FREE SOFTWARE DOWNLOADS

Go
  • Beta
  • Archiviert

Die Suche ergab:

POD Go Edit      

POD Go Edit

PODGo_20_Logo.jpg

 

POD Go 2.0 (released November 7, 2023) includes an all new Cab engine including 33 new cabs, 6 new amps, 7 new effects, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry.

 

How do I update to 2.0?

  1. Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 2.0 as well. Here's a link:

 

My POD Go is at version 1.XX. Can I go straight to 2.0?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 2.0 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D, turn on POD Go/POD Go Wireless.

 

New Cab Engine/New Cabs in 2.0

PODGoEdit.jpg

 

 

Thousands of impulses were captured with Sound Design's IR capture system and consolidated into 26 guitar cabs and 7 bass cabs. As such, cab block subcategories have been updated.

  1. From Edit mode, turn the Upper Knob to select the Cab block.
  2. Press the Lower Knob to open the Model List. Three subcategories appear:
    • Cab—Cabs using the new improved cab engine
    • Legacy Cab—Cabs using the earlier Hybrid cab engine. Legacy cabs remain in POD Go so your existing presets won't be affected. Legacy cab blocks now show a small Legacy icon in the corner
    • IR—Impulse Responses loaded via POD Go Edit

ModelList_Cabs.jpg

 

New Guitar Cabs

Cab > 1x10 US Princess, captured from* the 1x10" Fender Princeton Eminence Copperhead

 

1x10USPrincess.jpg

 

Cab > 1x12 Grammatico, captured from* the 1x12" Grammatico LaGrange P12Q

 

1x12Grammatico.jpg

 

Cab > 1x12 US Deluxe, captured from* the 1×12″ Fender® Deluxe Oxford

 

1x12USDeluxe.jpg

 

Cab > 1x12 Open Cast, captured from* a custom 1x12" open back cabinet EVM12L

 

1x12OpenCast.jpg

 

Cab > 1x12 Open Cream, captured from* a custom 1x12" open back cabinet G12M-65

 

1x12OpenCream.jpg

 

Cab > 1x12 Cali EXT, captured from* the 1x12" Mesa Boogie Extension Cab

 

1x12CaliEXT.jpg

 

Cab > 1x12 Blue Bell, captured from* the 1×12″ Vox® AC-15 Blue Alnico

 

 

CABMICIR_HX_1x12_BlueBell.jpg

 

Cab > 2x12 Blue Bell, captured from* the 2×12″ Vox® AC-30 Fawn Blue

 

2x12BlueBell.jpg

 

Cab > 2x12 Silver Bell, captured from* the 2×12″ Vox® AC-30TB Silver Alnico

 

2x12SilverBell.jpg

 

Cab > 2x12 Match H30, captured from* the 2x12" Matchless® DC-30 custom G12H-30

 

2x12MatchH30.jpg

 

Cab > 2x12 Match G25, captured from* the 2x12" Matchless® DC-30 custom G12M-25

 

2x12MatchG25.jpg

 

Cab > 2x12 Double C12N, captured from* the 2×12″ Fender Twin C12N

 

2x12DoubleC12N.jpg

 

Cab > 2x12 Jazz Rivet, captured from* the 2×12″ Roland® JC-120

 

2x12JazzRivet.jpg

 

Cab > 2x12 Mail C12Q, captured from* the 2×12″ Silvertone® 1484

 

2x12MailC12Q.jpg

 

Cab > 2x12 Mandarin 30, captured from* the 2x12" Orange PPC212 V30

 

2x12Mandarin30.jpg

 

Cab > 4x10 Tweed P10R, captured from* the 4×10″ Fender Bassman® P10R

 

4x10TweedP10R.jpg

 

Cab > 4x12 Greenback 20, captured from* the 4×12″ Marshall® Basketweave G12M-20

 

4x12Greenback20.jpg

 

Cab > 4x12 Greenback25, captured from* the 4×12″ Marshall® Basketweave G12 M25

 

4x12Greenback25.jpg

 

Cab > 4x12 1960A T75, captured from* the 4×12″ Marshall 1960A T75

 

4x121960AT75.jpg

 

Cab > 4x12 Blackback 30, captured from* the 4×12″ Park® 75 G12 H30

 

4x12Blackback30.jpg

 

Cab > 4x12 Brit V30, captured from* the 4×12″ Marshall® 1960AV V30

 

4x12BritV30.jpg

 

Cab > 4x12 Cali V30, captured from* the 4×12″ MESA/Boogie® 4FB V30

 

4x12CaliV30.jpg

 

Cab > 4x12 Mandarin EM, captured from* the 4×12″ Orange Eminence

 

4x12MandarinEM.jpg

 

Cab > 4x12 MOO)))N T75, captured from* the 4x12" Sunn Cab w/G75T

 

4x12MOONT75.jpg

 

Cab > 4x12 Uber T75, captured from* the 4×12″ Bogner® Uberkab T75

 

4x12UberT75.jpg

 

Cab > 4x12 Uber V30, captured from* the 4×12″ Bogner Uberkab V30

 

4x12UberV30.jpg

 

Cab > 4x12 XXL V30, captured from* the 4×12″ ENGL® XXL V30

 

4x12XXLV30.jpg

 

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab

 

New Bass Cabs

Cab > 1x12 Epicenter, captured from* the 1x12" Epifani® Ultralight series cabinet

 

1x12Epicenter.jpg

 

Cab > 1x15 Ampeg B-15, captured from* the 1×15″ Ampeg® B-15

 

1x15AmpegB15.jpg

 

Cab > 2×15 Brute, captured from* the 2×15″ MESA/Boogie® 2×15 EV

 

2x15Brute.jpg

 

Cab > 4×10 Garden, captured from* the 4x10" Eden D410XLT

 

4x10Garden.jpg

 

Cab > 4x10 Ampeg Pro, captured from* the 4x10" Ampeg® PR-410HLF

 

4x10AmpegPro.jpg

 

Cab > 8x10 SVT AV, captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

 

8x10SVTAV.jpg

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

New Amps in 2.0

New Guitar Amps

Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100.

 

a close-up of a computer

 

"The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the POD Go model:"

 

—Ben Adrian, Sound Design Manager

 

  • Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the POD Go models. On the real amp is says "Volume."
  • Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later.
  • Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop.
  • Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model
  • Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings.
  • Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost.
  • Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing.
  • OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone.
  • OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings.
  • OD Level—This controls the output level of the overdrive circuit.
  • Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect.
  • FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change.
  • PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2.
  • Sag—This is a control that is added to all the POD Go models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable.
  • Hum—This is a control that is added to most of the POD Go models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down.
  • Ripple—This is a control that is added to most of the POD Go models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off.
  • Bias—This control is in most POD Go models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic.
  • Bias X—This is the most difficult parameter to describe in POD Go models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all POD Go amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob.

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > Line 6 Elmsley, Line 6 Original

 

a yellow and red cassette tape

 

"The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades.

 

"The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.”

 

—Sam Hwang, Sound Designer

 

 

New Bass Amp

Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer

 

amplifier

 

New Effects in 2.0

 

Distortion > Pillars OD, based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Dark Dove Fuzz, based on* the Electro-Harmonix® Russian Big Muff

 

FX_DarkDoveFuzz.jpg

 

  • Sustain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block

 

Modulation > FlexoVibe, Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > 4-Voice Chorus, Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > Triple Rotary, inspired by* the Yamaha® RA-200 rotary speaker (famously implemented on "The Wall").

 

FX_TripleRotary.jpg

 

"The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet.

 

"To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems."

 

—Sam Hwang, Sound Designer

  • Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed
  • Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock
  • Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock
  • Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place
  • MixControls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block
  • Drive—Controls the amount of drive into the speaker's power amp
  • Headroom—Adds up to 12.0dB of additional headroom
  • Low CutApplies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency
  • Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric.
  • Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased
  • Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors
  • Rotor 2 Lvl—Sets the individual volume of the second rotor
  • Rotor 3 Lvl—Sets the individual volume of the third rotor

 

Reverb > Dynamic Ambience, Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver, based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

Bug Fixes in 2.0

  • Pitch/Synth > Pitch Wham would load active instead of bypassed–FIXED
  • Controller Learn would remain active after clearing a block in HX Edit—FIXED
  • POD Go Edit only: In rare cases, the parameter Max slider could jump to minimum and become unresponsive—FIXED
  • Other minor fixes and improvements

 

Known Issues in 2.0

  • After importing a .wav file into the current empty slot of a Cab > IR block, all audio output can be muted
  • If Modulation > ADT is loaded via the Lower Knob or POD Go Edit, a pitch ramp sound may be heard. This does not happen when engaging ADT via footswitch

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura, macOS Sonoma
( 30 MB )
Get Download

POD Go Edit      

POD Go Edit

PODGo_20_Logo.jpg

 

POD Go 2.0 (released November 7, 2023) includes an all new Cab engine including 33 new cabs, 6 new amps, 7 new effects, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless. Here's a video if you're in a hurry.

 

How do I update to 2.0?

  1. Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 2.0 as well. Here's a link:

 

My POD Go is at version 1.XX. Can I go straight to 2.0?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 2.0 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D, turn on POD Go/POD Go Wireless.

 

New Cab Engine/New Cabs in 2.0

PODGoEdit.jpg

 

 

Thousands of impulses were captured with Sound Design's IR capture system and consolidated into 26 guitar cabs and 7 bass cabs. As such, cab block subcategories have been updated.

  1. From Edit mode, turn the Upper Knob to select the Cab block.
  2. Press the Lower Knob to open the Model List. Three subcategories appear:
    • Cab—Cabs using the new improved cab engine
    • Legacy Cab—Cabs using the earlier Hybrid cab engine. Legacy cabs remain in POD Go so your existing presets won't be affected. Legacy cab blocks now show a small Legacy icon in the corner
    • IR—Impulse Responses loaded via POD Go Edit

ModelList_Cabs.jpg

 

New Guitar Cabs

Cab > 1x10 US Princess, captured from* the 1x10" Fender Princeton Eminence Copperhead

 

1x10USPrincess.jpg

 

Cab > 1x12 Grammatico, captured from* the 1x12" Grammatico LaGrange P12Q

 

1x12Grammatico.jpg

 

Cab > 1x12 US Deluxe, captured from* the 1×12″ Fender® Deluxe Oxford

 

1x12USDeluxe.jpg

 

Cab > 1x12 Open Cast, captured from* a custom 1x12" open back cabinet EVM12L

 

1x12OpenCast.jpg

 

Cab > 1x12 Open Cream, captured from* a custom 1x12" open back cabinet G12M-65

 

1x12OpenCream.jpg

 

Cab > 1x12 Cali EXT, captured from* the 1x12" Mesa Boogie Extension Cab

 

1x12CaliEXT.jpg

 

Cab > 1x12 Blue Bell, captured from* the 1×12″ Vox® AC-15 Blue Alnico

 

 

CABMICIR_HX_1x12_BlueBell.jpg

 

Cab > 2x12 Blue Bell, captured from* the 2×12″ Vox® AC-30 Fawn Blue

 

2x12BlueBell.jpg

 

Cab > 2x12 Silver Bell, captured from* the 2×12″ Vox® AC-30TB Silver Alnico

 

2x12SilverBell.jpg

 

Cab > 2x12 Match H30, captured from* the 2x12" Matchless® DC-30 custom G12H-30

 

2x12MatchH30.jpg

 

Cab > 2x12 Match G25, captured from* the 2x12" Matchless® DC-30 custom G12M-25

 

2x12MatchG25.jpg

 

Cab > 2x12 Double C12N, captured from* the 2×12″ Fender Twin C12N

 

2x12DoubleC12N.jpg

 

Cab > 2x12 Jazz Rivet, captured from* the 2×12″ Roland® JC-120

 

2x12JazzRivet.jpg

 

Cab > 2x12 Mail C12Q, captured from* the 2×12″ Silvertone® 1484

 

2x12MailC12Q.jpg

 

Cab > 2x12 Mandarin 30, captured from* the 2x12" Orange PPC212 V30

 

