grdGo33
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Posts posted by grdGo33
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1 hour ago, voxman55 said:
Yes there is, @Digital_Iglooat Line 6 confirmed an upgrade is on the way 'soonish'. We don't know content but cryptically he indicated 'no real surprises' which suggests some of the less DSP hungry upgrades in Helix/Helix Stomp from v3.0. We have been told that snap shot naming and muti-footswitch naming won't be included in this upgrade, but is 'high up' on Line 6's 'to do' list, so possibly next time round.
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...
SpoilerCabs
- 1x10 US Princess, based on* the Fender® Princeton Reverb cab
- 1x12 US Princess, based on* the Fender® Princeton Reverb with a 12" Alnico Blue driver
Amps
- US Princess, based on* the Fender® Princeton Reverb
- Das Benzin Mega, based on* the Mega channel of the Diezel VH4
- Das Benzin Lead, based on* the Lead channel of the Diezel VH4
Effects
- Distortion > Horizon Drive (Mono, Stereo), based on* the Horizon Devices Precision Drive. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB
- Distortion > Swedish Chainsaw (Mono, Stereo), based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
- Distortion > Pocket Fuzz (Mono, Stereo), inspired by* the Jordan Boss Tone fuzz
- Distortion > Bighorn Fuzz (Mono, Stereo), based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi
- Distortion > Ballistic Fuzz (Mono, Stereo), based on* the Euthymia ICBM fuzz
- Dynamics > Horizon Gate (Mono, Stereo), based on* the Horizon Devices Precision Drive's gate circuit. Includes an extra Gate Range parameter that, when set to "Extended," drops the gate's threshold down to -90dB. Works best before an amp
- EQ > Acoustic Sim (Mono, Stereo), based on* the BOSS® AC-2 Acoustic Simulator. Includes an extra Shimmer parameter that imparts some motion to the harmonics, reminiscent of how a string's vibration tends to affect the other strings. Just like the original, works best with single-coil pickups. Can be used alone or in conjunction with an acoustic IR
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Modulation > Poly Detune (Mono), Line 6 Original. Great for those who avoid traditional chorus pedals -
Delay > Poly Sustain (Mono), Line 6 Original infinite sustain with a modulated poly pitch engine built in-
Assign Poly Sustain to a stomp footswitch. By default, Poly Sustain appears bypassed. -
First play the note or chord you wish to sustain, and then press the footswitch (on) to sustain it indefinitely. Keep playing while the note or chord loops. TIP: Some players may find it easier to change the footswitch mode to Momentary; that way, the note or chord sustains only while you hold the switch on, much like the sustain pedal on a piano. -
Press the switch again (off), and the sustained note or chord fades out.
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Interval—Sets the pitch of the sustained note or chord. TIP: This parameter is especially cool for creating massive drones to play over -
Attack—Sets the speed at which the sustained note or chord fades in -
Decay—Sets the speed at which the sustained note or chord fades out after bypassing the effect -
Mod Freq—Sets the speed of the built-in modulation -
Mod Depth—Sets the depth of the built-in modulation -
FX Level—Sets the level of the sustained signal -
RandDpth—Higher values increase the randomization of the section of audio being sustained, resulting in a more natural, but less predictable drone -
RandSpeed—Controls how fast the randomization wanders -
Level—Controls the overall output level of the block
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Delay > Glitch Delay (Mono, Stereo), Line 6 Original performance delay that lets you freely manipulate the repeats' behavior in real-time
- Time—Sets the delay time; press the knob to toggle between ms/sec and note values
- Delay Div—Divides the delay time into smaller increments
- Mix—Controls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
- Feedback—Controls the overall number of repeats heard for the entire sequence
- SliceFdbk—Controls the number of repeats heard for individual slices. At higher values, you could call this "Super Chaotic Feedback"
- Shuffle—Determines the likelihood of repeats shuffling/reordering
- Octaves—Determines the likelihood of repeats playing back an octave higher or lower
- Reverse—Determines the likelihood of repeats playing backward
- Seq Drift—Determines the likelihood of the entire sequence changing every time it loops around. When set to 0%, the same sequence loops forever. TIP: Assign this parameter to a footswitch set to toggle between a higher number and 0%. If you hear a random sequence you want to maintain, press the switch to set Seq Drift to 0%, and it'll repeat that way indefinitely
- Smoothing—Higher values apply smoothing between slices and can give a synth-pad type quality, lower values maintain transients. Or set it just high enough to avoid pops and clicks
- Trails—When on, delay repeats continue to ring out after the block is bypassed
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Pitch/Synth > Poly Pitch (Mono), Line 6 Original-
NOTE: Polyphonic pitch engines are designed for shifting complex chords with minimal artifacts at the expense of latency (and our algorithms have lower latency than leading standalone poly pitch pedals). If you're looking to pitch individual notes (such as in a solo), monophonic pitch-shifting is often preferred. See the Tracking parameter below for more information -
IMPORTANT! 3.0's new poly models are extremely DSP-intensive. Some effects can eat up roughly a quarter of all available DSP on a Helix Floor, Rack, or LT or half (!!!) of all available DSP on HX Stomp or HX Effects. You also can't run more than one on the same path/DSP (unless you're running Helix Native with Hardware Compatibility Mode turned off). Don't say we didn't warn you... -
Interval—Sets the pitch of the effect in semitones -
Cents—Sets the pitch of the effect in cents -
ShiftTime—Determines how long it takes for the signal to ramp up or down to the set pitch when the block is enabled. Press the knob to toggle between ms/Sec and note/beat values. TIP: Want to hit the switch and have Poly Pitch dive bomb and land exactly one bar later? Press the knob to select note values and set ShiftTime to "1/1" -
ShiftCurve—Determines the trajectory curve of the pitch shift over time. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). At the knob's extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the target pitch. The default is "Linear" -
