silverhead

That sounds like an internet connection problem. I would try the usual connection troubleshooting things - restart your computer, router, and any other devices in the chain. Are you having any other general internet issues? Contact your ISP?

First, try a different cord. Perhaps the one you’re using has a bit of a small plug. Otherwise the internal jack connection is loose. If you’re comfortable fixing or replacing it yourself you can probably do so. If it’s brand new or under warranty I would return it or get it repaired by the dealer.

Please provide more detailed information. Is the download process itself not working, indicating a problem with the internet connection? Is it not installing successfully? If so how are you installing it? Is it installing properly but unable to boot successfully? Give details of exactly what you are doing and at what point it is problematic.

You will be able to register it. You can do it directly if the previous owner has unregistered it from their account. Otherwise you may need Line 6 help; contact them in that case. However, registration does not determine whether you will qualify for the Helix Native discount. That will depend on whether the previous owner used the discount already. Only one discount per Helix device (serial number).

Typically it would be Amp but try both and see what you prefer. It should be matched to your amp’s FX Return jack specs. Is it expecting an Amp/ Instrument or Line level signal?

Make sure the POD Go device not connected via USB when you install the driver. Connect after installation.

2. There’s no ‘right’ answer. Experiment. What sounds best to you is right for you. Using your PARA-DI box experiment with using the Helix Mic input and it’s associated preamp. Helix has a global setting to adjust the mic input gain if you need to boost or cut the input level. If your PARA-DI box has a 1/4” output experiment with using the Helix Guitar input. When you are experimenting without your PARA-DI and connecting your acoustic directly to the Helix using the 1/4” Guitar input you may find the input signal level low due to your passive pickups. Try using the Helix Studio pre-amp model. You may even want to boost the signal before it hits the Studio pre-amp using e.g.a Gain FX block or an EQ block with neutral tone settings and just a Level boost. You can also boost the signal further at the Output block if necessary.

4 - Increase the Level of the Output block on the acoustic guitar path.

Where are your speakers/monitors connected? What output are you listening to - the POD Go outputs or your external looper outputs? The correct setup is to connect the POD Go Send jack to your external looper input, and the external looper output to the POD Go Return jack. The FX Loop block sends the signal to your external looper at the point in the signal chain where the FX Loop block is placed. Using your 3 pictures above: 1) Yes, as you describe your external looper is receiving the fully processed signal because the FX Loop block sits at the end of the signal processing chain. 2) The FX Loop block sits after the Vol and Wah pedals and before anything else. Hence your external looper is receiving only the effects of the Vol and Wah pedals. Specifically, your looper is NOT receiving any of the processing from any other amp, cab, or FX block. What you describe is exactly what I would expect. Since the Wah seems to be off your looper is receiving only the Vol-effected raw signal. If you are listening to your looper outputs that's all you will hear. Your POD Go outputs should give you the fully processed signal. 3) Your looper is receiving all processing except for the cab block, which is why it sounds bright and harsh. Again, If you are listening to your looper outputs that's what you will hear. Your POD Go outputs should give you the fully processed signal including the cab. In all cases, your looper is recording exactly what it is being sent. Your Looper output should be connected to the POD Go Return jack.

Firehawk FX does not support IRs.

Suggest you open a support ticket.

Yes they can. But I imagine they're looking for a price discount, even though it's software. Perhaps it's a bit scratched and scuffed from all that transporting here and there?

Adjust the channel volume first to level preset volumes; it doesn’t affect tone. Don’t adjust the gain or drive before the amp because that will affect tone. There are other options too, like using the Hi gain input setting on your active pickup guitar preset, or putting a Gain block at the end of the signal chain, or an EQ block with an increased level setting and neutral tone settings, or increasing the level of the Output block, or.....

You can't use 2 amp models in the same preset with POD Go and you can't split the signal into 2 paths. You could, however, use the POD Go FX Send output and external equipment. For instance, if you have the physical guitar amp (or bass amp and octaver pedal) you could send the guitar input signal to that external equipment (after some initial processing in the POD Go if desired) and do the rest of the processing within the POD Go preset.

Yes, that’s what I think.

Also, there’s a recent issue re: iOS 14. Check the pinned topic in the StageScape forum.

