silverhead

Again, the inbuilt part in the POD Go is the antenna/receiver, not the transmitter. The transmitter is the separate piece - the Relay G10T - that plugs into your guitar. It communicates with the built in wireless antenna/receiver of the POD Go. If you choose to use another manufacturer’s transmitter/receiver pair you will have TWO separate pieces. The transmitter connects to your guitar as does the G10T. However, the other manufacturer’s antenna/receiver is NOT built in to the POD Go. It’s a separate piece that connects via a standard 1/4” guitar cable to your POD Go’s Guitar input. In this case you are completely bypassing the POD Go Wireless feature that you paid extra for. You can do the same thing with a standard (not wireless) POD Go. Sounds to me like you should buy the non-wireless version of the POD Go. You’re already anticipating poor performance and failure of the POD Go Wireless feature so probably best for you to avoid it. You’ll sleep better.

Wireless transmitter/receiver pairs are generally not compatible among different manufacturers. You likely would not be able to use, for instance, a Shure wireless guitar transmitter with your POD Go (Line 6) built in receiver. Note that it’s the receiver, not transmitter, that’s built in. The transmitter is connected to your guitar. However, your POD Go Guitar input will accept a Shure (or any other manufacturer) wireless guitar transmitter/receiver pair. In this case you are simply bypassing the POD Go’s built in wireless receiver. No need to ‘turn it off’; you just don’t use it.

Unfortunately you do need to spend a good deal of time balancing your preset levels. Set the device Master Volume high; this sends the cleanest signal to FOH and also allows the lower gain, clean presets to reach a good volume. Use the level controls that do not colour the tone; the ones I find most useful are amp Channel Volume and the Output block Level. Start with the clean presets. After getting those to a good level, and balanced among themselves, move on to the crunchy tones and finally the hi-gain tones. You’ll need to do a lot of back and forth comparing and adjusting among all the presets. I’ve heard some people say they manage a complete gig using only one or two presets with several snapshots in each. Those folks are far better tone builders than me and must be able to coax a wider variety of tones out of a single preset. I think it also depends on your band/gig. If you play in a tribute band, or a genre band (e.g. blues) you probably don’t need as many presets. But if you play in a wide ranging cover band and want to nail the sound you will need a lot of presets. And that’s where gain staging among presets becomes very important.

Let me elaborate a bit. There are really no rules here. When you want to incorporate your physical FX pedals into the signal chain of your POD you can do so in three ways: put the pedal(s) before the POD, in the POD’s FX Loop, or after the POD. You can choose any method, influenced by your own experience and preference in analog pedal placement. Typically players put OD pedals before the amp. In your case I think the only reason you might put the external OD pedal in the POD’s FX Loop is if you wanted to use a POD FX model such as a compressor in front of the OD pedal. But you would still probably want both placed before the POD’s amp model. In that case the beginning of your signal flow would be Guitar -> POD Input -> POD Compressor block -> POD FX Loop Send -> external OD Pedal -> POD FX Loop Return -> POD Amp model, followed by other POD FX models. You might also have a favorite delay or reverb pedal that you want to use. Typically you would put them in the POD FX Loop which would usually be placed after the POD amp model. But in the above situation, already using the OD pedal in the FX Loop before the amp…. What to do? Well, there I would experiment with placing the delay/reverb pedal after the POD’s output and before the speakers/monitors. That would also place them after the POD’s cab model. That may or may not sound good to you but, again, no rules. Experiment and see what you like.

I mean the amp block in the POD.

For an overdrive pedal, typically yes. Using a real amp that’s usually what one would do - plug the guitar into the overdrive pedal and then the pedal into the amp’s Guitar input.

Is it working properly now, at home again? If so I expect it may have been related to a power issue at the venue. If not, and if a reset doesn’t fix things, I would try reinstalling the firmware. If still unresolved open a support ticket.

My first thought is to compare the virtual setup to a physical midi setup. In the real world, your synth would need to be configured for Midi pass-thru. Is that possible, or even relevant, with your synth plugin? As for the audio track question please be more specific. What exactly do you mean by ‘integrate it into an audio track’?

