Pod X3

[Francis Smyth]

Anybody out there using the Pod X3 and if so what do you think of it. thanking you in advance.

[John McClung]

bump...I'm curious how it works for pedal steel, too.

[Kyle Everson]

I've had one for a couple of months. I've used it as a preamp with my Nashville 112, going into the power amp in section and using an amp modeler. The "Blackface" setting is pretty good. I modeled it to be a Twin Reverb 2x12. It's scary how close it can sound to my Twin in open air. As far as practicing, it sounds much better through headphones than the Nashville 112 does. I still use the 112 so I can run an ipod into the chain and play along silently.

I've also used it direct with the same settings using in-ear monitors, and I got great responses from the sound engineer.

[John McClung]

Thanks for the good info, Kyle!

Do you, or anyone else, have experience with the XT and the new X3? Any big benefits to the new gizmo?

[Jay Ganz]

From what I've heard it's basically just more amp & cabinet models. Also some assorted "bells & whistles" like combining two different amp models together, extra stompbox models etc. I don't think there's a heckuva lot of difference in sound quality compared to the XT. Just extra stuff to mess around with.

[Ron Deardorff]

In light of the fact that my sound ultimately winds up in my headphones (not using an actual guitar amp) it is very important to me to be using the latest and greatest amp modeler, and for me, the X3 is it. Having the extra amp models and the ability to combine two different ones makes me able to dial in the tone to a finer degree than the XT, which is also a superb unit. It's just important enough for me to have that extra level of control and amp options (not to mention the extra large display).

[Loren Claypool]

Just finished recording my CD "One Feather Shy", to be released this summer. I used a POD X3 for most of the project. The first few tracks were recorded with a POD XT and I switched when the X3 was released. I used the unit with electric, fretless electric, lap steel, and touch guitars. I used a PreSonus preamp for some of the touch guitar and acoustic guitar parts, ran the guitar synth straight to the board, and ran some acoustic tracks through a Fishman Aura. I am quite pleased with the POD's performance with all of the instruments.

To Jay's point, the X3 is essentially two XTs in a single unit with additional interface and routing options. The larger display is handy for on the fly editing.

To Ron's point, I used the dual path feature on several tracks, sometimes with different amp and/or cabinet models, sometimes with different effects chains, sometimes with both. Two completely separate paths allows for incredible flexibility. Putting a clean tone under an overdriven tone added presence on a few tracks for me.

[John McClung]

Great info, Ron and Loren, thanks very much, sounds interesting and useful.

Ron, where in CA are you?

[Ron Deardorff]

John, up by Santa Cruz (oceanside of San Jose), lil' town o' Capitola.

[Steve Hotra]

Just finished recording my CD "One Feather Shy", to be released this summer. I used a POD X3 for most of the project. The first few tracks were recorded with a POD XT and I switched when the X3 was released. I used the unit with electric, fretless electric, lap steel, and touch guitars. I used a PreSonus preamp for some of the touch guitar and acoustic guitar parts, ran the guitar synth straight to the board, and ran some acoustic tracks through a Fishman Aura. I am quite pleased with the POD's performance with all of the instruments.

To Jay's point, the X3 is essentially two XTs in a single unit with additional interface and routing options. The larger display is handy for on the fly editing.

To Ron's point, I used the dual path feature on several tracks, sometimes with different amp and/or cabinet models, sometimes with different effects chains, sometimes with both. Two completely separate paths allows for incredible flexibility. Putting a clean tone under an overdriven tone added presence on a few tracks for me.

Just found this thread.
Long time guitar player, but newbie with a Rittenberry.
I use my X3L all the time with my electrics.
I see great potential with the X3L for live applications.
Could you post the patches you use?
Factory or custom?
Thanks

[Loren Claypool]

Sure, I'll post a few using a shorthand that will make sense if you have an X3 in front of you. Any "blank pages" in the shorthand notation mean that page is "turned off" in the tone. I find the Jazz Clean model to be a workhorse, here's a couple of pretty wet variations:

1987 Jazz Clean 34% Room 2x12 87 JC cab SM57 on axis, 30 70 80 50 38 100, Sine Chorus tap 1/4 73.4 50 50 50 50, Analog Delay tap 1/8 73.4 25 50 50 38

87 Jazz Clean 1x18 Amp360 cab 20 dyn 35%, 43 47 48 0 22 100, Sine Cho 87.2 bpm 46 23 49 79, Digital Delay 1/16th 87.2 bpm 20 50 50 10

Also like Tiny Tweed and Double Verb models for lap steel.

