a new oversampling which will improve the $1,699.99 Helix. Will this make a marginal or substantial difference? Given the fact that already, the Helix/Go are near indistinguishable from the real thing, I doubt that it would make a substantial difference. Of course, you'll see a lot of people who will claim that it makes a huge difference, but it's mostly going to be placebo. Same type of thing where some people will claim to prefer real amps over emulation, yet under blind conditions, will very often fail or really struggle to identify which is emulated vs real. So IMHO, even with good studio monitors & in a recording setting, you would struggle to hear the difference. That would be my guess. That if you just walked in a room, a track was playing, that 50% of the time you would guess correctly if the oversampling was on or off. You would really have to A/B both clips, multiple times, to hear the difference, IF you were able to hear it, which you might not be... And then, chances are that it would be placebo; and again, under blind conditions, you would fail to identify whether the effect was on or off. Such is the nature of subtle audio differences & human brain/hearing. Anyway, Jason above is supposed to do a blind test for the oversampling feature, it will be interesting to see how much of a difference it'll make. For me: Go is more than enough. If you are at the point where you need oversampling & absolute sound quality; TWF are you doing with a Go? LOL Buy a Helix or real amp! At one point, expecting Go to absolutely equal the Helix is a bit silly!

Where did you hear that we're not getting the oversampling feature? About 6 months ago, Helix 3.0 came out, then a few weeks back, we got the lower DSP amps/effects from 3.0. Now Helix 3.1 has just been released, it's very possible that in 6 months we'll get a patch which include this new 3.1 feature.

I think it's way more for marketing & not cannibalizing their higher end product sales. I really don't think it's to 'help' the users at all (lol) I really do believe that it's to put an arbitrary limit on their cheaper product. It would be sooo simple to display a % value for each block, and allow the users to add as many effects as long as they don't get over 100%. I mean come on, are you saying that guitar players are so dumb they wouldn't be able to understand that each block takes a particular % and that they can't go over 100%? LOL That's pretty damn insulting and I think you owe an apology to all guitarists! :p But seriously, even now, it's even less intuitive to use, because if they give no % for each effects block, you have no clue which block uses how much, which actually makes it even HARDER to build a patch; because after adding 3 effects; you're like; "WFT can't I add this effect?!? Why can I add this and this, but not that and that?!" then they have to go online to find a page that gives the actual % of each effects block... Something that could and should have been done in the unit. Hell, they already do know the % of each, since they won't allow you to go over 100%, just write the %, and add an extra block if there's still room for an extra effects block! I don't think it would hurt the Stomp & others that much. Fact that you can't do dual amps/cabs, have less inputs and outputs, etc., Go would still be very limited vs the others.

@voxman55 yeah :) Also, if you want to get 'close' to headphone sound; maybe consider a FRFR speaker (lots of threads here) or Studio Monitors. Then your headphone sound would be closer to what you would hear from either. But again, the FRFR, headphones and studio monitors will also impart their own sound, so depending on how different they sound from one another, you'll again not get perfection. Same for getting your your patches sounding good via Studio Monitors, then outputting through a PA at a gig or whatever... EQ will help a lot like vox mentioned. I'm pretty sure the FRFR/studio monitors are 'better' vs a guitar cab to use with the Go.. As per this thread; using a Guitar Cab is kinda redundant and skews the emulated recorded with a cab + mic of the Go! (Not that you can't get great results with a cab; but then you have to keep in mind that either you're stacking cabs and/or really using your own cab instead of the Go's vast cab/IR emulation; which does give you more options than your 1 real guitar amp.)

Well essentially, let's say you have a Go patch: (guitar) -> OD -> amp -> cab -> mic -> delay -> reverb -> studio monitors -> room (final sound you hear), that is what 'qualifies' as a 'normal' chain. If you go: (guitar) -> OD -> amp -> cab -> mic -> delay -> reverb -> 2nd cab -> room or (guitar) -> OD -> amp -> cab -> mic -> delay -> reverb -> 2nd cab -> 2nd mic -> speakers -> room well that would not qualify as a 'normal' chain... Sure, "it's all down to personal taste", but nobody in the real world would run that kind of setup. So if you want to get closer to what you would be getting in real life were you not using emulation, you should bypass the Go's cab and microphone, because you already have a cab which will add its own cab sound, and don't need a microphone because your real cab is already outputting the sound in your room. Like nobody in the world world would run a Marshall Amp through Marshall 4x12, record it with a microphone, and then take that sound, and run it through a 2nd guitar 4x12 cab, and use this 2nd guitar cab sound for the room/recording... Well at least I've never heard of it being done by anybody! LOL The other thing is that the Microphone of the cab sim of the Go, does a LOT of things to the 'sound'... It doesn't just mess with the FR, it really does alter the 'fundamentals'... And I mean, that change pre-cab, is just not natural for a cab... Ex: Say you have a Marshall amp + cab in your room, and your amp blew up, and you replace your amp with a Go. You'd run the Go's Marshall Amp sim without PGO cab+mic. And that is what would sound closest. The Go's amp+mic would just add distortion (differences vs normal amp). Sure, maybe you would prefer this sound; but the typical way of doing it would just be no Go cab+mic. Otherwise, you're getting emulated Microphone distortion, emulated cab distortion plus your own real cab distortion on top of it... The fallacy here, if there is one here, is going from headphone to your guitar amp and expecting it to sound anywhere near the same. If that was your goal; then you could try to find the closest sounding cab in the Go to your real cab, find the most transparent PGO mic, then use that for headphones, and disable mic+cab of Go when using your own cab. It' will never be the same, but that could be what gets you closest from one to the other. Realistically; if you want to use your cab, you'll need to tweak your patches for your cab, and likely have a completely different set of patches for the headphones; as you'll never be able to 'match' of make 1 patch sound 'perfect' on both your guitar cab and headphones.

