grdGo33

Absolutely zero metaphysical! Just meaning; captures the sound waves perfectly. IF we had a perfect transducer and a perfect mic, we could simply compare the original signal and the recorded signal; what is commonly called a null test. So; it would be 'what comes closest'. Now there's no perfect transducer (which is what we want to capture with 'cabs' emulation; distortion of the signal). With microphones, there are correction curves to alleviate the mic's FR aberrations, so already that ?should? give us fairly close representation of the sound of the cab? Quick search results in results such as these, but I'm not entirely sure how it would end up sounding say if we put a cab in a room or anechoic chamber and recorded them using one of these, then using as IR or emulation reference... https://www.bksv.com/en/transducers/acoustic/microphones https://earthworksaudio.com/measurement-microphones/ http://www.josephson.com/pdf/srs5.pdf http://www.josephson.com/pdf/c617setds05.pdf Going on a tangent; for headphone use, it would be, I think, fairly simple to generate a binaural IR, and that would put us in the room with the cab. That would be cool. But that wouldn't work for speakers; for speakers, you'd be better off with a pair of the most accurate mics & creating an IR... And yeah... IR... Actually, that entire topic could in fact be summed up as an in-room IR; taken with a very accurate (realistic sounding) microphone...

It would be fairly simple; 'perfect mic'. Well maybe it's not that simple...! lol But yeah, you do need a mic at one point I'm guessing, maybe there is a multi-million dollar experimental/scientific near-perfect mic that could be used, if you want to go kind of the IR way? Maybe using mic blends & source signal to get from the original signal to what you would hear in a room? https://moneyinc.com/most-expensive-microphones-in-the-world/ https://mynewmicrophone.com/top-20-most-expensive-microphones-on-the-market-today/ But we have a source signal before going in cab. The cab (with an IR or other) will have an effect on the signal; that likely already built in Helix; the helix does appear to have 'cab' emulation, and 'mic' emulation... Unless the Helix basically uses an IR of every possible cab + mic + distance? (I don't think so, think it's mic emulation + cab emulation?) But anyway, likely, it could be similar to what Helix uses; just using the 'cab' algorithm, plus some room reverb, and yeah 'distance' probably isn't even really relevant, just having cab + room without variable distance parameter would be great!

I was just thinking, a great feature to have in the cab section would be a head or human instead of a mic. Let me explain; in the cab block; you mainly select a cab, a mic and a distance. But why not also have the ability to select a person? Meaning; say you had a 4x12 in a room, and you were 8 meters away from the cab; how would it sound if you were in the room? (aka; if it was recorded with a perfect mic?) I think that actually this should have been the default setting for all cabs. How would the amp sound if you were in the room? When you have to select a mic, you're basically removing cab simulation from unit; and you're basically saying, this is how it would sound if it was recorded. I mean it's fine/great to have as a feature, getting the recorded mic+cab tone from albums is great. But, the Go lacks the most basic ability to emulate a guitar cab. It cannot emulate the sound of a cab; of how a plain cab would sound to a human in a room. It can only emulate the sound of a cab if it were recorded with a microphone... And that is to me quite an artificial way to treat cabs. The most basic way to use an amp and a cab is playing them directly, and hearing the sound. The Go lacks this most basic feature. This would simplify tremendously the cab block, and I think might help get some great tones also... Of course room becomes a parameter; are you playing in a garage, bedroom, church, etc., (reverb characteristics) but many reverbs aren't super expensive DSP wise, and if my my old 1994 Digitech RP5 could do such reverbs; don't think the PGO couldn't... Thoughts? Any idea why there isn't such implementation?

Nice! Yeah most of your tone is going to come from your cab, and it's not the simplest thing to wrap your head around. Reading a few threads on other forums about them, here's a few notes, mostly collection of user quotes, could help out at least as a starting point! Going IRs can also simplify this quite a bit.

Ah yeah many class D amps, if they don't have large enough heatsinks to dissipate heat caused by using more watts, can overheat if they are played at max/high power for too long, so likely that's what you're experiencing... Built-in amps in the monitors are probably overheating... I was also thinking of mentioning FRFR, but they're just different beasts; anyway, some of his points might be argued (ex; can elevate FRFR), but, design-wise, a FRFR with a 2000 watt amp (made to play loud, live; like a PA speakers) vs studio monitors; which are designed more to be tonally accurate, maximize sound quality over quantity, etc., it's more about what you want/need. Not saying studio monitors are better, many here seem to absolutely love the headrush FRFR 108 and say they sound absolutely fantastic. (haven't heard the FRFR 108 myself) https://forum.fractalaudio.com/threads/headrush-frfr-108-vs-studio-monitors-please-help-me-choose.152476/ So just depends what you're after. I remember a long time ago while researching music & HT speakers, many were recommending studio monitors as opposed to audiophile speakers for music: Save $ on 'overpriced' amps & get 'pro' gear which suffers less from audiofoolery & snakeoil BS like audiophile gear tends to have; no audiophile 'pricing'. So go the pro route by going studio monitors for sound quality imho good idea. Anyway, imho, for a more music or sound quality investment; studio monitors likely the way to go. For a guitar only with possible gigging, playing with band, etc., then yeah definitely go FRFR.