2x12Mandarin30.jpg

 

Cab > 4x10 Tweed P10R, captured from* the 4×10″ Fender Bassman® P10R

 

4x10TweedP10R.jpg

 

Cab > 4x12 Greenback 20, captured from* the 4×12″ Marshall® Basketweave G12M-20

 

4x12Greenback20.jpg

 

Cab > 4x12 Greenback25, captured from* the 4×12″ Marshall® Basketweave G12 M25

 

4x12Greenback25.jpg

 

Cab > 4x12 1960A T75, captured from* the 4×12″ Marshall 1960A T75

 

4x121960AT75.jpg

 

Cab > 4x12 Blackback 30, captured from* the 4×12″ Park® 75 G12 H30

 

4x12Blackback30.jpg

 

Cab > 4x12 Brit V30, captured from* the 4×12″ Marshall® 1960AV V30

 

4x12BritV30.jpg

 

Cab > 4x12 Cali V30, captured from* the 4×12″ MESA/Boogie® 4FB V30

 

4x12CaliV30.jpg

 

Cab > 4x12 Mandarin EM, captured from* the 4×12″ Orange Eminence

 

4x12MandarinEM.jpg

 

Cab > 4x12 MOO)))N T75, captured from* the 4x12" Sunn Cab w/G75T

 

4x12MOONT75.jpg

 

Cab > 4x12 Uber T75, captured from* the 4×12″ Bogner® Uberkab T75

 

4x12UberT75.jpg

 

Cab > 4x12 Uber V30, captured from* the 4×12″ Bogner Uberkab V30

 

4x12UberV30.jpg

 

Cab > 4x12 XXL V30, captured from* the 4×12″ ENGL® XXL V30

 

4x12XXLV30.jpg

 

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure® SM57
    • 421 Dynamic—Sennheiser® MD 421-U
    • 7 Dynamic—Shure SM7
    • 906 Dynamic—Sennheiser e906
    • 30 Dynamic—Heil Sound® PR 30
    • 121 Ribbon—Royer® R-121
    • 160 Ribbon—Beyerdynamic® M 160
    • 4038 Ribbon—Coles 4038
    • 84 Ribbon—AEA R84
    • 414 Cond—AKG® C414 XLS
    • 47 Cond FET—Neumann® U47 FET
    • 67 Cond—Neumann U67
  • Position—Sets the lateral location of the mic in relation to the speaker cone. Choose from Center ~ Cap Edge ~ Edge. Cap Edge may appear in a different location depending on the selected cab
  • Distance—Sets the distance of the mic from the speaker cone. Choose from 1.00" to 12.00" in 1/4" increments
  • Angle—Sets the angle of the mic. 0 degrees is pointing directly at the speaker, 45 degrees is pointing off-axis
  • Low CutApplies a low cut (high pass) filter, letting you remove all audio below a certain frequency. May be useful in removing undesirable low end rumble
  • High CutApplies a high cut (low pass) filter, letting you remove all audio above a certain frequency. May be useful in removing high end harshness
  • Level—Sets the overall level of the cab

 

New Bass Cabs

Cab > 1x12 Epicenter, captured from* the 1x12" Epifani® Ultralight series cabinet

 

1x12Epicenter.jpg

 

Cab > 1x15 Ampeg B-15, captured from* the 1×15″ Ampeg® B-15

 

1x15AmpegB15.jpg

 

Cab > 2×15 Brute, captured from* the 2×15″ MESA/Boogie® 2×15 EV

 

2x15Brute.jpg

 

Cab > 4×10 Garden, captured from* the 4x10" Eden D410XLT

 

4x10Garden.jpg

 

Cab > 4x10 Ampeg Pro, captured from* the 4x10" Ampeg® PR-410HLF

 

4x10AmpegPro.jpg

 

Cab > 8x10 SVT AV, captured from* the 8×10″ Ampeg® SVT® (SVT-810AV Heritage Edition)

 

8x10SVTAV.jpg

  • Mic—Select from up to 12 mics:
    • 57 Dynamic—Shure SM57
    • 421 Dynamic—Sennheiser MD 421-U
    • 7 Dynamic—Shure SM7
    • 88 Dynamic—Beyerdynamic M88TG
    • 52 Dynamic—Shure Beta 52A
    • 112 Dynamic—AKG D112
    • D6 Dynamic—Audix D6
    • 40 Dynamic—Heil Sound PR 40
    • 4038 Ribbon—Coles 4038
    • 414 Cond—AKG C414 TLII
    • 47 Cond FET—Neumann U47 FET
    • 67 Cond—Neumann U67
  • All other parameters the same as for guitar cabs (see above)

 

New Amps in 2.0

New Guitar Amps

Amp/Preamp > Grammatico GSG, based on* the Grammatico GSG100.

 

a close-up of a computer

 

"The Grammatico GSG100 is an amp based on the study of legendary amps made around 1980. This model aims to capture all the unique details of this amplifier circuit, many of which are quite different than popular guitar amps from the major companies. The GSG100 is a feature-rich and complicated amp. There are many amazing sounds in the amp; however, the controls allow for such a wide range of adjustment that it's possible to get unpleasant sounds from it as well. To best use the amp, it really helps to know exactly what each of these features is doing to the guitar signal. Let's go through the parameters as they are found in the POD Go model:"

 

—Ben Adrian, Sound Design Manager

 

  • Drive—This is the first volume control on the amp. It's called "drive" on the model to fit the pattern of all the POD Go models. On the real amp is says "Volume."
  • Bass, Mid, Treble—The normal tone controls on the amp (called a tone stack by amp nerds), located between the first and second gain stages in the preamp. These have different ranges than traditional guitar amp tone controls. Also, the whole voicing of the tone stack can be changed with the "Rock/Jazz" switch, which will be explained later.
  • Presence—This is like the presence controls on other guitar amps. It changes the amount of high frequency in the power amp by modifying the EQ filtering in the power amp's negative feedback loop.
  • Ch Vol—This controls the output level of the amp model. It has no effect on the tone or distortion of the amp model
  • Master—This is the master volume on the front panel of the amp. It is located between the preamp and power amp and can be used to get more or less power amp distortion. This amp is VERY loud, and most players would probably run the master volume on the lower side. If the master volume is cranked, the power amp distortion can be pushed into unpleasant territory. Most players would never crank the master in real life as the actual output would be way too loud for most musical settings.
  • Mid Switch—This switch changes the value of the treble capacitor in the tone stack. When it is off, the amp has more of a scooped sound. When it is on, there is a noticeable upper-mid boost.
  • Jazz/Rock—This switch changes the wiring of the tone stack circuit. It allows for two totally separate tonal voices. Jazz is quieter with a lower center frequency for the mids. Rock is louder with a more traditional mid frequency center. Tone controls rarely translate well between the Jazz and Rock settings. If a good sound is achieved in one mode, it is not guaranteed that the same settings in the opposite mode will still sound pleasing.
  • OD Switch—This turns the two-gain-stage tube overdrive circuit on and off. This circuit is located AFTER the tone controls and Drive knob. When the overdrive is turned on it's as if a third and fourth gain stage is added to the preamp. Generally, it's best to set up the base tone of the amp with the Drive and tone controls first, and then adjust the overdrive circuit to work with the desired base tone.
  • OD Drive—This controls the amount of drive or saturation in the overdrive circuit. Since the whole overdrive circuit is after the amp's regular drive and tone controls, the range of OD Drive knob will change based on those earlier knob settings.
  • OD Level—This controls the output level of the overdrive circuit.
  • Bright—This is a three position switch. The settings are "off" and two different values of bright capacitor. This bright capacitor works with the Drive (volume) knob earlier in the circuit, and is similar to other amps that have bright switches. When the Bright switch is engaged, the effect is more pronounced with lower Drive settings. The bright becomes less effective at higher Drive settings. When the Drive is at 10, the switch is effectively removed from the amp circuit, and changing the switch settings has no audible effect.
  • FET Boost—The GSG100 has a solid state, FET (Field Effect Transistor) boost circuit at the very beginning of the amp circuit. It is akin to placing a FET Boost pedal before the amp. On the physical unit there are two input jacks, but on the model it is placed on a switch and can even be made foot-switchable. The FET Boost has a fixed boost amount of about 7 to 9 dB and also gives a slight EQ change.
  • PAB—This stands for "Preamp Boost." The PAB works by removing the tone controls from the circuit. Tone controls work by removing frequencies and signal level. Engaging the PAB circuit returns all of this lost signal level, but the side effect is that tone controls no longer work. It truth, the treble knob does work slightly, and the mid switch will change how much lows and mids comes through the circuit. In general, though, the PAB trades tone control functionality for a full blast level between tube gain stages 1 and 2.
  • Sag—This is a control that is added to all the POD Go models. Every tube amp has some amount of power supply sag, which feels like compression, squish, and sustain to the player. This control makes the sag amount user-adjustable.
  • Hum—This is a control that is added to most of the POD Go models. Preamp tube heaters in tube amps will leak a little bit of 60 cycle hum into the audio signal. When this hum mixes with the distorted audio signal, a non-musical distortion is created at low levels. To some players, this low-level, non-harmonic distortion adds a bit of realism to the amp model. The best way to put it is that sometimes the model sounds more "wrong" without the hum. However, if you don't like it, you can just turn it down.
  • Ripple—This is a control that is added to most of the POD Go models. Power amp circuits will sometimes let a little bit of rectified 120Hz hum (that the power supply filter caps can't quite fully remove) into the audio signal. When the power supply is being pushed hard, more of this ripple can get through the audio path. Much like the hum, this provides a bit of non-musical distortion to the power amp at distorted settings. To some people, this sounds like harmonic complexity that is enjoyable and realistic. Other players just don't like it and turn it off.
  • Bias—This control is in most POD Go models. It adjusts the bias of the tubes in the power amp, causing a change in tonality and the distortion characteristic.
  • Bias X—This is the most difficult parameter to describe in POD Go models, so hang on. All tube amps need to bias the power amp tubes. This is usually achieved by applying a negative voltage to the input audio signal. (Cathode bias works differently, but that's a story for a different time.) However, when the power tubes are distorting, free electrons can form around the input grid and cause a shift in the bias voltage. This shift only happens during the moments when distortion is occurring. This shift causes a tonal and texture change much like adjusting the bias control. However, once the tubes leave the distorted state, the free electrons dissipate and the bias returns to normal. Another way to put it (less accurately) is that this is a level/envelope controlled bias shift. This behavior is modeled in all POD Go amps, and the Bias X control allows users to control the amount of bias shift that is happening. It is a very subtle change, so please don't expect high drama from this knob.

 

Amp/Preamp > MOO)))N T Nrm, based on* the normal channel of the Sunn Model T.

"The Moon model is based on a 1974, silver knob Sunn Model T amplifier. This is the early version with the more traditional tone stack. Though it has been repaired over the years, the circuit has every component at stock value. This specific unit has been well used, well maintained, and regularly enveloped in fog.


"This amp circuit can best be described as a Fender Tweed Bassman/Marshall JTM45 preamp mated with a very high volume, very flat, ultralinear power amp that uses 6550 tubes. The result of this configuration is a tone with a raw growl that really has a strong punch to the gut. In addition, this configuration takes pedals very well; adding a distortion or booster can turn the amp into a high gain, doom machine."

 

—Ben Adrian, Sound Design Manager

 

Amp_HX_Gtr_Moon-nrm.jpg

 

Amp/Preamp > MOO)))N T Brt, based on* the bright channel of the Sunn Model T

 

Amp_HX_Gtr_Moon-brt.jpg

 

Amp/Preamp > MOO)))N T Jump, based on* the normal and bright channels jumped in the Sunn Model T

 

Amp_HX_Gtr_Moon-jmp.jpg

 

Amp/Preamp > Line 6 Elmsley, Line 6 Original

 

a yellow and red cassette tape

 

"The Line 6 Elmsley is a new Line 6 original amplifier that employs a parallel distortion topology that layers distinct saturation characteristics across the lower and upper registers. The Elmsley features a smooth and present bottom end with some exceptional sparkle and definition all through the midrange and above. The result is an amplifier that is dazzling across the full spectrum, and the amplifier deals with pedals in spades.