Not exactly... IR = Impulse Response, and indeed, it does 'capture' FR (Frequency Response), but it does a LOT more more... It will also capture 'everything' around it. Ex: If you had an amp and played the sound "tikilliki" through it, and it sounded like "tekesseke" because it it has a bad woofer; well, if you generated an IR, the IR would make it sound like if it was played through the amp. Basically; it captures "the system"; it captures how a cab + a mic makes the sounds sound when you're playing 'through' them. The simplest way to visualize the concept, imagine a recording studio, where they have a Marshall Cab setup with a microphone at 2 inches at 3 degrees; well, if you plugged an amp on the cab and recorded the sound recorded by the microphone, it would record the way the cab + mic sound. Well, that's exactly the IR. In theory, if you played the sound through the cab + mic and recorded the mic output, you would get the exact same sound by recording the amp signal and running it through the IR. https://en.wikipedia.org/wiki/Impulse_response

nonono .. That's what a seed is number is. If you start with seed X, then generate 1000 random numbers using the seed, you will always get the exact same numbers. Even if you reset the system and generate 1000 random numbers given a seed number, you will get the same 1000 random numbers. So if you had a seed #, you would get the same pattern and series of patterns every time. A different seed # would generate also a completely different set of 1000 or 1000000 numbers (and patterns using the sequence of random numbers), but again, anyone generating 1000000 random numbers with the same seed number would get exactly the same million numbers. :) Well.. In actuality, I used the term 'random', but when you're using a seed, it's in reality pseudo random numbers; as they're not really random; they follow a specific sequence, but appear to be random.

@ElectroStrat Kinda! To give an example, if you put Time = 2s and Delay Div = 8, you'll get a 2 second delay but split in 8 parts; 8 splits. If you put 50% octave and 50% reverse, well 50% for each split to be either/both. So with 0% Seq Drift, you might get: (N = normal, R = Reverse, O1 = Octave Up, O2 = Octave Down) N, R, N, O1, R, R, O2, N And this pattern will repeat infinitely: N, R, N, O1, R, R, O2, N, N, R, N, O1, R, R, O2, N, N, R, N, O1, R, R, O2, N, etc... With Seq Drift, at 100%, it will change after each loop, ex: N, R, N, O1, R, R, O2, N, O2, R, N, N, O1, R, N, O2 N, N, R, R, R, O2, O1, O2, etc.. With 50% Seq Drift, there's a 50% chance the pattern changes after each loop. So yeah, you get more randomness with Seq Drift, but the pattern you get each time is still random. Power on/off the Go, and the pattern will change each time. Shuffle, is the order of the splits, so without shuffle, the splits will play in order: 1, 2, 3 .. 7, 8. But with shuffle, the order will change; so you might get: 2, 7, 8, 3, 4, 1, 6, 5. Not sure if it's affected by Seq Drift, probably. But it makes very little difference given the absolute randomness of the delay. And yeah my point is that if you get the 'magic' pattern "N, R, N, O1, R, R, O2, N" and play with it for 2h, well, if you turn off the Go, or change patches, or whatever, when you come back, you'll get a totally different pattern. So if you had built some song and techniques with this pattern, well you lost it, each time, it's a different pattern. To be practical or usable, we would have needed a seed # (https://en.wikipedia.org/wiki/Random_seed). Instead of being pure randomness, give a specific number, ex; 2343243 and use this number to generate 'randomness'... That way, we could have saved the exact behavior of the delay; so even if we turned off the go; it would have always played the exact same patterns every time. But that was not to be... :\