While you can control the unit via the unit itself, you can connect it to USB to a computer and use Pod Go Edit; which makes it much less 'painful' than using the knobs and the small screen of the Go. It's way more practical to use that way. Some also use it on a table and use their hands to control it, well then you can't get to use the PGO as a floor unit; so lose the usage of the volume/expression pedal, and can't really use the looper very well... Stomp can have more effects on at the same time, dual paths (ex; 2 amps at the same time), but it costs more than double I think, less buttons, smaller, smaller/worse screen, etc. I think the Stomp is yeah more for gigging musicians with already pedal rigs, vs Go probably better unit just to jam at home; or maybe even gigging, if you'd want everything included in 1 unit, and don't really need/want the dual path or https://www.thegearpage.net/board/index.php?threads/pod-go-vs-the-stomp-is-the-pod-go-a-stomp-killer.2113675/ https://www.youtube.com/watch?v=t8GX3TeTvts

The size of the mid driver in a 2 channel speaker mostly depends on SPL; to play louder you need to move more air, and moving more air means means either having a larger driver (moving the same amount as a smaller driver will move more air with bigger driver) or, the woofer will move further back and forth. Also; bass is what what requires the woofer to move most air; while treble (high frequencies) require very little movement. So the deeper the bass, the larger the woofer you generally require. So at one point; it gets easier to move more air with a bigger woofer, so you're never going to see 4 inch driver playing incredibly loud and having amazing low end response. BUT, the bigger the woofer, the more mass it has, and it becomes more and more difficult to move it back and forth. And the higher the frequency, the faster it needs to move back and forth. So that is why you have a extremely small and light tweeter, and a mid woofer (plays mid frequencies) in 2ch speakers and, you have 3 channel speakers (or more, MTM, etc.) with tweeter, mid woofer and bass woofer; each getting larger. So for 2 channel speakers; the typical size is 5 to 6.5 inch. These can typically play VERY loud in a small to medium room. Larger drivers become more relevant if you want to play very loud or if you have a larger room... Sounds get less loud the further you are, so the bigger the room, generally the further you are, so generally need to compensate with either much higher quality drivers or just get larger drivers... ANYHOW. LOL. I was also looking to maybe get a set of studio monitors to upgrade my computer speakers, and use with the Go. KRK seemed to pop up a lot; but sadly; with speakers; it can be really subjective. Someone can love the sound of a speaker, while another might totally hate it... We all hear differently, have different tastes, expectations, etc., lots of recommendations for 'best'; https://www.musictech.net/guides/buyers-guide/best-budget-studio-monitors/ https://www.musicradar.com/news/best-budget-studio-monitors https://musiccritic.com/equipment/speakers/best-budget-studio-monitors/ https://www.4soundengineers.com/budget-studio-monitors/ So your best bet might be try to identify a few which fits the budget and seem interesting to you, and try to go listen to them somewhere. None of them should 'crackle' at 'normal' listening levels; (often can be caused by the amp not being able to drive the speakers correctly) plus guitar doesn't have massive bass so it shouldn't be super taxing for speakers... So yeah, might not be super hard to want more volume than the 25w/side + smaller drivers can handle...

Thanks! Yeah I just bought the Pod Go, I didn't go through the entire Line6 employee list to find out who exactly worked on it! Is this something people typically do? Like you purchase a freezer, and you have to do the research to find out who designed it, and what their forum nickname(s) is/are? LOL ;) :D Good enough for you? See the link: https://blog.line6.com/2020/11/27/eric-klein-talks-helix-3-0-with-joe-gore/ I breezed through the article But didn't see the Pod Go announcement for the firmware updates and features...

Is he/she a L6 rep, employee, insider, etc.? Is this official in any sort of way? [edit] ah yes "rank: L6 staff". Where was this announcement made for the Pod Go firmware updates and features? I don't see it in his/her posting activity. For the 3.0, https://line6.com/support/page/kb/effects-controllers/helix/helix-30-release-notes-r934/ I've crossed what from other discussions I think we would not be getting, but it's very possible that any/all of these don't make it either...

When? There's not even an ([edit] official, from my knowledge) word that there ever will be such an update for the Go. We might never get new effects. Last year I think some in the forum mentioned start of the year, but almost 2 months in 2021 and still not a word about an update.