 

"The other new key feature of The Elmsley's power amp section is the Negative Feedback (NFB) parameter, where the amount of feedback within the power section's response can be dialed anywhere from wild and unhinged, tight and punchy, and anything in between. As with many amplifier designs, the presence and depth controls are part of this negative feedback circuit and functions to control the brilliance and resonance of the power amp, respectively. As the NFB param is reduced, the presence and depth controls' influences are also influenced, and they become effectively deactivated when the NFB knob is at zero. These interactions allow the player to create countless tonal variations to suit their needs.”

 

—Sam Hwang, Sound Designer

 

 

New Bass Amp

Amp/Preamp > Agua Sledge, based on* the Aguilar Tone Hammer

 

amplifier

 

New Effects in 2.0

 

Distortion > Pillars OD, based on* the Earthquaker Devices Plumes distortion

 

HX_DIST_Pillars_OD.jpg

 

  • Gain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block
  • Mode—Chooses the type of clipping circuit—1 is LED, 2 is Clean Opamp, 3 is Asymmetrical

 

Distortion > Dark Dove Fuzz, based on* the Electro-Harmonix® Russian Big Muff

 

FX_DarkDoveFuzz.jpg

 

  • Sustain—Sets the amount of distortion
  • Tone—Sets the overall tonal balance of the distortion
  • Level—Sets the overall level of the block

 

Modulation > FlexoVibe, Line 6 Original

 

HX_MOD_Flexovibe.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Intensity—Adjusts the amplitude of the modulation, from mild to deep
  • Warp—Controls the shape of the LFO. At 0.0, the LFO waveform is a triangle; at +1.0 and -1.0, the waveforms exhibit more chaos, or "warping"
  • Spread—Controls the phase offset between the two LFOs. At 0.0, no offset is heard; at 10.0, the two LFOs are separated by 180°. Generally sounds best somewhere in the middle
  • Mix—Controls the wet/dry mix of the FlexoVibe effect. When set to 0%, no effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > 4-Voice Chorus, Line 6 Original

 

HX_MOD_4VoiceChorus.jpg

 

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • Voices—Determines the number of voices in the chorus (2, 3, or 4)
  • Low CutApplies a low cut (high pass) filter to the chorus, letting you remove the effected signal below a certain frequency
  • HighShelfApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block

 

Modulation > Triple Rotary, inspired by* the Yamaha® RA-200 rotary speaker (famously implemented on "The Wall").

 

FX_TripleRotary.jpg

 

"The Line 6 Triple Rotary is inspired by the Yamaha RA-200 Rotary speaker. The original RA-200 was a combo solid state amplifier designed to be used with organs much like other rotary speakers. However; the RA-200 unit was unique compared to the traditional rotary speakers, which typically have rotating horns and a rotating drum over a woofer, the Yamaha designs had midrange speakers which rotated vertically on top of a traditional non-rotating speaker cabinet.

 

"To make the model more versatile, we made this effect to behave more as a stereo effect rather than modeling the whole cabinet, and suggest using the effect in combination with a cabinet model if recording direct or listening through FRFR systems."

 

—Sam Hwang, Sound Designer

  • Speed—Sets whether the speaker reflects the Slow Speed or Fast Speed
  • Slow Speed—Sets the rate for the Slow Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock
  • Fast Speed—Sets the rate for the Fast Speed. Press the knob to toggle between a static rate (0.0 ~ 10.0) or note values for syncing with Tap Tempo and incoming MIDI clock
  • Ramp Time—Adjusts how fast switching from Slow Speed to Fast Speed and back takes place
  • MixControls the wet/dry mix of the rotary effect. When set to 0%, no rotary effect is heard; when set to 100%, no dry signal is heard
  • LevelControls the overall output level of the block
  • Drive—Controls the amount of drive into the speaker's power amp
  • Headroom—Adds up to 12.0dB of additional headroom
  • Low CutApplies a low cut (high pass) filter to the speakers, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the speakers, letting you remove the effected signal above a certain frequency
  • Wobble—Models how evenly the rotating speaker and its ballast weight are balanced about the axis. At zero, the speaker and ballast are perfectly balanced, and as the wobble control is increased the rotation of the speakers becomes more eccentric.
  • Separation—The separation of the stereo field. Practically, this simulates moving the two listening points further apart as the separation knob is increased
  • Rotor Drift—Adjusts how close the three rotor motors are in sync with each other in speed. As each of the rotors were belt driven, there are often some differences in belt or motor wear, and it creates some subtle modulation effects between the three rotors
  • Rotor 2 Lvl—Sets the individual volume of the second rotor
  • Rotor 3 Lvl—Sets the individual volume of the third rotor

 

Reverb > Dynamic Ambience, Line 6 Original ambience reverb. At less extreme settings can be used to "open up" the sound of your amp without applying a notable reverb effect. Also utilizes less DSP than other Dynamic reverbs.

 

FX_HX_Reverb_DynamicAmbience.jpg

 

  • Room Size—Sets the size of the hall (8, 10, or 12 meters)
  • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Shape—Controls the blend of the Early and Late reflections. Turning the knob clockwise adds more Late reflections; turning the knob counterclockwise adds more Early reflections. Press the knob to reset to "Even"
  • Mix—Controls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High Cut—Applies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • LevelControls the overall output level of the block
  • Trails—When on, reverb decay continues to ring out after the block is bypassed

 

Pitch/Synth > Boctaver, based on* the BOSS® OC-2 Octaver

 

HX_PITCHSYNTH_Boctaver.jpg

 

  • –1 Oct—Sets the level of the signal one octave down
  • –2 Oct—Sets the level of the signal two octaves down
  • Dry Level—Sets the level of the dry (unaffected) signal

 

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

Bug Fixes in 2.0

  • Pitch/Synth > Pitch Wham would load active instead of bypassed–FIXED
  • Controller Learn would remain active after clearing a block in HX Edit—FIXED
  • POD Go Edit only: In rare cases, the parameter Max slider could jump to minimum and become unresponsive—FIXED
  • Other minor fixes and improvements

 

Known Issues in 2.0

  • After importing a .wav file into the current empty slot of a Cab > IR block, all audio output can be muted
  • If Modulation > ADT is loaded via the Lower Knob or POD Go Edit, a pitch ramp sound may be heard. This does not happen when engaging ADT via footswitch

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 43 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go Edit 1.42 Release Notes

POD Go Edit 1.42 (released September 27, 2023) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to POD Go Edit software; there is currently no 1.42 firmware planned for POD Go hardware.

Bug Fixes in 1.42

  • Issue with macOS Sonoma main app toolbar displays special characters, not “POD Go Edit”

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura, macOS Sonoma
( 30 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go Edit 1.41 Release Notes

POD Go Edit 1.41 (released February 14, 2023) includes bug fixes and additional improvements, and is strongly recommended for all users. This update applies only to POD Go Edit software; there is currently no 1.41 firmware planned for POD Go hardware.

Bug Fixes in 1.41

  • Issue with POD Go Edit not launching with SD card inserted.

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 39 MB )
Get Download

POD Go Edit      

POD Go Edit

140_Splash.jpg

 

POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.40?

Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40:

 

My POD Go is at version 1.XX. Can I go straight to 1.40?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go.

 

New Amp in 1.40

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

 

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

 

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

 

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Effects in 1.40

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal.

  • Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio)
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Spread—Sets the overall stereo spread of the chorus

 

FX_HX_DELAY_ADT.jpg

Delay > ADT, Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. 
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

TesselatorDiagram.jpg

 

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1
  • Pitch B—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about
  • Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant
  • Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down

 

Bug Fixes in 1.40

  • The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED
  • When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED
  • If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset
  • POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED
  • POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED
  • POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED
  • POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED
  • Other minor fixes and improvements

Compatible OS: Mac OS X, Mac OS El Capitan, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura
( 26 MB )
Get Download

POD Go Edit      

POD Go Edit

140_Splash.jpg

 

POD Go 1.40 (released July 19, 2022) includes a new Line 6 original amp, 9 new effects, 18 additional Legacy effects, and bug fixes, and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.40?

Connect POD Go to your computer via USB and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer and updating both POD Go Edit and your POD Go firmware. If you're running an older version of POD Go Edit, you must update it before updating your POD Go hardware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you must update POD Go Edit as well (which you would've done had you followed "How do I update to 1.40?" above). Here's a link to POD Go Edit 1.40:

 

My POD Go is at version 1.XX. Can I go straight to 1.40?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.40 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D (top row, 2 middle switches), turn on POD Go. Wait for "Will reset Globals, Presets, IRs..." to appear in the upper left corner of the display and let go.

 

New Amp in 1.40

 

AMP_HX_GTR_Ventoux.jpg

Amp/Preamp > Line 6 Ventoux, Line 6 Original.

"The amp model name is Ventoux, which is a mountain in the south of France that is a legendary cycling climb. I did it in 2018 and it was awesome and very hard.

 

This model comes from a physical amp idea I had a while back. I was going to build it as a tube amp first. There are only so many hours in a day, though. The idea was to create a “coveted boutique amp” that had a different origin story. Most coveted boutique amps come from modified black panel Fenders or modified Marshall circuits. I wanted to do the same thing, but base it on the early 70s Orange circuits and the mid-wattage Fender Tweed circuits.

 

Ventoux has a unique topology. In an indirect way, every knob is kind of a gain/drive control. The tone controls adjust the character and/or amount of the overdrive in those frequencies. This might be seen as complicated by some, but I find it exciting and full of possibilities."

 

—Ben Adrian, Sound Design Manager

  • Drive—Controls the amount of amp drive
  • HP Filter—Higher values result in tighter distortions and thinner cleans; lower values result in looser distortions and warmer cleans
  • Mid—Allows for more character than most. At lower values it's like the scooped sounds of traditional 60s Fender amps; at higher values it's flatter, like the 50s tweed amps that have very little tone-shaping in the circuits. Plus, a full-up mid sound will get a nice crunch when Drive is up
  • Presence/Depth—You may have noticed this amp was lacking regular bass and treble controls. That is accounted for with Depth and Presence controls; bass and treble for the power amp. These actually occur in the circuit just before phase inverter, but they really need the whole power amp to function. They also affect the character of the power amp distortion
  • Ch Vol—Sets the overall level of the Amp block
  • Master—Ventoux's Master volume exists in an "impossible" place for a physical amp. Generally, you'll want to leave this at 10.0, like a vintage amp with no master volume. However, a variety of textures can be had by reducing the level

 

New Effects in 1.40

 

FX_HX_DYNAMICS_AmpegOptoComp.jpg

Dynamics > Ampeg Opto Comp, based on* the Ampeg Opto Comp compressor pedal.

  • Compress—Controls how much level the compressor detector circuit receives. More level = more compression. (Ampeg Opto Comp has a fixed threshold and ratio)
  • Release—Controls how long it takes for the compressor to stop reducing gain. At 0.0, the release is 75 ms; at 10.0, the release is around 600 ms
  • MixControls the wet/dry mix of the compressor. When set to 0%, no compressed signal is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block

 

FX_HX_MOD_AmpegLiquifier.jpg

Modulation > Ampeg Liquifier, based on* the Ampeg Liquifier chorus pedal.

  • Rate—Adjusts the speed of the chorus’ low-frequency oscillator (LFO) from slow to fast
  • Depth—Adjusts the amplitude of the modulation, from mild to deep
  • MixControls the wet/dry mix of the chorus. When set to 0%, no chorus is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Headroom—Some mod pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. At 0dB, the model behaves like the original pedal
  • Type—Liquifier is actually two choruses in one, hence the "Dual" default. If you'd prefer it to behave more like a traditional chorus pedal, choose "Single"
  • Spread—Sets the overall stereo spread of the chorus

 

FX_HX_DELAY_ADT.jpg

Delay > ADT, Line 6 Original double-tracking tape emulation.