@silverhead lol and btw @voxman55 I think I'll change my tune and agree with you about "But with very little practical value"... I mean, not sure exactly what I was doing when I was first trying it, mostly interacting with the delay (wish I knew exactly what I did), but the issue with the delay is that totally random... Even with the exact same settings; as soon as you change any of the random parameters, or every time you'll power on/off the unit you'll get totally different sounds/behaviors, so it makes it really really hard to really use it in any sort of practical way... Ex; Had a 2s time with 8 divs, shuffle & octave + reverse; and just playing a chord and listening to the delay, if you're lucky, you can get a great sounding pattern; which has a beat, melody, and you can basically use it as a backing track; both with percussion (shuffle setting) and with slice feedback you can get great ambience... (try with 100% rolled back tone) BUT.. As I said, if you touch a setting, you'll lose your existing pattern... So if you had this genius loop/melody thing going, poof! Gone! And you'll never get it back... So really like a sort of fun improv tool, but the total randomness... Yeah kills the practicality. (unlike the other one where you set your intervals & you can save the pattern, don't recall the name..) Not sure how/why, that wasn't quite my perception the 1st try... But yeah, I changed my tune, fun, but not very... Hmmmm... Actually... Well, I said they're lost... Well they're lost on the Pod Go, but you could always record in audacity or whatever, and use it as backing track... but it's still gone from Go, so couldn't redo the same with guit + go... So yeah, could be usable. Maybe like 40% 'practical' LOL

Ok yeah 100% it is bugged. The issue is that if you change the Delay Div value, the new 'splits' are instantiated with default values instead of your current values. So if you set everything to zero and go from 3 to 4 delay div value, it'll create a 4th 'split', and this new split will have non-zero values for shuffle/octaver/reverse/etc., which is why it goes from a digital delay to some garbled WFT sound that makes no sense. The new instance should have been instanced with current values. Which is not the case... Seems to be intermittent though, reproduced after changing block to Glitch Delay, but on a saved patch, didn't seem to occur... Workaround: - Change the value of the octave and reverse % after modifying Delay Div, seems to reinitialize all splits with current value. - Or, save, load another patch, then go back, seems to work also. BUGGED. I thought maybe it could be a feature; allowing you to set each 'split' with a specific value, (ex; 1st = octaver, 2nd reverse, 3rd nothing, 4th = octaver, etc.) but it does not seem to be the case; really just an intermittent bug. Btw watching Jason in the above vid completely struggle to figure out the delay and mostly fail, and honestly only getting quite poor sounds out of it, mostly because he keeps using a high Div value which screws everything up due to the above (lol), the bad positioning of seq drift in GUI making it's function unintuitive and confusing him for the other parameters apparently not working as they should, etc., is kinda validating vs those who say that "Oh Go/Edit so simple to use!". lol Anyway, btw, does anyone know of a good resource for such effects? Which explain in details the parameters and 'special features' of different blocks? Like this lack of documentation, coupled with some bugs and unintuitiveness, really makes things which should have been simple, really not so simple.. (Recurring issue with Go... :\ )

Well that's kinda debatable... Of course, it's not going to replace your traditional delay for traditional music, so if all you're doing with the Go is play covers of famous rock/blues/jazz/etc. bands, it might as well not exist. And of course if you just turn it on and play your led zep song it's going to sound like a garbled mess. So yeah, in that case, very little practical value. But, as a creative tool, it does open up some possibilities. Shame I didn't save the patches and riffs I had going on yesterday (was just testing out, didn't think I'd end up with anything), I'm revisting it todya and now I'm totally bugged with this setting: What does this mean? If I put all the params shuffling/reverse/octave, etc., zero, just have 1s time configured, with: Delay Div value 1 to 4: sounds exactly like a regular digital delay Delay Div value 5: then it gets buggy and clippy. It's like random, it's like the first 3/5ths are normal, then it clips at 4/5th But 15m later, it now bugs with values Delay Div value of 3 ... So from what I understand, say you put Time 4s, and you put the Div at 4, then it's going to split your 4s time into four splits of 1s, and then it will randomly assign for each 1s split a randome reverse/octave/etc... So basically; four 'splits' of randomness. But if you assign too many divs, then it appears that the glitch delay glitches, and it will stop functioning normally. I thought it might be a latency issue; 1s divided by 5 = 200ms, which for some reason might have been too much for the Go, but if you set 4s time and 8 div (splits of 500ms) then it glitches the same way, so it's not really time related, it's really that if the div value is too high, it just bugs out? It really does look like the delay is bugged... As if the Go does not have the ability to handle higher Div values...! So is this a bug with the Go? Or is there some logical explanation I'm missing? [edit] found some vids of helix, and it seems to do the same. So "Divides the delay time into smaller increments" might just be wrong/inaccurate, as it does seem to add some sort of random element to it: Yeah you can definitely hear it at 4m30 when he increases it to 8, then there is a clear octaver in there; so ... it appears that "Delay Div: Divides the delay time into smaller increments" is inaccurate ... A more accurate description would be something like: "Delay Div: Divides the delay time into smaller increments and adds random elements with higher values" or something like that ... Sigh ... But yeah, that bit I quoted with the settings description isn't from L6 or the Helix manual it seems. Just downloaded the Helix manual, and it has ZERO explanation on the Glitch Delay parameters... So I think it's just a 3rd party guy that did the documentation I quoted, which would very well explain why it's not 100% accurate...

Ah yes, the good old; damned if you do, damned if you don't lol Off to try the new Benzin amps! :D Quite fun getting new goodies like that! ++!