It sounds good. That’s what it’s designed for. The FX Loop, with stomp boxes in it, works best for stomps that you want to position after the amp in your signal chain. If you want FX before the amp you don’t need an FX Loop; you just put the FX between your guitar and the amp. So it’s really designed for time-based FX (chorus, delays, etc,) that work well after the preamp section of the amp.

Yeah - 1/4" is a lot of wiggle. That's not usual. As for Customtone, it's a user-populated site; Line 6 simply hosts it. They do not generally contribute patches nor provide quality control over it. Users upload what they want and describe it how they want. There are more Helix patches because there are more Helix users. You'd be arguing with other users, and presumably trying to persuade others to upload more Pod Go patches. You could even do so yourself!

Haven’t noticed it myself, but I would let sleeping dogs lie…. As long as it’s working I wouldn’t mess with it.

I believe I answered this earlier in this thread in reply to your previous statement that this can't happen Yes, it can. I do it regularly. And, as you point out, for those who have Helix Native it renders the offline version of HX Edit redundant. (or, at least, it passes the buck to your DAW which may itself require that an audio interface device such as Helix be connected in order to operate.)

Exactly right. The POD HD editors would run offline. And there were constant reports about issues of lost updates, out of sync data, and even device freezes. Line 6 abandoned the feature with Helix, for good reason.

Check your Global Setting for Snapshot Edits behaviour. Seems you want it set to Discard, meaning any edits you make to a Snapshot will be discarded after you leave the snapshot. It will be in its last-saved state when you return to it.

Reading the manual (pg 58) I think you also need to set Stomp Mode to 4-switch in order to have Preset Mode momentary.

Helix presets are fully compatible between Helix Native and HX Edit/Helix devices. You can export any Helix Native preset to a file on your computer and then drag/drop it into HX Edit. You can easily transfer your studio sound to the stage. You can even use Helix Native's Hardware Compatibility mode to transfer presets among different Helix device (e.g. HX Stomp to Helix Floor).

Ha! Your user profile Location says UK but finishing your sentence with ‘eh’ tells me you may be a fellow Canuck at heart. I got my first Line 6 product - POD X3 Live - in 2009. I was a complete newbie to the digital modeling world and spent a lot of time asking questions here and learning about the device in depth. After a while I found myself able to do what you describe : sharing knowledge with others. And …. 14 years later I’m still learning something new almost every day here. (And I do actually have a life outside of this space….. ;-) )

Yes, use Command Centre to assign a Stomp mode footswitch to recall a snapshot.

Log in to your account within the POD Go Edit program (see bottom right corner of window). I think you are able to authorize your computer from there.

Try running the Line 6 License Manager to authorize your new computer.

You won’t need to assume. They key element of the routing in 4CM presets is the position of the FX Loop. Regardless of type of effect, those that appear before the FX Loop are sent to the physical amp’s preamp section and those that follow it aren’t. Examine the preset in terms of specific FX blocks before and after the FX Loop and decide for yourself whether you agree with the positioning for each ‘type’ of block. Remember, there are no rules about FX placement so there’s really no ‘proper’ placement/routing. Whatever sounds good to you is proper for you.

The 4 cable method provides the physical routing that you need for this. Configure your preset so that all the gain, boost etc pedals you want sent to the amp are placed before the FX Loop block in your preset. Place your post amp FX blocks after the preset's FX Loop. That's exactly what 4CM is designed to do.

You did your research, bought the device that you felt best met your needs, and have been thoroughly impressed. Why are you considering the upgrade? Have your needs changed? If there’s nothing specific you want to achieve with the upgrade I’d say you’re setting yourself up for a very ‘meh’ experience.

Glad it worked out. No need to apologize. You’re only the 35,672nd person (approximately ;-) ) who has reported update issues that were the direct result of not following the instructions.

You mentioned the Updater program. If you manually invoked Updater it means you didn’t follow the update instructions. Download and install the HX Exit v3.52 package (which also installs the latest Updater program). Then run HX Edit and allow it to manage the firmware installation. It will invoke Updater in the background but you should have no knowledge or indication of that.