  • Delay 1, Delay 2—Sets the delay time for each deck. Delay 1 can go up to 20ms and Delay 2 can go up to 200ms
  • WowFlutr1, WowFlutr2Determines how much warbly tape sound is heard for each deck
  • Saturate1, Saturate2Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
  • Deck 1 Vol, Deck 2 Vol—Sets the level of each deck independently. Deck 2 is a bit lower than Deck 1 by default
  • Deck 2 Pol—Flips the polarity of deck 2
  • Mod Rate—Controls the rate or speed of modulation applied to Deck 2
  • Mod Depth—Controls the depth or amount of modulation applied to Deck 2
  • Level—Sets the overall level of the block
  • TapeSpeedChanges both the rate of the modulation applied by the WowFluttr control and the filtering response of the analog tape emulation
  • TextureAdjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Low CutApplies a low cut (high pass) filter to the decks, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the decks, letting you remove the effected signal above a certain frequency
  • Deck 1 Pan, Deck 2 Pan—Pans each deck left and right
  • EnvThresh—Sets the level above which engages the envelope. When on, picking harder can impart very slight pitch fluctuations by tweaking Deck 2's delay. Subtle, but fun
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Crisscross.jpg

Delay > Crisscross, Line 6 Original dual delay with cross-feedback between the two delay lines.

  • Time A, Time B—Sets the delay time for each of the two delay lines. Press the knob to toggle between ms/Sec and note values
  • Feedbk A, Feedback BControls the number of repeats for each delay line. To hear only one repeat, set to 0%
  • Pan A, Pan B—To achieve the widest stereo field, set Pan A to L100 and Pan B to R100
  • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
  • Level—Sets the overall level of the block
  • Crossfeed—Controls the amount of the A delay line fed back into the B delay line and vice versa
  • Headroom—Some delay pedals' internal signal paths exhibit a bit of grit, especially when placed after a high-gain amp block. Negative values increase the perceived amount of grit; positive values clean things up a bit. 
  • Mod Rate—Controls the rate or speed of modulation
  • Mod Depth—Controls the depth or amount of modulation
  • Shape—Sets the modulation's wave shape (Sine or Triangle)
  • Phase—Determines the modulation's phase relationship between the two delay lines. At 0°, the delay lines modulate together; at 180°, modulation is inverted from one another
  • Bit Depth—Lowers the bit depth of the delay repeats for a grungier sound. For more transparent results, set to "24 bits"
  • Sample Rate—Lowers the sample rate of the delay repeats for a grungier sound. For more transparent results, set to "48kHz"
  • Low CutApplies a low cut (high pass) filter to the repeats, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (low pass) filter to the repeats, letting you remove the effected signal above a certain frequency
  • Trails—When set to "Off," delay repeats are instantly muted when the block is bypassed. When set to "On," delay repeats continue to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_DELAY_Tesselator.jpg

Delay > Tesselator, Line 6 Original. Tesselator is part morphing delay, part loop sampler, part drone machine... it's stellar for creating rhythmic pads, textures, or pitch/filter ramp effects to play over and has been placed in the Delay category so you can run multiple instances at once. Once audio is captured and repeating, you can effectively transition/morph between two states—First and Last, each with its own time, speed/pitch, HP filter, and LP filter—by applying increasing amounts to each repeat until the target settings are reached.

  1. Assign Tesselator to a stomp footswitch. It's bypassed by default.
  2. Play a chord and while it's ringing, press the Tesselator switch. Audio captured BEFORE the switch press is repeated and manipulated by the following parameters:
  • First—Determines the length of the first step in the sequence, that is, the length of repeated audio when first engaged. Press the knob to toggle between ms and note values
  • Last—Determines the length of the last step in the sequence. If shorter than the First step's time, the sequence will get shorter; if longer than the First step's time, the sequence will get longer. If First and Last are the same time, the sequence length remains constant (Ex. 1 below). Press the knob to toggle between ms and note values
  • Steps—Determines how many steps there are in the sequence (1 ~ 50). For example, if your first step is 100ms and your last step is 500ms, each successive step in the sequence will lengthen from 100ms to 500ms. The more steps you have, the longer it takes to reach the last step and therefore, the longer it takes to alter the sequence's characteristics
  • Direction—Determines the direction of the steps:
    • Forward: Each step plays back normally (Ex. 2a below)
    • Reverse: Each step plays back in reverse (Ex. 2b below)
    • Fwd/Rev: Steps alternate between forward and reverse (Ex. 2c below)
  • Boomerang—When off, the last step in the sequence repeats indefinitely. When on, all steps play forward, then backward, then forward again, etc. (Ex. 3a below)
  • Operation—Determines what happens to your signal when Tesselator is turned on (remember, it's bypassed by default)
    • "Mute All"—When Tesselator is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Tesselator is on, only the effected signal is heard
    • "Normal" (default)—When Tesselator is on, both the dry and effected signals are heard
  • Ramp—Determines whether any speed/pitch changes across the sequence reference a static or semitone value
    • "Speed" (default)—Sets the target speed of the last step. Use the Speed parameter to set the specific value (0% ~ 200% speed)
    • "Pitch"—Sets the target pitch of the last step. Use the Pitch parameter to set the value (-12 ~ +12 semitones; see Ex. 3c below)
  • Speed—Sets the target speed for the last step. For example, if set to "200%," the last step's pitch will be twice as high as the first step and if set to "0%," the last step will appear to stop completely, almost like a glitchy tape stop effect. Disabled unless Ramp is set to "Speed"
  • Pitch—Sets the target pitch for the last step. For example, if set to "-12", the last step will be an octave lower than the first step. Disabled unless Ramp is set to "Pitch" (see Ex. 3c below)
  • HP Filter—Very different from POD Gos traditional Low Cut and High Cut filters. Sets the high-pass (low cut) filter target for the last step. For example, if set to a higher value, each successive step will filter out more bass until the last step of the sequence
  • LP Filter—Very different from POD Go's traditional Low Cut and High Cut filters. Sets the low-pass (high cut) filter target for the last step. For example, if set to a lower value, each successive step will filter out more treble until the last step of the sequence (Ex. 3b below)
  • FX Level—Controls the level of the effected signal
  • Level—Controls the overall output level of the block

Woohoo! More charts and diagrams!

Tesselator is capable of hundreds of unique sounds, and it's impossible to illustrate them all, but here are a few examples:

Example 1: If Knob 1 (First) and Knob 2 (Last) are set to the same value (say, 1/4 note), the same length of audio repeats until Tesselator is bypassed. In this case, it acts very much like Delay > Ratchet, except the audio is captured BEFORE the stomp press, not after.

Example 2: If Knob 2 (Last) is set to a shorter time than Knob 1 (First), steps in the sequence progressively get shorter (Ex. 2a). If Last is set to a longer time than First, steps in the sequence progressively get longer. The last step is repeated indefinitely until Tesselator is bypassed. Setting Direction to "Reverse" (Ex. 2b) reverses all steps; setting Direction to "Fwd/Rev" (Ex. 2c) alternates between forward and reversed steps.

Example 3: Turning Boomerang to "On" plays the entire step sequence forward, then backward, then forward again, etc. (Ex. 3a) Decreasing LP Filter to a lower value progressively darkens each step in the sequence (Ex. 3b). Increasing HP Filter to a higher value progressively thins out each step in the sequence. Setting Ramp to "Pitch" and Pitch to a value other than "0" will change the pitch of each step until it lands on the target pitch at the last step. For example, if Pitch is set to "+5" and you play an E note, the last note in the sequence will be an A, or 5 steps higher (Ex. 3c). If you want the last A note to repeat indefinitely instead of stepping back down to E, turn Boomerang back to "Off."

TIP: You can change all of these parameters while Tesselator is... tessellating, to create evolving, engaging soundscapes. Run it into Pitch > Dual Pitch and Reverb > Shimmer and prepare to waste hours in drone land.

TesselatorDiagram.jpg

 

 

FX_HX_DELAY_Ratchet.jpg

Delay > Ratchet, Line 6 Original buffer sampler/delay. Used to capture and loop a short snippet of audio (whose length is determined by the Time parameter) while the block is enabled. Great for rhythmic stutter effects. You could almost consider Ratchet a simplified version of Tesselator, where the audio is captured AFTER the footswitch press, not before.

  1. Assign Ratchet to a stomp footswitch. It's bypassed by default.
  2. While playing, press the Ratchet switch. Audio captured AFTER the switch press is repeated for as long as the block is enabled. For this reason, it may be best to make the switch momentary, and only step on the Ratchet switch when you change chords, almost like a rhythmic sustain pedal.
  • Time—Predetermines the length of the audio to be recorded and looped. To loop an entire 4/4 bar, choose "1/1"; to stutter your playing, start with "1/16" or "1/32"
  • FX Level—Controls the level of the looped audio
  • Level—Controls the overall output level of the block
  • Operation—Determines what happens to your signal when Ratchet is turned on (remember, it's bypassed by default)
    • "Mute All"—When Ratchet is on, THE ENTIRE PATH IS MUTED
    • "Dry Kill"—When Ratchet is on, only the effected signal is heard
    • "Normal" (default)—When Ratchet is on, both the dry and effected signals are heard

 

FX_HX_REVERB_DynamicPlate.jpg

Reverb > Dynamic Plate, Line 6 Original plate reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the plate. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
  • Mot Rate—Motion Rate, or how fast the echoes' intensity changes, due to changes in plate tension or temperature
  • MotRange—Motion Range, or how much the internal delays change. Similar to the modulation control on older tank reverbs
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_DynamicRoom.jpg

Reverb > Dynamic Room, Line 6 Original room reverb typically found in high-end studio rack reverbs.

  • Decay—Sets the decay of the reverb (0.1 sec ~ 3.0 sec)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your room is full of people wearing foam high school mascot costumes, more high frequencies would be absorbed than if the room were empty
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Mot Rate—Motion Rate, or how quickly the room's shape may be changing, due to people moving, doors opening or closing, etc.
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Low Freq—Sets the frequency below which the Low Gain parameter is applied
  • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • EarlyReflc—Sets the amount of early reflective room sound
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

 

FX_HX_REVERB_Shimmer.jpg

Reverb > Shimmer, Line 6 Original shimmer reverb. We originally planned to release Shimmer as two distinctly different reverbs—Luster and Sheen—but combining them into a single model and letting you seamlessly switch back and forth via a footswitch or snapshots seemed cooler.

  • Type—Determines the type of shimmer effect applied. TIP: Assign Type to a footswitch (or snapshots) to try both within the same preset
    • "Luster"—More of a traditional, reverb pedal-type shimmer effect with tighter definition in the lustery bits
    • "Sheen" (default)—More of a lush, studio plugin-type shimmer effect with a massive, sheeny bloom
  • Pitch A—Sets the interval of the first pitchshifter. Set to "Oct Up" for more traditional shimmer sounds; set to "Oct Down" for something a bit creepier. Note that Pitch A and Pitch B have 0.1 semitone resolution between -1and +1
  • Pitch B—Sets the interval of the second pitchshifter
  • Intensity—Controls the mix between the pitchshifted and non-pitchshifted reverb
  • Feedback—Controls the number of times the pitchshifting recirculates through the reverb
  • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
  • Pitch Blend—Controls how much of Pitch 1 is heard vs. Pitch 2 (set to "Even" by default)
  • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec or Infinity)
  • Predelay—Determines the amount of delay heard before the signal enters the room. Can sometimes result in more definition between the dry and effected signals
  • Room SizeSets the size of the room (10, 20, or 30 meters)
  • Damping—Determines the frequency above which the reverb will be absorbed
  • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
  • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
  • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
  • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
  • Level—Controls the overall output level of the block
  • Trails—When set to "Off," the reverb decay is instantly muted when the block is bypassed. When set to "On," the reverb continues to decay naturally when the block is bypassed or a different snapshot is selected

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

18 additional effects—most from the FX Junkie model pack for POD Farm 2.5—have been added. Don't sleep on these!