ReturnTime—Determines how long it takes for the signal to return to normal pitch when the block is bypassed. Press the knob to toggle between ms/Sec and note/beat values -
ReturnCurv—Determines the trajectory curve when returning to the original pitch. StartSlow values are concave (slower changes to start, speeding up toward the end); StartFast values are convex (the opposite). At the knob's extremes (Start Slow 5 and Start Fast 5), the pitch will actually overshoot a little before settling on the original pitch. The default is "Linear" -
Tracking—Determines how the poly pitch engine reacts to your playing. Leave this set to "X Stable" (the default, with the fewest artifacts when pitch shifting complex chords) and only select a different setting if you experience too much latency when playing fast lead lines -
Auto EQ—Determines how much compensation EQ is applied to the shifted signal. If the effected signal sounds too harsh when pitched up (or dull when pitched down), adjust this setting to taste. The higher the value, the more EQ is applied at the shift end points; when set to 0.0, no compensation EQ is applied -
Mix—Controls the wet/dry mix of the pitch-shift -
Level—Controls the overall output level of the block
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Pitch/Synth > Poly Wham (Mono), Line 6 Original. Automatically assigned to EXP 1 and the toe switch toggles it on and off. See Poly Pitch notes above for additional information -
Pitch/Synth > Poly Capo (Mono), Line 6 Original. A Simpler version of Poly Pitch when you just want to transpose your playing. See Poly Pitch notes above for additional information -
Pitch/Synth > 12 String (Mono), Line 6 Original 12-string guitar emulation - Volume/Pan > Stereo Imager (Stereo), Line 6 Original. Used to increase the apparent stereo width of your signal when connecting Helix to two amps or a stereo playback system; just make sure there aren't any mono blocks after it!
- Looper > Shuffling Looper (Mono, Stereo), Line 6 Original. Part looper, part sampler, part inspiration generator, part performance instrument, the Shuffling Looper intelligently chops up your playing and gives you real-time control over reordering, octave shifting, reversing, and repeating. It's all immense fun (even on vocals, drums, and percussion), but you'll want to familiarize yourself with its controls. IMPORTANT: The Shuffling Looper does not currently respond to Command Center > HX Commands or per-function MIDI commands
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17 hours ago, Clsc said:
when will it have an update With more Effects and Features?
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.
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Not just yours, typical with Pod Go... :\
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So what happening right now is:
1) with none of the SBS's foot switches activated, I have my dry signal from the Pod.
2) When I click any foot switch on the SBS I still have my dry signal from the Pod.
3) When I click on any foot switch on the SBS AND click on the Pod's MONO FX LOOP foot switch, that's when the sound from the SBS and the Pod just fades in and the volume is also quieter compared to just the dry signal.
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:
Quotewhen the FX Loop is on, it gives me absolutely no processed signal, like the FX return goes straight to the PGO out... Exactly like this:
And yeah my Looper (in) is connected to Pod Go FX send, and my looper (out) is connecter to the Go's FX return, so I expected it to go through all the chain like you said, but it's really not what it does...
Ok I just figured it out...!
Global settings, in/out
That was why as I said in this and the other thread I linked earlier, that the looper kept playing even if the block was off... So it's actually an interesting option if you have a mono looper and are outputting sound from Go to Monitors/PA/whatever!
But yeah not sure why that option was set the way it was... When I changed the option, the Go started behaving as you would expect... The more you know LOL (optimally, there could have been some indicator that the option is on/off, since it really screws up the FX loop behavior, but I guess that when you know the option exist...)
Thanks!
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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?
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26 minutes ago, AidenBanks said:
Once I get over the learning aspect, it should be just as simple to dial in as the katana, right?
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.
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1 hour ago, Rossco02 said:
What I would say in reference to the last reply is that it's very very easy to dial in a sound on the Pod Go, much easier than hooking up the Katana to the laptop.
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.
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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?
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You can put it in the fx loop, after the go, or before the go; however you want!
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I've seen things that say its an immense improvement, and others that say its comparable.
Yes.
QuoteAre the effects, amps, cabs, and mics on the Pod Go $500 better than the Katana?
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?
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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!
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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.
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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...]
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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...
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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)
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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:
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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?
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Issue is that with the monitors you do want to use the cab block of the Go, but since your 4x12 is a cab, in theory you wouldn't want to have your cab block turned on in the Go.