It’s been a while since I used the M20d remote app but I believe the password requested is the password for the WiFi network you are connecting to. It is not an M20d password. In your case I imagine it would be the password you chose when setting up your Apple airport express.

That could be a good definition of static DSP management, and there’s nothing wrong with preferring that. But here’s an analogy that perhaps illustrates the difference clearly. Consider the amount of available DSP in a device as a budget limit similar to having an amount of cash in your pocket. Imagine you have $10 to spend and that you are choosing between one of two stores to spend it in. Store #1 has what some might consider to be a very attractive policy. You can choose any 5 items in the store for $10. Anything - no restrictions. There are no prices associated with any item. Just pick any 5 you want. What’s implied of course is that no single item is worth more than $2. Otherwise they couldn’t have that policy or they’d lose money. So your $10 is ‘fully able to meet the offered features’. This is analogous to static DSP management. Store #2 has a different policy. It offers all the items that Store #1 offers, but it offers other items too. It also associates a price with each item. Many of the items in this store cost more than $2, and there is no limit to the number of items you can purchase. You just have to keep the total cost to no more than your $10 budget. If you want a couple of expensive items you may not be able to afford to get 5 items. This is analogous to dynamic DSP management. You might choose Store #1. I would choose Store #2. Nobody’s right or wrong - just different policies.

Yes, pretty much. Sound perception is subjective though so there will always be someone who think s it sounds great. Maybe you?

Every processor has a limit. That’s a fact, not an ‘overflow problem’. The manufactures of audio signal processing devices handle this in one of two ways: they use static DSP management to constrain the device so that it’s DSP limitation is never encountered by the user, or they use dynamic DSP allocation which permits the user to take advantage of all available DSP meaning the the device limits become visible to the user. Most recent Line 6 guitar processor devices since the POD HD series have used dynamic DSP allocation, including the POD Go. It’s not a problem, it’s a design decision that benefits the user. It places DSP management in the hands of the user and allows the device to be used to its full potential. The POD Go could have been designed to exclude some heavy DSP FX blocks, and/or to limit the flex FX blocks to 3. Seems the Ampero device did this which is both why you don’t encounter its DSP limits and why you can’t use as many FX blocks as you can in the POD Go. I fail to understand how the benefits of dynamic DSP allocation can be perceived as some sort of problem or fault in the design of the device.

If you mean using a cable with USB at one end and RJ-45 at the other end, no that will not work. Line 6 uses a proprietary protocol over the RJ-45 cable; it does not use TCP/IP.

If your PC speakers are external simply connect them to the POD Go audio outputs. If they are internal you will be disappointed by the sound quality compared to the POD Go audio output. A pair of studio monitors would be a great investment.

That's a good procedure as long as, when installing HX Edit. you choose to install all components: the HX Edit program, as well as the known-to-be-compatible versions of the Updater program and the drivers. People get into trouble when they use outdated versions of the Updater or drivers which can easily happen if you don't begin by installing HX Edit and all its components. Whether you install the firmware using the HX Edit program (which enforces a backup) or the Updater program directly (no backup required) shouldn't matter as long as you're using the compatible version of the Updater program. So, the opening lines of your original post are: " I connected the HX Stomp to the updater and installed the newest firmware 2.92. Well, then I openned the HX Editor to start working on some presets." The question is: are you sure you used the compatible version of the Updater program and associated drivers? Were they the version you downloaded and installed with the new HX Edit program or did you use a previous version?

Not 100% sure about that. Presumably there is a piece of Helix firmware that is responsible for handling the USB port. I guess it’s possible that there could be a bug in there that would not be detected via the Helix headphones output. However, if that were the case all users would notice it. The fact that most users are not reporting this issue is, to me, a more persuasive argument that this is not a firmware bug.There is something in this user’s computer environment that is the cause.

It isn’t there because it makes no sense when you’re dealing with a static memory space. The device has a fixed space of internal memory for a fixed number of presets. There are always exactly that many presets stored in memory so conceptually you can’t ‘delete’ one; it’s memory space remains. What you can do is overwrite that preset space with a different preset definition that you consider to be an ‘empty’ preset. The New Preset that appears in the factory presets is an example of an empty preset.