 

Legacy_DIST.jpg

  • Distortion > Bronze Master, based on* the Maestro® Bass Brassmaster. Originally designed for bass, but equally cool on guitar, the Maestro® Bass Brassmaster is considered by many to be the Holy Grail of bass distortion units, an ultra-rare bird designed in the early 70’s for Maestro® by synth genius Tom Oberheim. NOTE: The Blend parameter is not like overall distortion Mix; instead, it sets how much of the filtered signal passes through the clipping/octave circuitry
  • Distortion > Killer Z, based on* the BOSS® Metal Zone MT-2. Equipped with a dual gain circuit, the MT-2 provides amazing sustain plus heavy mids and lows similar to a stack of overdriven amps. We’ve simplified the EQ controls a bit to make the Killer Z model, but you’ll still find the sought after flavor of the MT-2 style sound

 

Legacy_MOD.jpg

  • Modulation > Tape Eater, Line 6 Original. If you’ve ever had a cassette player eat a tape before you’ll know what we’re talking about. Try this with a slow speed setting and a 100% wet mix
  • Modulation > Warble-Matic, Line 6 Original. This effect is reminiscent of the Sweeper model, but when used subtly it can produce a nice mild phasey sound or with Depth maxed out you can simulate the sound of an alien spacecraft landing in one of those old 50’s sci-fi movies
  • Modulation > Random S&H, Line 6 Original. This has a similar effect as the old Oberheim® Voltage Controlled Filter. It creates changes in tone by randomly emphasizing certain frequencies. Try pressing the Speed knob to lock it to tempo and playing single chords to that tempo
  • Modulation > Sweeper, Line 6 Original. Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the Q and Freq parameters to set the character of the sweep and adjust Depth to go from subtle to full on freak out. Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental

 

Legacy_DELAY.jpg

  • Delay > Bubble Echo, Line 6 Original. Bubble Echo has a sample-and-hold filter on the repeats. It takes a filter sweep (like the one on Sweep Echo), chops it up into little bits, and rearranges them semi-randomly, so that it sounds like sudden little bits of wah pedal randomly sprinkled about
  • Delay > Phaze Eko, Line 6 Original. Starting with the basic tone of our EP-1 tape delay emulation, they’ve added something very much like a Uni-Vibe to the delay repeats. The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful, burbling texture

 

Legacy_PITCHSYNTH.jpg

  • Pitch/Synth > Buzz Wave, Line 6 Original. These are cool combinations of saw and square waves with fast vibrato. The 8 different Wave parameters offer different vibrato speeds and different pitches
  • Pitch/Synth > Rez Synth, Line 6 Original. These are all sweeping low pass filter effects with the resonance set high. Resonance is a peak at the frequency of the low pass filter
  • Pitch/Synth > Seismik Synth, Line 6 Original. This effect has an oscillator that tracks the pitch of your guitar. You can choose between 8 different wave shapes which give you different “flavors”—all of them one or two octaves down from the original pitch
  • Pitch/Synth > Analog Synth, Line 6 Original. These are great for funky synth guitar (or bass) lines. These sounds were made popular by Moog and ARP
  • Pitch/Synth > Synth Lead, Line 6 Original. These are styled after popular analog monophonic synth lead sounds from Moog, ARP and Sequential Circuits
  • Pitch/Synth > String Theory, Line 6 Original. This emulates classic synth string sounds like those found in the ARP Solina String Ensemble and the Elka® Synthex. The harder you pick, the brighter the sound. We somehow had two separate effects called "Synth String"—one from POD Farm 2.5 and the other from FM4, which was already added to POD Go. Renamed the POD Farm version "String Theory" to avoid confusion
  • Pitch/Synth > Synth FX, Line 6 Original. These sounds aren’t really designed to be musical. These are more “special effects” sounds. You’ll hear a lot of these kinds of sounds in movie soundtracks
  • Pitch/Synth > Saturn 5 Ring Mod, Line 6 Original. Ring modulators take two signals (one supplied by your guitar, the other supplied by the effect) then adds and subtracts similar frequencies. Electro-Harmonix® makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect. The only limiting factor is that the pitch of the signal provided by the effect is constant. Meaning you have to play only in the key of that pitch to be musical
  • Pitch/Synth > Synth Harmony, Line 6 Original. If you loved those big synth leads from 70’s era prog bands then you’ll love this effect. There are two synth waves at work here. Your first two parameters allow you to choose a pitch interval of your original note played. The Wave parameter works differently from what you’d expect with the other synth models; here it controls the gain of the saw wave, while the square wave gain remains constant
  • Pitch/Synth > Double Bass, Line 6 Original. This effect has two oscillators that track the pitch of your guitar—one square wave tuned one octave down, and one saw tooth wave two octaves down

 

Bug Fixes in 1.40

  • The dirty preset indicator (box with "E") would not appear when changing tempo if set to per preset or per snapshot—FIXED
  • When toggling stomp assignments with custom names, sometimes a graphical corruption can occur—FIXED
  • If Modulation > Analog Chorus > Speed parameter is set to note divisions, the text can exhibit graphical issues when saving the preset
  • POD Go Wireless: In some cases, the Auto Channel setting could select a less-than-optimal channel, resulting in poor wireless performance—FIXED
  • POD Go Edit: After copying and pasting an Input or Output block, clicking Undo can result in a “Failed to undo edit buffer: … [code -4]” message—FIXED
  • POD Go Edit: If an IR with 54 characters or less is copied and pasted and renamed with 55 or more characters, POD Go Edit can crash—FIXED
  • POD Go Edit: Delay > Glitch and Delay > Euclidean would sometimes reflect different ranges between POD Go Edit and the hardware—FIXED
  • Other minor fixes and improvements

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 38 MB )
Get Download

POD Go Edit      

POD Go Edit

130_Splash.jpg

POD Go 1.30 (released October 5, 2021) includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless.

 

How do I update to 1.30?

  1. Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 1.30 as well. Here's a link:

 

 

My POD Go is at version 1.XX. Can I go straight to 1.30?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.30 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D, turn on POD Go/POD Go Wireless.

 

New Amp in 1.30

 

311_AmpMandarin.jpg

  • Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII (Dirty Channel). NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion.

 

New Effects in 1.30

 

310_FX.jpg

  • Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch.
    • Gain—Sets the amount of distortion
    • Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values)
    • Level—Sets the overall level of the block
  • Modulation > Retro Reel (Mono, Stereo), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter.
    • Wow Fluttr—Determines how much warbly tape sound is heard
    • Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
    • Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect
    • High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape
    • Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation
    • Level—Sets the overall level of the block
    • Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot.
    • Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values
    • FeedbackControls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0%
    • Steps—Determines the number of steps in the sequence (1-16; see diagram below)
    • Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored
    • Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward
    • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
    • Low CutApplies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
    • Level—Controls the overall output level of the block
    • TrailsWhen on, delay repeats continue to ring out after the block is bypassed

310_EuclideanCircles.jpg

I was told there'd be no math!

Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm

  • Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb
    • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it "ForEVER ever?"
    • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
    • Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers
    • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
    • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
    • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
    • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
    • Low Freq—Sets the frequency below which the Low Gain parameter is applied
    • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
    • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
    • Level—Controls the overall output level of the block
    • TrailsWhen on, reverb decay continues to ring out after the block is bypassed
  • Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb
    • Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay
    • Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between)
    • Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear
    • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
    • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
    • Level—Controls the overall output level of the block
    • TrailsWhen on, reverb decay continues to ring out after the block is bypassed

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

New Features in 1.30

User Model Defaults

1.30 lets you save any amp, cab, or effect block's settings as default, so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. Editing/saving a User Default does not affect any existing instances of the model currently in use in your presets.

  1. From Edit view, choose any effect, amp, or cab and tweak it exactly how you like it.
  2. Press ACTION and then User Default. From POD Go Edit, right-click (Mac: control-click) the block icon and select "User Default."

130_UMD.jpg

 

Customizable Stomp Switches

POD Go 1.30 adds the ability to customize the LED colors and onscreen labeling of stomp switches.

  1. Press <PAGE and PAGE> to open the main MENU and then press Knob 1 (Bypass/Control).
  2. Turn the Upper Knob to select the desired block and then turn Knob 2 (Switch[Controller]) to select FS1 ~ FS6.
  3. Press ACTION and then Knob 3 (Customize).
  1. Use the Upper Knob and Knob 4 (Character) to rename the Stomp switch. Turn Knob 3 (Switch LED) to choose the desired color for the switch.
  2. Press Knob 5 (OK) when finished.

130_CustomStomp1.jpg

 

130_CustomStomp2.jpg

 

Customizable Snapshot Switches

Switches in Snapshot Footswitch Mode can now have custom labels and colors.

  1. From Play View, press the Upper Knob to open the Preset List.
  2. Press Knob 5 (Rename Snapshot).
  3. Use the Upper Knob and Knob 4 (Character) to rename the Snapshot. Turn Knob 3 (Switch LED) to choose the desired color for the switch.
  4. Press Knob 5 (OK) when finished.

130_CustomSnap1.jpg

 

130_CustomSnap2.jpg

 

On Play view, when in Snapshot footswitch mode, custom snapshot names appear in the boxes with smaller camera icons:

130_CustomSnap3.jpg

 

 

Global Settings > Ins/Outs > Volume Knob

Prior to 1.30, POD Go’s Volume Knob only controlled the Main Outs (and Phones out, of course). Now you can choose whether it controls the Main Outs, Amp Out, or both. IMPORTANT: When connecting POD Go's AMP OUT to the input of a guitar or bass amp, we strongly recommend leaving Global Settings > In/Outs > Volume Knob to "Main Outs," as turning the Volume knob with any other setting will be like adding many boost pedals or attenuators between POD Go and your amp; that is, it'll probably sound totally wrong. Only set this to "Amp Out" or "Both" when using a full-range, flat response (FRFR) speaker, studio monitor, or similar playback system.

 

Global Settings > Switches/Pedals > FS7/8 Function

Prior to 1.30, POD Go’s Footswitch 7/8 jack supported an expression pedal or two additional stomp switches. You can now assign them to Bank Up/Down, Preset Up/Down, or Snapshot Up/Down, so you can leave POD Go in Stomp mode (with all 6 stomps) and still navigate presets and snapshots from external switches.

 

Wireless Transmitter Updating via POD Go Edit

POD Go Wireless can now update a connected G10T or G10T II via POD Go Edit.

 

 

Bug Fixes in 1.30

  • Changing Wah or Volume/Pan models could could inadvertently change the block's bypass state–FIXED
  • In some cases, the 6 Switch Looper would not reflect the proper states in Play View—FIXED
  • In rare cases, some graphic anomalies could appear on the LCD—FIXED
  • If a Modulation > Deluxe Phaser (set to 2 Stage) was moved, it could freeze POD Go—FIXED
  • If an Amp > Agua 51 block is set with Bass to 0.0 and Mid to 10.0, it could cease processing audio—FIXED
  • In rare cases, repeated, incessant reordering of blocks via POD Go Edit could cause POD Go to freeze—FIXED
  • In certain cases, exiting footswitch modes could cause the display to inadvertently change from Play view to Edit view—FIXED
  • In certain circumstances, loading a preset with specific Delay > Legacy models could cause them to behave as Authentic instead of Transparent—FIXED
  • Many other minor fixes and improvements

 

Known Issues in 1.30

  • If many parameters are assigned to the expression pedal, POD Go Edit may fail to reflect some parameters' correct Min and Max values
  • In some cases, loading a .WAV file into the currently active IR slot can cause the block to cease passing audio until a different IR location is selected
  • When Modulation > Chorus' WavShape is set to "Saw Up" or "Saw Down," the block collapses the signal to mono when after the Amp block
  • A minor thump may be heard when loading a Distortion > Kinky Boost, Dhyana Drive, or Tycoctavia Fuzz
  • In rare cases, if Delay > Glitch Delay is in the active preset, performing a firmware update can cause POD Go to freeze on the splash screen
  • POD Go Edit—After copying/pasting an Input or Output block “Failed to undo edit buffer: …" can appear
  • POD GO Edit—Adjusting some parameters can fail to display the preset name in a dirty state (italics)

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey
( 19 MB )
Get Download

POD Go Edit      

POD Go Edit

130_Splash.jpg

POD Go 1.30 (released October 5, 2021) includes a new amp, new effects, new features, improvements, and bug fixes and is recommended for all users of POD Go and POD Go Wireless.