Not just yours, typical with Pod Go... :\

Think you need to map it out as X + Y = Z. Ex: PGO Loop on + SBS off = just PGO, works normally, good. But I think I know what your issue might be, see manual page 32, Global Settings > Ins/Outs #5 (see below) With this option set to always-on, it engages some sort of ... Wait... Can't even recall the twisted logic... Ok see the last post here:

What does "click on the big sky" mean? You mean you press on the footswitch to activate the FX loop? Ah no ok you click on one of the Big Sky (SBS) buttons to activate... ok. If you put the SBS before or after the go, does the problem still occurs? If you put a patch cable or just a regular cable to FX loop in/out (so that the fx out returns without any pedal, directly out -> in), does your issue still arise? Sounds to me like it's 'an issue' with the SBS; does it have an autoswell which is what is generating the cut sound then fade in?

Once you get your PhD? :D I think 99% don't have it. I've had my unit for months now, and as a hobbyist, can't say I understand even a fourth of the options very well; I mean, ex; say out of the dozen reverbs and delays, sure, I can setup a Spring reverb easily, add a distortion, setup a amp + IR fairly efficiently and quickly, and get some tone going, but as per my last post; can't say I've learned what all the amps & their settings sound like, can't say I've mastered ex; the Ganimede and other fancy reverbs; I have a superficial understanding of them all, but say the Plateau, some youtube demo of the reverb will sound great; and I'm struggling to make heads or tails of how exactly each reverbs can/should sound; and how to tweak them all efficiently; it's all quite a blur which always results in an hour long session of trial and error, dialing something & playing around with it with the guitar, than 2-3 weeks later, rinse & repeat. It's really not like a simple tool, well ok maybe it is, it's like toolbox of hundreds of 'simple' tools you have to learn and becoming proficient. IRs, amps, cabs, compressors, distortion pedals, mics & their setup distance, etc... Lots of stuff! https://www.youtube.com/watch?v=6gCWBiMRrsI Anyway, we all have a sort of approach to proficiency and knowledge; before saying I understand something, I like to really understand it. Most people using the Go likely don't really understand 80% of all the options; (ex; ask them what a Mesa 4x8 cab sounds with X mic at X dist, likely won't know exactly. On my Spider, I knew exactly what every amp sounded like ... !) but they're fine because they don't need to understand everything to use it. Which is perfectly fine, but being sorta OCD, if I see a setting, I like to know exactly what it does, and if there's 100 amps, I'd like to have a good idea of what they all sound like, what they're capable of, etc., but it's not really realistic with so many; possible 'option paralysis'. For digital sound... Not sure if it'll sound less digital, probably... For me Go is perfect, for a pro guitarist with real amp experience, some say they can tell there's some digitalness to the sound... Not sure many could identify a Go vs BK if they setup a similar sound using similar amps, reverb, EQ, etc.

Well... It's 'very very easy' to dial in a sound... BUT... What's the difference between the kinky comp, red squeeze, rochester, LA Studio Comp and deluxe comp? When should you use one over the other? What's the best mic, amp and distance for a balanced tone? What would be the 2nd and 3rd 'best'? What changes when you move a mic from 1 inch to 2 inch? What about say if you want the David Gilmour tone of another brick in the wall, what amp & settings, cab, mic & distance should you be using that would sound closest? What's the difference between amp Bias and BiasX? Better of tweaking using amp drive, master volume and/or bias/biasX/sag/distortion r boost pedal or compressor, etc.?? What about amp ripple and hum should you turn them on or should you just turn them down all the way? As I said, the BK is more a plug and play. The PGO is more of a need a PhD in PGO theory to be able to understand what all the settings are and what they do. And there's soo many options... BK you have what, like 4-5 channels and like again 4-5 boss effects pedals at a time in the BK? It's just, to me, completely different philosophies. BK is more 'like a real amp' + couple pedals, whereas the PGO you're entering a world endless tweaking/options. Sure, you can 'superficially' use the unit as a 'simple' and 'quickly' setup sounds... But... It's just a more complicated philosophy. Ex; BK; you want the brown sound, use the brown amp (maybe you have 2-3 amps which 'fit the bill'), tweak them a little. But PGO has 100+ amps. Which are 'best'? Which settings with what amp gives you what you want? Is an Engl Fireball with drive at 4 closer to a german whatever or ingrid with drive at 7? What about master volume which also significantly affects gain/drive, maybe this other amp with this and this setting are 'better'? And what about the cab + mic ... !!! It's like setting up a tone with BK is an equation with 8 variables, whereas the PGO is an equation with 36 variables. But yeah, you don't have to tweak the 36 PGO variables, you can just tweak these 10, which will give you a 'tone', but because there's 26 other variables you haven't tweaked (because you've not learned what they do nor mastered them), maybe it's easier to get to the desired result using the BK's 8 variables; which just 'do more' in a much simpler way.

yeah probably the simplest way to go about it! did you get any issues with having the pedal clipping or not sounding the best for whatever reason depending on the go output volume?

