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> Pod X3 Recording, Has anyone got any good Recording tones for the POD XT/X3?
muntahunta
post Sep 4 2009, 12:14 AM
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I have both the POD XT and X3 and i know pretty much all there is about them when using them live, but for recording I can never quite find that perfect tone.

I usually like alot of distortion in my tones but im looking for any tones that you POD users use for recording, im interested what differences there are compared to my live tones.

so could you post your POD tones up here for me to listen to smile.gif
thanks
Chris


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Ivan Milenkovic
post Sep 4 2009, 12:24 AM
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Completely different environment requires completely different presets and often different gear setups.
When I record something with loads of distortion, it often turns out too compressed and distorted in the end. So cutting down distortion from your usual presets is a suggested first step IMO. If you record some riffage, very little distortion is really necessary, because when you double it - it will sound very full and defined. It's all about cutting through the mix nicely and making it defined. So presets have to be remade for recording purposes basically.


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anders3604
post Sep 4 2009, 08:21 AM
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QUOTE (muntahunta @ Sep 4 2009, 01:14 AM) *
I have both the POD XT and X3 and i know pretty much all there is about them when using them live, but for recording I can never quite find that perfect tone.

I usually like alot of distortion in my tones but im looking for any tones that you POD users use for recording, im interested what differences there are compared to my live tones.

so could you post your POD tones up here for me to listen to smile.gif
thanks
Chris



Ever thought of Pod farm?
Reampng is a great way to find tones for recording.

I think that you can use the XT to reamp with a free tool.
If you got the X3 live or pro the pod farm VST is free.
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muntahunta
post Sep 4 2009, 11:12 AM
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thanks guys

yea I have POD Farm, I havnt really had a play about with it, but i definatly will smile.gif

@ Ivan: thanks for the tips, Im not exactly 100% sure on the qualities of the patch to look for in recording. I have just recorded a song i wrote (its very Disturbed kind of feel to it) and I used a triple rectifier/dual rectirier setting, it has turned out way too muddle... is there any basic "rules" or steps you follow to create a recording patch?


--------------------
Guitars:
Epiphone Les Paul Standard w/ Dual EMG 81 Pickups. Size 11 Strings.
Ibanez GRG170DX w/ Scallopd frets 17-24 - w/ Dimebucker and APH-1.
Tanglewood TW28 STR DLX CE INDIANA Acoustic Guitar
NEW: Dean Deceiver w/ EMG 81/EMG 85 Pickups
Effects:
Pod XT Live AND Pod X3 Live
Recording:
Cubase SX3

My Bands Myspace
Act Of Silence

Songs:

Fly From The Inside (Cover)
So Far Away
Down
Break The Cycle
Never Again (Cover)
Crash
Wake Me

More Acoustic Songs:
Chris Kerswell Soundclick Page

Check out Munta's Step By Step Songwriting Lesson
Go to the top of the page
 
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Ivan Milenkovic
post Sep 4 2009, 03:33 PM
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There are some basic rules mate. First basic recording rule is what I already wrote but will repeat it again: studio is completely different environment than live gigs. In studio you have to adjust your preset so it sounds good in the mix, not by itself. Guitar may sound great by itself, and sound horrible in the mix, and vice versa. Because of this, don't be afraid to make your preset a bit "horrible" when playing solo, it is very important that it sits in the mix well. Extremes are not what I'm talking about,and here are some advices that you can apply:

1. Lower down the distortion as much as possible (you have to get it so low that the overdrive becomes crunchy sound that you have to "push" with the fingers in order to really get some sound out of it.
2. Play the piece perfect (this is often underrated, but you just have to play everything as perfect as it gets. This will ensure that guitars sit well in the mix and that there aren't any additional noises)
3. EQ the guitars (guitars are mid type of an instrument which means everything bellow 100Hz should be cut off with a high pass filter. use the mids region the most to make the most of the recording.
4. Record dry, then add effects (reamping the guitar sound, and adding effects later is very important, since you have greater control over the effects. if you make a preset with lots of FX, big chances are that it will not sit well in the mix, and that you have to adjust the whole mix relative to the guitar track, instead of other way around).

This post has been edited by Ivan Milenkovic: Sep 4 2009, 03:34 PM


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JamesT
post Sep 4 2009, 03:58 PM
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I have an X3 and for recording, I send a different signal to the amp than what I capture for recording. This gives you some flexibility in the final mix while making it possible to monitor using your favorite preset.

To do this, I create a dual amp model. For the first model, (the one I use for monitor), I add all the effects. For the second amp model, I usually use the same amp model with slightly less gain and I remove all effects and add them later during mix down.

I like several of the amp models in the X3 cause they really do sound pretty similar to amps I've owned in the past and some of my friends amps that I'm familiar with. If you like lots of gain try the "Line6 Spinal Puppet" model. With gain at maximum on that amp, you have plenty of overdrive for sure. I tend to back off of the gain at that one and put it on about 6 or 7. And with that model, it still screams at that setting. From there, I set bass=4, mid = 4, presence to 9 and treble = 9.

For recording, I send just that signal to the DAW. And for monitoring, I add chorus, delay, and reverb to taste.

There are so many models on the X3, I'd recommend hooking it up to your PC (usb cable) and controlling it through gear box. From there, try out all the models at various levels of gain to find one that suits your style. But start with just the amp and no effects to hear the subtle differences between models. I you have a favorite real amp, try to see if you can find an X3 model that's close.

For me, I still haven't spent enough time exploring the possibilities, but I've created a few presets of my own for various styles that I like to play. Admittedly, the harder tones to get from a modeling amp are the clean tones or really punchy blues tones that are just on edge of distortion. Those sounds seem to benefit from having big speakers and moving lots of air.



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