 

How do I update to 1.30?

  1. Connect POD Go/POD Go Wireless to your computer and launch POD Go Edit. The software will walk you through the entire procedure, including backing everything up to your computer, updating POD Go Edit, and updating the firmware.

 

I updated but why don't I see [Model X]?

POD Go Edit can't magically see new models added to your POD Go hardware; you MUST update POD Go Edit to 1.30 as well. Here's a link:

 

 

My POD Go is at version 1.XX. Can I go straight to 1.30?

Yes.

 

Anything else I should know?

Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your POD Go firmware to 1.30 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK!

  1. While holding footswitches C and D, turn on POD Go/POD Go Wireless.

 

New Amp in 1.30

 

311_AmpMandarin.jpg

  • Mandarin Rocker, based on* the Orange® Rockerverb 100 MKIII (Dirty Channel). NOTE: We decided to slightly alter the model so that at lower settings, the Drive knob's taper exhibits a smoother transition into distortion.

 

New Effects in 1.30

 

310_FX.jpg

  • Distortion > Ratatouille Dist (Mono, Stereo), based on* the 1984 Pro Co RAT. Turns out our Vermin Dist model was broken. Sorry! We were going to replace it completely but a bunch of people had presets with the old version. On top of that, we found out our RAT's LM308 chip had crapped out since we modeled it last so we decided to get it into perfect working order and start from scratch.
    • Gain—Sets the amount of distortion
    • Filter—Sets the amount of high cut (low pass) filter applied to the distortion, basically letting more treble through (lower values) or filtering it out (higher values)
    • Level—Sets the overall level of the block
  • Modulation > Retro Reel (Mono, Stereo), Line 6 Original effect that simulates playing a signal back from an analog tape machine. This signal can be distorted, filtered to sound older or more lo-fi, and modulated with wow and flutter.
    • Wow Fluttr—Determines how much warbly tape sound is heard
    • Saturation—Adds analog tape saturation and at high enough settings, distortion. At lower settings, it's great for simply warming up a tone
    • Low Cut—Determines the frequency of the Low Cut (High Pass) filter. At higher settings, can provide a lo-fi effect
    • High Cut—Determines the frequency of the High Cut (Low Pass) filter. At lower settings, can provide the natural high-end roll-off of old tape
    • Tape Speed—Changes both the rate of the modulation applied by the Wow Fluttr control and the filtering response of the analog tape emulation
    • Level—Sets the overall level of the block
    • Texture—Adjusts the amount of the NAB tape EQ in the simulated tape path. When Saturation is set to 0.0, the texture is invisible. When Saturation is turned up, the texture will affect the tightness (or looseness) of the distortion
  • Delay > Euclidean Delay (Mono, Stereo), Line 6 Original delay based on Euclidean algorithms. Creates multitap patterns by setting the length of the pattern (Steps) and the number of taps (Fill) in the pattern. The Euclidean algorithm spaces taps as evenly as possible throughout the pattern, resulting in rhythms from traditional to highly complex. Settle in because this one'll require diagrams and charts and whatnot.
    • Step Time—Sets the time between steps. The total delay time is Time x Steps, so [Time: 1/16 x Steps: 8] is a 1/2-note. Press the knob to toggle between ms/sec and note values
    • FeedbackControls the overall number of repeats heard for the entire sequence. If you want to hear all fills in the sequence only once, set to 0%
    • Steps—Determines the number of steps in the sequence (1-16; see diagram below)
    • Fill—The number of active taps, whose spacing is set by Euclidean algorithms (1-16, see diagram below). If Fill is higher than Steps, the extra taps are ignored
    • Rotate—Rotates all fills forward by the same amount (0-15; see diagram below). Used If you like the sound of a repeat pattern but want the fills and gaps shifted forward
    • MixControls the wet/dry mix of the delay. When set to 0%, no delay is heard; when set to 100%, no dry signal is heard
    • Low CutApplies a low cut (high pass) filter to the fills, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (low pass) filter to the fills, letting you remove the effected signal above a certain frequency
    • Level—Controls the overall output level of the block
    • TrailsWhen on, delay repeats continue to ring out after the block is bypassed

310_EuclideanCircles.jpg

I was told there'd be no math!

Sorry. If you'd like to read more about Euclidean rhythms, check this out: https://splice.com/blog/euclidean-rhythms/ Or if you'd like to know more about Euclidean math, see ya' in a semester or two! https://en.wikipedia.org/wiki/Euclidean_algorithm

  • Reverb > Dynamic Hall (Mono, Stereo), Line 6 Original hall reverb
    • Decay—Sets the decay of the reverb (0.1 sec ~ 45.0 sec, or Infinity) TIP: Assign a second stomp switch to toggle between a lower Decay value and Infinity. Label it "ForEVER ever?"
    • Predelay—Determines the amount of delay heard before the signal enters the hall. Can sometimes result in more definition between the dry and effected signals
    • Room Size—Sets the size of the hall (10, 20, or 30 meters). NOTE: This parameter actually changes the algorithm so you'll hear a small bump when changing it. Therefore, we don't recommend assigning Room Size to snapshots or other controllers
    • Diffusion—Sets the amount of smearing between discrete echoes, sometimes resulting in a softer effected signal
    • Damping—Determines the frequency above which the reverb will be absorbed. For example, if your hall is full of people wearing fake ocelot jumpsuits, more high frequencies would be absorbed than if the room were empty
    • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
    • Motion—Sets the amount of randomization, which can be helpful to minimize any metallic artifacts common in static reverbs. At higher values, can impart a bit of modulation to the effected signal
    • Low Freq—Sets the frequency below which the Low Gain parameter is applied
    • Low Gain—Sets the reverb time for frequencies below the Low Freq value. Values below 0.0dB mean the bass frequencies decay faster than the treble frequencies; values above 0.0dB mean the bass frequencies decay slower than the treble frequencies
    • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
    • Level—Controls the overall output level of the block
    • TrailsWhen on, reverb decay continues to ring out after the block is bypassed
  • Reverb > Hot Springs (Mono, Stereo), Line 6 Original spring reverb
    • Dwell—Adjusts the strength of the signal sent into the spring tank. Higher values result in a longer decay
    • Spring Count—Sets how many springs are in the tank (1, 2, or 3, and numerous values in between)
    • Drip—Adjusts the intensity of the spring reverb, or how much "ploink" you might hear
    • Low CutApplies a low cut (or high pass) filter to the reverb, letting you remove the effected signal below a certain frequency
    • High CutApplies a high cut (or low pass) filter to the reverb, letting you remove the effected signal above a certain frequency
    • MixControls the wet/dry mix of the reverb. When set to 0%, no reverb is heard; when set to 100%, no dry signal is heard
    • Level—Controls the overall output level of the block
    • TrailsWhen on, reverb decay continues to ring out after the block is bypassed

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

New Features in 1.30

User Model Defaults

1.30 lets you save any amp, cab, or effect block's settings as default, so every time you call that model up, it sounds exactly the way you want it. Or, if you want to revert it to factory default, you can do that too. Editing/saving a User Default does not affect any existing instances of the model currently in use in your presets.

  1. From Edit view, choose any effect, amp, or cab and tweak it exactly how you like it.
  2. Press ACTION and then User Default. From POD Go Edit, right-click (Mac: control-click) the block icon and select "User Default."

130_UMD.jpg

 

Customizable Stomp Switches

POD Go 1.30 adds the ability to customize the LED colors and onscreen labeling of stomp switches.

  1. Press <PAGE and PAGE> to open the main MENU and then press Knob 1 (Bypass/Control).
  2. Turn the Upper Knob to select the desired block and then turn Knob 2 (Switch[Controller]) to select FS1 ~ FS6.
  3. Press ACTION and then Knob 3 (Customize).
  1. Use the Upper Knob and Knob 4 (Character) to rename the Stomp switch. Turn Knob 3 (Switch LED) to choose the desired color for the switch.
  2. Press Knob 5 (OK) when finished.

130_CustomStomp1.jpg

 

130_CustomStomp2.jpg

 

Customizable Snapshot Switches

Switches in Snapshot Footswitch Mode can now have custom labels and colors.

  1. From Play View, press the Upper Knob to open the Preset List.
  2. Press Knob 5 (Rename Snapshot).
  3. Use the Upper Knob and Knob 4 (Character) to rename the Snapshot. Turn Knob 3 (Switch LED) to choose the desired color for the switch.
  4. Press Knob 5 (OK) when finished.

130_CustomSnap1.jpg

 

130_CustomSnap2.jpg

 

On Play view, when in Snapshot footswitch mode, custom snapshot names appear in the boxes with smaller camera icons:

130_CustomSnap3.jpg

 

 

Global Settings > Ins/Outs > Volume Knob

Prior to 1.30, POD Go’s Volume Knob only controlled the Main Outs (and Phones out, of course). Now you can choose whether it controls the Main Outs, Amp Out, or both. IMPORTANT: When connecting POD Go's AMP OUT to the input of a guitar or bass amp, we strongly recommend leaving Global Settings > In/Outs > Volume Knob to "Main Outs," as turning the Volume knob with any other setting will be like adding many boost pedals or attenuators between POD Go and your amp; that is, it'll probably sound totally wrong. Only set this to "Amp Out" or "Both" when using a full-range, flat response (FRFR) speaker, studio monitor, or similar playback system.

 

Global Settings > Switches/Pedals > FS7/8 Function

Prior to 1.30, POD Go’s Footswitch 7/8 jack supported an expression pedal or two additional stomp switches. You can now assign them to Bank Up/Down, Preset Up/Down, or Snapshot Up/Down, so you can leave POD Go in Stomp mode (with all 6 stomps) and still navigate presets and snapshots from external switches.

 

Wireless Transmitter Updating via POD Go Edit

POD Go Wireless can now update a connected G10T or G10T II via POD Go Edit.

 

 

Bug Fixes in 1.30

  • Changing Wah or Volume/Pan models could could inadvertently change the block's bypass state–FIXED
  • In some cases, the 6 Switch Looper would not reflect the proper states in Play View—FIXED
  • In rare cases, some graphic anomalies could appear on the LCD—FIXED
  • If a Modulation > Deluxe Phaser (set to 2 Stage) was moved, it could freeze POD Go—FIXED
  • If an Amp > Agua 51 block is set with Bass to 0.0 and Mid to 10.0, it could cease processing audio—FIXED
  • In rare cases, repeated, incessant reordering of blocks via POD Go Edit could cause POD Go to freeze—FIXED
  • In certain cases, exiting footswitch modes could cause the display to inadvertently change from Play view to Edit view—FIXED
  • In certain circumstances, loading a preset with specific Delay > Legacy models could cause them to behave as Authentic instead of Transparent—FIXED
  • Many other minor fixes and improvements

 

Known Issues in 1.30

  • If many parameters are assigned to the expression pedal, POD Go Edit may fail to reflect some parameters' correct Min and Max values
  • In some cases, loading a .WAV file into the currently active IR slot can cause the block to cease passing audio until a different IR location is selected
  • When Modulation > Chorus' WavShape is set to "Saw Up" or "Saw Down," the block collapses the signal to mono when after the Amp block
  • A minor thump may be heard when loading a Distortion > Kinky Boost, Dhyana Drive, or Tycoctavia Fuzz
  • In rare cases, if Delay > Glitch Delay is in the active preset, performing a firmware update can cause POD Go to freeze on the splash screen
  • POD Go Edit—After copying/pasting an Input or Output block “Failed to undo edit buffer: …" can appear
  • POD GO Edit—Adjusting some parameters can fail to display the preset name in a dirty state (italics)

Compatible OS: Windows 7, Windows 8, Windows 10, Windows 11
( 64 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go 1.22 contains several stability and performance improvements as well as bug fixes. Updating is highly recommended.