You can put it in the fx loop, after the go, or before the go; however you want!

Yes. It highly depends. Ex; is $500 a lot of money or not a lot of money for you? What does your current sound sounds like? What do you like/dislike about it? What are you trying to improve? Do you for instance think that your BK 'marshall' sound doesn't sound right or something? I'd say the most important question is; how much do you like to tweak? If you want to spend endless time experimenting and tweaking your sound, I think you'll get more out of the Go than the Katana; from what I remember seeing about the Kat; it's more a plug and play device. The Go is more like an endless puzzle; where you'll plug in your guitar to play, and end up lost tweaking and testing different amps, reverbs, delays, etc. So how much do you want to get lost in effects or tweaking? I think the performance should be comparable; you'll be able to get good/great sounds from both. Think the Go does more out of the box (you can download extra Katana effects, but can only use a few at a time from what I recall), and the latest fancy reverbs like Glitz, Ganimede, etc., likely will not have a Boss equivalent. The amount of compressors, delays, amps, cabs, mics, etc., also way higher on GO. So if that's what you're after, likely won't be disappointed. I've heard enough people rave about the Katana to be fairly confident that you can get very good, usable sounds out of it. So if you have good lead, rhythm, etc., sounds dialed in with teh BK, and you make equivalent effects in PGO, I doubt most would be able to tell which is which in a blind test. They'll likely sound quite similar, and probably not have one sound 'better' than the other; just a bit different. I think you should be able to reproduce BK sounds in PGO with some work, but probably get lots more flexibility, 'tweakyness (tweaking the sound exactly like you want)' and options with Go. But, imho, main 2 things: 1) how much do you want more?, 2) are you more of a plug and play or a tweaker?

ou should be getting decent sound volume through headphone; adapter shouldn't be a problem. Try increasing your amp's "Ch Vol" and the headphone out volume on the pod go itself!

Yeah I'm using mine in the FX loop also. The only drawbacks are: 1) if one of your patches has the loop on and the pedal is not plugged in, you get no sound, which can be confusing given that the Go crashes the same way 2) there are volume issues. If the volume is too loud to the looper, causes my 2 looper pedals to clip and it just sounds like lollipop. So the patches are all configured with relative low volume, which means that it's not very loud through USB for recording.

The grgr.de IRs seem pretty cool, they even have some IRs with built-in reverbs, so I`m not sure how they compare to the L6PGO spring reverb for instance, but could be useful if the sound of the IR works out for you and you are running low on PGO resources or just want an additional block! (Using IR as reverb = saves 1 block!) [edit: although... It might just be the reverb without an amp, so might not really be useful with Go with typical usage...]

Yeah make sure you use the original power supply... Unplug everything, try a differernt electrical outlet, if nothing works, you could try contacting line6 support, and you'll probably have to send your unit for repair...

Also, did you have all effect blocks disabled (just keeping amp + cab) and check out the different amp settings such as hum, bias, drive, etc.? I mean, if you're going to compare the sound of ex; your PRS through a clean fender amp, but in Go have a ton of effects & different amp and different amp settings, you're a bit comparing apples and oranges! But yeah the Go has some issues with volume... I've setup my patches one way, and turns out that it's not quite loud enough when recording through USB/DAW, but that was having the amp channels volume at around 4. Some downloaded patches have the amp channel volume at 10... So I just wish there was some sort of guide as to how to set your volumes within the Go... It's a can of worms with lots potential issues. (made a thread about it once, but I don't remember it providing it a clear answer)

Yeah the digital processors of today are quite good to simulate the real behavior of amps. Here's a comparison between the HX Stomp (same Helix sound as Helix or Go), vs a real amp:

Just to be sure, did you record with a mic the sound of the studio monitors? If not, if just recorded through DAW and Go, then has little to do with the studio monitors... Also I couldn't hear any crackling. Are you talking about a sort of 'wobble' in the sound? To me it sounds almost like a tremolo or like you have some sort of phase issue. I can also hear some background noise, like some hiss in the background, is that what you're referring to? Also, either the issue is with the Go, with the speakers, or just with a special combination of both... If it's from the Go, you'd likely get the same issue with headphones or through USB. Are you? If it's the speakers, well, should do the same with just music. Does it also occur on both speakers or just one of them? All patches, or just that one patch? If when you're getting the issue, you edit your patch to remove some of the effects, does it have any effect on the crackle? If you switch patch, does the issue go away and come back 5m later? If you turn the Go on and off the issues goes away and come back 5m later?