There's an option so that one of the outputs of the go not output the cab and everything afterwards, but then if you have ex; a reverb after your cab, you would not hear the reverb which kinda sucks. Soo... You would have to arrange your patches so that the cab is always the last block of your chain, then you could have two outputs; one to the Mackie's outputting hte full chain, and the other to the 4x12.
But, then you'd have both playing at the same time, to only have 1 playing at a time and being able to switch quickly between both ... No idea besides turning on/off the monitors and the cab! (cab via footswich or some other way..). Don't think you can do 'everything' easily via Go. Maybe if you had a stereo A/B switcher pedal you could output go to switch pedal and then connect A/B to mackie and cab, allowing you to switch via footswitch!
something like this;
https://www.loopipedals.com.au/product/stereo-splitter-ab-pedal/
But I'm not 100% sure how the Go would handle the Stereo for Monitors vs Amp which takes a mono signal... You might just get left or right output for cab? Or, there's likely an adapter to go from stereo to mono; yep; "1-4-in-stereo-female-to-1-4-in-mono-male-adapter" that should work lol
Or, just KISS, output both signals, turn on/off your monitors and amp via their power switch lol
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3 hours ago, cruisinon2 said:
Yes, you'll have to spend a few bucks
Maybe? Well you may have to if you are looking for a very specific thing, but there are soo many free IRs out there... This site has quite a few mixes: https://soundwoofer.com/ImpulseMix/Index
But I don't know, guess it depends on your skill level and level of how much of a sound engineering guru you are, as if you're a super pro of mixing mics and cabs, well yeah, going with the more budget and limited Go
was likely not the best choice!is still a fine choice if you just purchase an IR pack for $50 or whatever which contain all the dual cab IRs you want!But yeah for Go, I really doubt we'll get dual cabs/mics in a software update! But who knows...
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I think it's effectively for what are newer and generally more DSP intensive effects, vs legacy (paler) which are effects coming from older Line6 products and generally less expensive... But that might not be it, since for instance Spring reverb is super expensive DSP-wise, but it's very possible that still the Spring reverb comes from an older L6 product...
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Simplest and most practical and logical would be between your guitar and the PGO; guitar -> volume pedal -> PGO -> etc.
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On 1/14/2021 at 6:01 PM, engine-III said:
the tones i managed to get out of both running thru the hd400 were MORE than adequate which made me think the GO would make them that much better. but...
On 1/13/2021 at 1:50 PM, engine-III said:yes, i did. but, respectfully, that response seems a bit too commonplace and isn’t really a solution. i understand that it’s not a simple “plug and play” type of deal - it just seems to me that after 20 years the level of complexity to get even one attractive tone to start with out of 30+ banks of presets is starting to outweigh the benefits of the newer models. in the past it seemed that having so many “artist presets” was the draw towards modeling amps/pedals - having a good, usable starting point and patches that actually showed how they could be used. most of what i hear with the GO seems redundant. i feel like it’s unnecessary to have so many when things like the snapshot mode and blocks mean you can turn things on and off to essentially get the next patch in the list. again, personally i feel like quantity over quality and the added hassle of having to buy things like IR’s is taking over the usability of the products, especially when simple/useful things like having enough effects blocks or dual amps are being thrown out. i understand there will always be a sacrifice between product versions and that business is business, but IMO it’s just not worth it with this one.
There are tons of free IRs, and when you use them instead of the bothersome [amp + mic + distance], the Go's usability gets a lot higher, as it's a PITA to experiment with amps/mic/distance. And as the majority of tone is from the amp, you're really doing yourself a huge favor by using IRs imho. But if you don't mind the PGO's amp+mic+dist thing, you likely won't be missing much in terms of tone.
But reading YT comments, you're not the only one who seems to love his HD400/500. Not entirely sure how it compares sound-wise, but I'd think the Go would sound better as it's the latest emulation gen (helix tone). Getting there might be a challenge though, so having years of tuning your hd400 tone vs jumping in Go and trying to reproduce/improve your hd400 tones might not be super easy...
And yeah IMHO the presets aren't a huge help and could have been better. But how they sound depends on your playing and your guitar, so again you can't really compare to the sounds you've dialed in your hd400; which are already tailored to your taste, playing, guitar, etc.
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12 hours ago, Predictable said:
but why do you think it's the same problem in a brand new device?
Well it's an issue for 100% of the 3 people posting here; with almost brand new devices. Mine did it from day 1. So really not from wear and tear; imho it's just tradeoff or flaw of the design...
PS said all my mouses scroll wheels had the issue, but my current mouse seems to not have the issue... So likely a component quality issue...? :\
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20 hours ago, catalyn86catalyn said:
How u connect your Pod Go with Katana? I have the same amp 100 mkii..do u use the amp or preamp on Pod Go? Thx
check out the 4 cable method in the manual. Or, you can connect go direct to effect loop and bypass the Katana's effects and go straight to cab. You might want to try with and without cab, see if one works better than the other.
Pod Go
in POD Go
Posted
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
I breezed through the article But didn't see the Pod Go announcement for the firmware updates and features...