Please click here or copy/paste this link into your browser to view the 1.22 Release Notes in their entirety.

Bug Fixes:

  • POD Go Edit: Improved stability and performance on macOS Big Sur.

 

  • POD Go Edit : Acoustic Sim block added to signal flow did not display 'x' icon to delete.

 

  • POD Go Edit: Tapping tempo from for an extended period of time could eventually freeze POD Go.

 

  • Guitar In Pad global setting was not recalled across power cycles.

 

  • Other minor improvements and bug fixes.

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur
( 19 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go 1.22 contains several stability and performance improvements as well as bug fixes. Updating is highly recommended.

Please click here or copy/paste this link into your browser to view the 1.22 Release Notes in their entirety.

Bug Fixes:

  • POD Go Edit: Improved stability and performance on macOS Big Sur.

 

  • POD Go Edit : Acoustic Sim block added to signal flow did not display 'x' icon to delete.

 

  • POD Go Edit: Tapping tempo from for an extended period of time could eventually freeze POD Go.

 

  • Guitar In Pad global setting was not recalled across power cycles.

 

  • Other minor improvements and bug fixes.

Compatible OS: Windows 7, Windows 8, Windows 10
( 64 MB )
Get Download

POD Go Edit      

POD Go Edit

121_Splash.jpg

 

POD Go 1.21 includes new amps, new cabs, new effects, and bug fixes and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.21?

STEP 1—Installing POD Go Edit 1.21

  1. Log onto line6.com, download, and install POD Go Edit 1.21:

 

STEP 2—Updating POD Go/POD Go Wireless

Shut down any programs that use audio or connect to your POD Go device, like DAWs, iTunes, Spotify, video games, etc.

Disable the sleep timer on your computer. The update will fail if your computer goes to sleep during the process.

If you are using a laptop, plug it in, or ensure it has enough battery life to complete the update without shutting down.

 

  1. Connect POD Go or POD Go Wireless to your Mac or PC via USB and turn it on.
  2. Launch POD Go Edit 1.21.
  3. Click the gear at the bottom of the window, then click "Check for Updates".
  4. Log into your Line 6 account. A dialog panel appears, reading "An update is available for your POD Go. Would you like to update now?"
  5. Click "Update now." POD Go Edit asks if you want to create a backup of your existing user presets. Click "OK" and then "Create Backup." Once the backup is completed, click "OK."
  6. Carefully read the End User License Agreement (haaa hahaha!) and click "OK."
  7. Click "Update." Please keep POD GO Edit in focus throughout the entire update. Once the update is complete, POD Go restarts automatically.
  8. Click "Back to POD Go Edit".

 

New Amps in 1.21

Amps.jpg

 

  • 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

 

New Cabs in 1.21

Cabs.jpg

 

  • 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

 

New Effects in 1.21

POD121_Effects.jpg

 

  • Distortion > Horizon Drive, 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, based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
  • Distortion > Pocket Fuzz, inspired by* the Jordan Boss Tone fuzz
  • Distortion > Bighorn Fuzz, based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi
  • Distortion > Ballistic Fuzz, based on* the Euthymia ICBM fuzz
  • Dynamics > Horizon Gate, 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, 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
  • Delay > Glitch Delay, 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

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

Changes and Improvements in 1.21

  • Support for macOS 11 Big Sur
  • Audio communication is now more stable when using the class-compliant driver in macOS
  • EQ > Low/High Shelf's High Freq parameter now goes down to 400Hz

 

Bug Fixes in 1.21

  • With an external expression pedal connected, EXP 1 and EXP 2 could become swapped under certain conditions—FIXED
  • If Global Settings > Switches/Pedals > Snapshot Mode is set to "Auto Return" and Up/Down Switches is set to "Presets," pressing Up or Down would not correctly exit Snapshot mode
  • In rare cases, attempting to swap footswitches (by holding two stomps) while the model list or preset list was open could result in a freeze–FIXED
  • In rare cases, audio could be lost after updating via Line 6 Updater. Updating via POD Go Edit would not exhibit this behavior—FIXED
  • In some cases, after exiting 6 Switch Looper mode, stomp switch LEDs could fail to light properly until pressed—FIXED
  • In rare cases, snapshot selection could not properly recall a block's bypass/enable state—FIXED
  • Dynamics > LA Studio Comp's level could drop if placed after an input boost, which is then toggled on and off—FIXED
  • In some cases, None and Looper categories in the model list could fail to update the display—FIXED
  • In some cases, pressing the expression pedal toe switch could not properly bypass/enable assigned blocks—FIXED
  • With very low Delay settings, Pitch/Synth > Simple Pitch and Dual Pitch could exhibit metallic artifacts—FIXED
  • A minor pop could be heard when selecting different IRs while signal was present—FIXED
  • In rare cases, restoring from a backup could sometimes cause the unit to freeze—FIXED
  • In some cases, selecting a preset would not properly recall the active expression pedal (EXP 1 or EXP 2)—FIXED
  • Importing IRs immediately after launching POD Go Edit could sometimes result in an error message—FIXED
  • Transmitting MIDI CC60 or CC61 to control POD Go's looper could sometimes cause POD Go to freeze—FIXED
  • When Global Settings > Switches/Pedals > FS Auto Assign was set to "Off," selecting a different effect category could sometimes cause the footswitch to display the previous category's color—FIXED
  • Various graphical glitches—FIXED
  • Many other minor fixes and improvements

 

Known Issues in 1.21

  • Global Settings > In/Outs > Guitar In Pad is not recalled after turning POD Go off and back on again. Unfortunately, this will need to be manually  toggled after each power cycle before it begins working again
  • Importing a .WAV file into the current empty slot of an Impulse Response block can cause POD Go to stop passing audio. WORKAROUND: Select a different IR and then reselect the new one; audio should resume
  • Under certain circumstances, tapping a tempo for an extended period of time in POD GO Edit may result in POD Go freezing.

 

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina, macOS Big Sur
( 19 MB )
Get Download

POD Go Edit      

POD Go Edit

121_Splash.jpg

 

POD Go 1.21 includes new amps, new cabs, new effects, and bug fixes and is recommended for all POD Go and POD Go Wireless users.

 

How do I update to 1.21?

STEP 1—Installing POD Go Edit 1.21

  1. Log onto line6.com, download, and install POD Go Edit 1.21:

 

STEP 2—Updating POD Go/POD Go Wireless

Shut down any programs that use audio or connect to your POD Go device, like DAWs, iTunes, Spotify, video games, etc.

Disable the sleep timer on your computer. The update will fail if your computer goes to sleep during the process.

If you are using a laptop, plug it in, or ensure it has enough battery life to complete the update without shutting down.

 

  1. Connect POD Go or POD Go Wireless to your Mac or PC via USB and turn it on.
  2. Launch POD Go Edit 1.21.
  3. Click the gear at the bottom of the window, then click "Check for Updates".
  4. Log into your Line 6 account. A dialog panel appears, reading "An update is available for your POD Go. Would you like to update now?"
  5. Click "Update now." POD Go Edit asks if you want to create a backup of your existing user presets. Click "OK" and then "Create Backup." Once the backup is completed, click "OK."
  6. Carefully read the End User License Agreement (haaa hahaha!) and click "OK."
  7. Click "Update." Please keep POD GO Edit in focus throughout the entire update. Once the update is complete, POD Go restarts automatically.
  8. Click "Back to POD Go Edit".

 

New Amps in 1.21

Amps.jpg

 

  • 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

 

New Cabs in 1.21

Cabs.jpg

 

  • 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

 

New Effects in 1.21

POD121_Effects.jpg

 

  • Distortion > Horizon Drive, 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, based on* the BOSS® HM-2 Heavy Metal Distortion (Made in Japan black label)
  • Distortion > Pocket Fuzz, inspired by* the Jordan Boss Tone fuzz
  • Distortion > Bighorn Fuzz, based on* the 1973 Electro-Harmonix® Ram's Head Big Muff Pi
  • Distortion > Ballistic Fuzz, based on* the Euthymia ICBM fuzz
  • Dynamics > Horizon Gate, 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, 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
  • Delay > Glitch Delay, 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

*NOTE: All product names used in this document are trademarks of their respective owners and neither Yamaha Guitar Group nor Line 6 are associated or affiliated with them. These trademarks appear solely to identify products whose tones and sounds were studied by Line 6 during sound model development.

 

Changes and Improvements in 1.21

  • Support for macOS 11 Big Sur
  • Audio communication is now more stable when using the class-compliant driver in macOS
  • EQ > Low/High Shelf's High Freq parameter now goes down to 400Hz

 

Bug Fixes in 1.21

  • With an external expression pedal connected, EXP 1 and EXP 2 could become swapped under certain conditions—FIXED
  • If Global Settings > Switches/Pedals > Snapshot Mode is set to "Auto Return" and Up/Down Switches is set to "Presets," pressing Up or Down would not correctly exit Snapshot mode
  • In rare cases, attempting to swap footswitches (by holding two stomps) while the model list or preset list was open could result in a freeze–FIXED
  • In rare cases, audio could be lost after updating via Line 6 Updater. Updating via POD Go Edit would not exhibit this behavior—FIXED
  • In some cases, after exiting 6 Switch Looper mode, stomp switch LEDs could fail to light properly until pressed—FIXED
  • In rare cases, snapshot selection could not properly recall a block's bypass/enable state—FIXED
  • Dynamics > LA Studio Comp's level could drop if placed after an input boost, which is then toggled on and off—FIXED
  • In some cases, None and Looper categories in the model list could fail to update the display—FIXED
  • In some cases, pressing the expression pedal toe switch could not properly bypass/enable assigned blocks—FIXED
  • With very low Delay settings, Pitch/Synth > Simple Pitch and Dual Pitch could exhibit metallic artifacts—FIXED
  • A minor pop could be heard when selecting different IRs while signal was present—FIXED
  • In rare cases, restoring from a backup could sometimes cause the unit to freeze—FIXED
  • In some cases, selecting a preset would not properly recall the active expression pedal (EXP 1 or EXP 2)—FIXED
  • Importing IRs immediately after launching POD Go Edit could sometimes result in an error message—FIXED
  • Transmitting MIDI CC60 or CC61 to control POD Go's looper could sometimes cause POD Go to freeze—FIXED
  • When Global Settings > Switches/Pedals > FS Auto Assign was set to "Off," selecting a different effect category could sometimes cause the footswitch to display the previous category's color—FIXED
  • Various graphical glitches—FIXED
  • Many other minor fixes and improvements

 

Known Issues in 1.21

  • Global Settings > In/Outs > Guitar In Pad is not recalled after turning POD Go off and back on again. Unfortunately, this will need to be manually  toggled after each power cycle before it begins working again
  • Importing a .WAV file into the current empty slot of an Impulse Response block can cause POD Go to stop passing audio. WORKAROUND: Select a different IR and then reselect the new one; audio should resume
  • Under certain circumstances, tapping a tempo for an extended period of time in POD GO Edit may result in POD Go freezing.

 

Compatible OS: Windows 7, Windows 8, Windows 10
( 32 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go 1.11 / POD Go Edit 1.11

POD Go 1.11 includes general bug fixes and improvements and is strongly recommended for all POD Go owners.

 

Updating POD Go to 1.11

STEP 1—Installing POD Go Edit 1.11

  1. Log onto line6.com, download, and install POD Go Edit 1.11:

 

STEP 2—Updating POD Go

  1. Connect POD Go to your Mac or PC via USB and turn it on.
  2. Launch the version of POD Go Edit you installed in Step 1 above.
  3. Click the gear at the bottom of the window, then Preferences to check for updates.
  4. Log into your Line 6 account. A dialog panel appears, reading "An update is available for your POD Go. Would you like to update now?"
  5. Click "Update now." POD Go Edit asks if you want to create a backup of your existing user presets. Click "OK" and then "Create Backup." Once the backup is completed, click "OK."
  6. Carefully read the End User License Agreement (haaa hahaha!) and click "OK."
  7. Click "Update." Once the update is complete, POD Go restarts automatically.