For fretless guitar, here's a dual path patch I use a lot -
1) 87 JC 50 0 87 JC cab 57 on, 80 40 40 50 60 50, Oct Fuzz 76 50 38, Sin Ch 1/2 120 50 50 50 50 2) 87 JC 54 34 Bass 1x18 cab 20 dyn mic, 80 40 30 49 60 50. Tube Dr 67 89 50 50, Sin Cho 1/2 120 50 50 50 50

A favorite dual path bass patch for use with touch guitar -
1: St Tone 4x10 Sess Cab 47 Tube close 63 51 79 80 62 100, Bl Comp Tr 20 30, Sine Cho 1/2 50 71 50 79. 2: 02 ST Tone 1x18 360 cab 47 Tube close 96 23 65 80 62 100 Sine Cho 1/2 50 50 50 50

A dual path patch for electic guitar -
1: Line 6 Clean 2x12 D1 L6 Cab 67 cond 10% 45 53 90 0 20 79, Auto S 50 50, Sine Chrs 1/2 71 50 63 st dly 1/4 21 50 38 76. 2: L6 Sparkle 1x12 D1 57 on 10%, 63 35 91 66 28 74, Bl Cmp Tr 38 35, Auto Pn wh 100 38 st dly 1/4 25 38 50 76

A favorite patch for eBow -
1958 Tweed B-man Room 0 4x10 58 Tweed B-Man cab 57 off axis, 30 70 39 50 70 50, Sine Chorus 1/4 135.5 50 50 50 50

Patch I like to use with a Tele -
1963 Blackface Vibro 77 44 2x12 65 Blackface Cab 421 Dynamic mic, 20 50 80 20 48 63, Sine Chorus 1/4 tap 68 bpm 75 71 50 79, Analog Delay 1/8 tap 68 bpm 25 50 50 38

Two Spaghetti Western tones -
1965 Double Verb 10% 2x12 65 Blackface Cab SM57 off axis, 64 50 79 46 75 100, Boost + EQ 76 50 60 50 50, Reverb: Standard Spring 70 35 70

1963 Blackface Vibro 2x12 65 Blackface Cab 57 on axis 0%, 75 75 84 72 35 86, Opto Trem 1/8th triplet 87.2 50 0, Standard Spring 50 50 50

Dual path with overdriven and clean channels together -
2001 Treadplate dual 10% 4x12 01 Treadplate cab SM57 on, 60 60 80 80 70 51, Sine Chorus 1/4 50 50 50 50, Sweep Echo 1/8 20 2 50 30; 1987 Jazz Clean 34% 2x12 87 Jazz Clean cab 57 on, 74 100 89 81 15 47

Another favorite overdriven tone -
1968 Plexi Variac'd 4x12 68 Green 25s 57 On Axis 70%, 30 30 100 79 50 50, Screamer 50 50 70

None of these are deep dive edits, simply adjustments made through the front panel of the unit. Enjoy.

[Steve Hotra]

Loren;
Thanks for the details.
I appreciate you taking time.
Steve

[Randy Carson]

How about some different settings for the pod xt for pedal steel?
as mentioned going into the power amp in on the NV112
Thanks

[Steve Hotra]

How about some different settings for the pod xt for pedal steel?
as mentioned going into the power amp in on the NV112
Thanks

Randy;
if you do a word search of pedal steel guitar at the Line 6 forum and over at their Customtones, you'll find actual settings for the POD Xt.
Hope this helps.
Steve

[Randy Carson]

Thanks,
Didn't know about a line 6 forum, I should be able to find it.

Thank you so much,

Randy

[Peter Nylund]

This one was done using the POD xt

http://www.youtube.com/watch?v=P3EumetyJbE

[Randy Carson]

Still having trouble with finding the pod settings?
Thanks for the help
Randy

[John Sluszny]

OOPS !

[Steve Hotra]

This one was done using the POD xt

http://www.youtube.com/watch?v=P3EumetyJbE

Nice tones and video.