Here is the long awaited MIDI CC chart for POD X3 Pro. Once Line 6 implement MIDI in POD X3 Live (and hopefully POD X3 over USB) I would imagine these CC numbers will be accurate for those units too.
Tone 1 of your POD X3 responds to CC on the configured MIDI channel while Tone 2 responds to MIDI CC one channel higher. For example, if your POD X3 Pro is set to communicate on MIDI channel 3 then Tone 2 will communicate one channel higher, on channel 4. I have fully tested all these CC with my POD X3 Pro with flash memory 1.00 and USB firmware 1.00 installed in the unit.
Downloads:
POD X3 Pro MIDI CC chart 1.1
POD X3 Pro MIDI CC chart 1.0
As digital gear becomes more prevalent I see the same question asked over and over again, “Should I record using the analogue outs or use the USB (or S/PDIF) outputs?” The popular answer is, “keep it digital or you’ll lose sound quality!” Is there any merit to this claim that sound quality is lost if you do not “keep it digital” all the way? Does it matter in a home recording studio which you choose? Let’s find out. Give me the test »
It is no secret that you can mix and match guitar amps with bass cabs and bass amps with guitar cabs on any Line 6 modeler that has both guitar amps and bass amps. A more subtle side effect of this is the ability to use the guitar mics on bass cabs and bass mics on guitar cabs. Since it is pretty easy to mix and match the cabs, this article is going to focus on the cabs that allow you to mix and match the microphones. You can use this technique on POD X3, POD XT (with bass model pack), TonePort, and even the Gearbox Plugin. There is also a hidden benefit if you have a unit with only guitar or only bass models. Help me mix and match microphones
In the spirit of my analogue vs. digital article, it is time for another Mythbusters style debunking session. Today we are going to explore the common misconception that higher sample rates equate to better sounding audio. There is no shortage of rhetoric by self-proclaimed internet experts that by simple matter of dropping a faster processor into a digital unit that you’ll get better sound. This, they claim, is due to having the horsepower to run at higher sample rates. These experts believe that higher sample rates will give better sound with no tweaking of the underlying algorithms. Is it true (and does it matter to the home recording studio owner)? I would like to know
Trying to cop your favorite artist’s tone is not a byproduct of the age of amp modeling in which we live. People have been trying to nail tones off records for years. The prevalence of amp modeling has only made it easier. “How do I get _____’s guitar tone?” has got to be the most frequently asked question in the modeling community. I have made a serious hobby (including this website) out of copping the sounds from famous recordings. This article is covers my approach to answering that question. Read the rest of this entry »
I recently wrote an article covering a method for turning a mono track into a rich stereo track. This effect does not need to be limited to your home studio recording. You can also apply this effect to your live guitar sound and fill the stage. Any reasonable guitar effects unit with a robust stereo delay or dual tone capability should be able to create the effect. Here is how to set it up with the Line 6 POD X3 (technique should also work with POD XT or any Line 6 unit with the Stereo Delay effect). Show me how to make those sweet stereo sounds »
« Show me how to set up reamping with my POD X3
In part one of this article we explored a method for setting up your POD X3 to do hardware reamping with a single 1/4″ to 1/4″ patch cable. We got our DAW and POD X3 configured to record and playback dry signals at the same level. If you are interested in seeing my results, this article is for you. Show me the reamping results »
The art of reamping can be applied to many situations in the modern studio. Reamping can be applied effectively to any audio track even though it is commonly associated with guitars. The Wikipedia entry on reamping even goes so far as to suggest any processing of sound with outboard gear can be considered reamping. This article is not about an argument or refining the definition of reamping. This topic has been on the mind of many POD X3 owners since Line 6 made the somewhat controversial decision to eliminate native driver support for reamping (something that was included on their POD XT series of processors). With this in mind, I sat down one evening and did some reamping experiments the old fashioned way using my POD X3 Live. Here are the results and how to set it up. Tell me more »
The so called four cable method (4CM) allows you to use POD X3 Live (or Digitech GSP1101) as a full featured effects only processor with your existing amplifier. Required gear to use this technique includes:
- an amplifier with effects loop
- a POD X3 Live (or Digitech GSP1101)
- four 1/4″ guitar cables
- a guitar ;)
Show me how to hook it up »
The Line 6 POD X3 has the ability to function as two fully loaded and independent POD XT units. You can use your POD X3 to process two input sources and maintain individual control over the outputs. Here are a few basic and advanced examples of how to set up your X3 for this type of processing. Show me how to process two inputs »