 

 

Bug Fixes in 1.11

  • POD Go can occasionally freeze on boot up, forcing a restart—FIXED
  • Changing models in the Wah or Volume/Pan categories would automatically engage the block, even when bypassed—FIXED
  • Engaging stomp switches via MIDI CC does not properly focus the selected block—FIXED
  • While in Play view, holding ACTION and pressing a parameter knob does not properly remove any snapshot assignment—FIXED
  • Pressing the Upper Knob after selecting a snapshot from Preset List view does not always load the selected snapshots—FIXED
  • Engaging a Looper block does not automatically display its parameters—FIXED
  • Sending POD Go MIDI Clock while the Tempo Panel is open can sometimes cause the signal flow to disappear—FIXED
  • If Global Settings > Switches/Pedals > EXP 2 Position is set to "Global", when booting POD Go, EXP2 loads at heel-down position (no volume)—FIXED
  • Pressing Stomp mode switches immediately after loading a preset can cause POD Go to freeze—FIXED
  • Turning the main volume knob while loading an IR can sometimes cause the DSP to lock up—FIXED
  • In rare cases, swapping stomp switches can result in unexpected graphic anomalies—FIXED
  • In rare cases, attempting to swap the Looper switch with another stomp switch can cause POD Go to freeze—FIXED
  • If the menu is open from Tuner view, pressing HOME can cause the upper portion of the display to disappear—FIXED
  • Streaming audio through POD Go while restoring from a backup can cause audio to disappear until restarting—FIXED
  • While in the Bypass/Control menu, loading a different preset could display graphical anomalies—FIXED
  • While in Edit view, quickly turning the Upper Knob could cause the EQ block to blink—FIXED
  • While updating firmware, POD Go's footswitch rings could intermittently flash—FIXED
  • In POD Go Edit, renaming a preset does not automatically update POD Go if the Preset List view is visible—FIXED
  • In POD Go Edit, selecting a new preset while POD Go is queueing banks can cause the wrong bank to load
  • In POD Go Edit, the EQ icon was incorrect—FIXED
  • In POD Go Edit, setting Min Value or Max Value can sometimes cause POD Go's inspector to temporarily disappear—FIXED
  • In POD Go Edit, copying and pasting a block could sometimes not duplicate all snapshot data—FIXED
  • In POD Go Edit, double-clicking an unavailable effect could cause the Model Category list to disappear—FIXED
  • In POD Go Edit, some HDD configurations could cause the app to crash or display a blank screen—FIXED
  • Lots of other minor bug fixes

 

Known Issues in 1.11

  • On rare occasions, audio can be lost if POD Go is powered on while a connected Mac/PC is passing audio via USB
  • Pitch/Synth > Simple Pitch and Dual Pitch can exhibit subtle artifacts when the Delay parameter is set between 0.4 and 0.7 ms
  • Sending a MIDI CC60 or CC61 message from your computer to control the Looper can sometimes cause POD Go to become unresponsive
  • Sending a MIDI CC68 message followed immediately by a PC message from your computer can sometimes cause POD Go's audio to mute
  • When a block is added from POD Go Edit, footswitches 5 and 6 may not immediately appear as if they're auto-assigned (even though they are)
  • While on the Save screen, holding ACTION and pressing SAVE does not save the preset to Factory > 32D New Preset
  • POD Go does not need a driver to work with your Mac; just plug in and go. However, it is currently limited to a sample rate of 48kHz. Line 6 is working carefully with Apple and will provide a driver that supports sample rates up to 96kHz

Compatible OS: Windows 7, Windows 8, Windows 10
( 39 MB )
Get Download

POD Go Edit      

POD Go Edit

POD Go 1.11 / POD Go Edit 1.11

POD Go 1.11 includes general bug fixes and improvements and is strongly recommended for all POD Go owners.

 

Updating POD Go to 1.11

STEP 1—Installing POD Go Edit 1.11

  1. Log onto line6.com, download, and install POD Go Edit 1.11:

 

STEP 2—Updating POD Go

  1. Connect POD Go to your Mac or PC via USB and turn it on.
  2. Launch the version of POD Go Edit you installed in Step 1 above.
  3. Click the gear at the bottom of the window, then Preferences to check for updates.
  4. Log into your Line 6 account. A dialog panel appears, reading "An update is available for your POD Go. Would you like to update now?"
  5. Click "Update now." POD Go Edit asks if you want to create a backup of your existing user presets. Click "OK" and then "Create Backup." Once the backup is completed, click "OK."
  6. Carefully read the End User License Agreement (haaa hahaha!) and click "OK."
  7. Click "Update." Once the update is complete, POD Go restarts automatically.

 

 

Bug Fixes in 1.11

  • POD Go can occasionally freeze on boot up, forcing a restart—FIXED
  • Changing models in the Wah or Volume/Pan categories would automatically engage the block, even when bypassed—FIXED
  • Engaging stomp switches via MIDI CC does not properly focus the selected block—FIXED
  • While in Play view, holding ACTION and pressing a parameter knob does not properly remove any snapshot assignment—FIXED
  • Pressing the Upper Knob after selecting a snapshot from Preset List view does not always load the selected snapshots—FIXED
  • Engaging a Looper block does not automatically display its parameters—FIXED
  • Sending POD Go MIDI Clock while the Tempo Panel is open can sometimes cause the signal flow to disappear—FIXED
  • If Global Settings > Switches/Pedals > EXP 2 Position is set to "Global", when booting POD Go, EXP2 loads at heel-down position (no volume)—FIXED
  • Pressing Stomp mode switches immediately after loading a preset can cause POD Go to freeze—FIXED
  • Turning the main volume knob while loading an IR can sometimes cause the DSP to lock up—FIXED
  • In rare cases, swapping stomp switches can result in unexpected graphic anomalies—FIXED
  • In rare cases, attempting to swap the Looper switch with another stomp switch can cause POD Go to freeze—FIXED
  • If the menu is open from Tuner view, pressing HOME can cause the upper portion of the display to disappear—FIXED
  • Streaming audio through POD Go while restoring from a backup can cause audio to disappear until restarting—FIXED
  • While in the Bypass/Control menu, loading a different preset could display graphical anomalies—FIXED
  • While in Edit view, quickly turning the Upper Knob could cause the EQ block to blink—FIXED
  • While updating firmware, POD Go's footswitch rings could intermittently flash—FIXED
  • In POD Go Edit, renaming a preset does not automatically update POD Go if the Preset List view is visible—FIXED
  • In POD Go Edit, selecting a new preset while POD Go is queueing banks can cause the wrong bank to load
  • In POD Go Edit, the EQ icon was incorrect—FIXED
  • In POD Go Edit, setting Min Value or Max Value can sometimes cause POD Go's inspector to temporarily disappear—FIXED
  • In POD Go Edit, copying and pasting a block could sometimes not duplicate all snapshot data—FIXED
  • In POD Go Edit, double-clicking an unavailable effect could cause the Model Category list to disappear—FIXED
  • In POD Go Edit, some HDD configurations could cause the app to crash or display a blank screen—FIXED
  • Lots of other minor bug fixes

 

Known Issues in 1.11

  • On rare occasions, audio can be lost if POD Go is powered on while a connected Mac/PC is passing audio via USB
  • Pitch/Synth > Simple Pitch and Dual Pitch can exhibit subtle artifacts when the Delay parameter is set between 0.4 and 0.7 ms
  • Sending a MIDI CC60 or CC61 message from your computer to control the Looper can sometimes cause POD Go to become unresponsive
  • Sending a MIDI CC68 message followed immediately by a PC message from your computer can sometimes cause POD Go's audio to mute
  • When a block is added from POD Go Edit, footswitches 5 and 6 may not immediately appear as if they're auto-assigned (even though they are)
  • While on the Save screen, holding ACTION and pressing SAVE does not save the preset to Factory > 32D New Preset
  • POD Go does not need a driver to work with your Mac; just plug in and go. However, it is currently limited to a sample rate of 48kHz. Line 6 is working carefully with Apple and will provide a driver that supports sample rates up to 96kHz

Compatible OS: Mac OS X, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina
( 25 MB )
Get Download

POD Go Edit      

POD Go Edit

Release Notes

POD Go 1.10 includes general bug fixes and improvements, and is strongly recommended for all POD Go owners.

Installing POD Go Edit 1.10

Updating to 1.10

Updating POD Go

  1. Connect POD Go to your Mac or PC via USB and turn it on.
  2. Launch the version of POD Go Edit you installed in Step 1 above.
  3. Click “Check for updates” at the bottom of the window.
  4. Log into your Line 6 account and a dialog panel appears, reading “An update is available for your POD Go. Would you like to update now?”
  5. Click “Update Now.” POD Go Edit asks if you want to create a backup of your existing user presets. Click “OK” and then “Create Backup.” Once the backup is completed, click “OK.”
  6. Carefully read the End User License Agreement (haaa hahaha!) and click “OK.”
  7. Click “Update.” While updating, POD Go’s display slowly fades to gray. Once the update is complete, POD Go restarts automatically.

Bug Fixes

  • Lots
  • Seriously, lots. Definitely upgrade to 1.10. But you’re reading this right now, so… cool.

Known Issues

  • While updating the firmware, we haven’t yet made a cute little “Updating…” graphic. Instead, the screen slowly fades to gray
  • On rare occasions, POD Go can fail to fully boot up. Just turn it off and back on again and all should be well.
  • The Tuner’s Output parameter does not currently affect audio from the AMP OUT jack
  • On rare occasions, after swapping the locations of two stomp footswitches, pressing one switch may display parameters for the other
  • Pitch/Synth > Simple Pitch and Dual Pitch can exhibit subtle artifacts when the Delay parameter is set between 0.4 and 0.7
  • A minor pop can be heard when selecting IRs while audio is present
  • POD Go does not need a driver to work with your Mac; just plug in and go. However, it is currently limited to a sample rate of 48kHz. Line 6 is working carefully with Apple and will provide a driver that supports sample rates up to 96kHz. 

Compatible OS: Windows 7, Windows 8, Windows 10
( 41 MB )
Get Download

POD Go Edit      

POD Go Edit

Release Notes

POD Go 1.10 includes general bug fixes and improvements, and is strongly recommended for all POD Go owners.

Installing POD Go Edit 1.10

Updating to 1.10

Updating POD Go

  1. Connect POD Go to your Mac or PC via USB and turn it on.
  2. Launch the version of POD Go Edit you installed in Step 1 above.
  3. Click “Check for updates” at the bottom of the window.
  4. Log into your Line 6 account and a dialog panel appears, reading “An update is available for your POD Go. Would you like to update now?”
  5. Click “Update Now.” POD Go Edit asks if you want to create a backup of your existing user presets. Click “OK” and then “Create Backup.” Once the backup is completed, click “OK.”
  6. Carefully read the End User License Agreement (haaa hahaha!) and click “OK.”
  7. Click “Update.” While updating, POD Go’s display slowly fades to gray. Once the update is complete, POD Go restarts automatically.

Bug Fixes

  • Lots
  • Seriously, lots. Definitely upgrade to 1.10. But you’re reading this right now, so… cool.

Known Issues

  • While updating the firmware, we haven’t yet made a cute little “Updating…” graphic. Instead, the screen slowly fades to gray
  • On rare occasions, POD Go can fail to fully boot up. Just turn it off and back on again and all should be well.
  • The Tuner’s Output parameter does not currently affect audio from the AMP OUT jack
  • On rare occasions, after swapping the locations of two stomp footswitches, pressing one switch may display parameters for the other
  • Pitch/Synth > Simple Pitch and Dual Pitch can exhibit subtle artifacts when the Delay parameter is set between 0.4 and 0.7
  • A minor pop can be heard when selecting IRs while audio is present
  • POD Go does not need a driver to work with your Mac; just plug in and go. However, it is currently limited to a sample rate of 48kHz. Line 6 is working carefully with Apple and will provide a driver that supports sample rates up to 96kHz. 

Compatible OS: Mac OS X, Mac OS Yosemite, macOS Sierra, macOS High Sierra, macOS Mojave, macOS Catalina
( 26 MB )
Get Download