Pat, This is a tough one and I notice no one else jumping in as it were. Here is my opine..hope it is helpful. The X3 live , in my opinion, was engineered to run direct and running it in to a Blues Jr. doen't seem like a great match as the Blues Jr. really has a personality all of it's own. That being the case, I would think a volume pedal, compessor, chorus and delay would have done it. You can certainly use the X3 to do that configuration. I run mine in to a 50 watt Marshall solid state with  a closed back aimed away from the congregation. I purposley run it as flat as possible and let the X3 do the heavy lifting.

Here is my exerience...When I first started playing with the worship group that I play with now, I agreed that the leader and the sound person had first right of refusal on the guitar tones that I used, no questions asked. Our leader makes the call on content. I don't do anything in a service that I haven't gone over in detail in rehearsal...No sneakin' stuff in after the fact.My goal has been to mimick as closely as posiible the guitar tones used on the recorded versions that I am given, and to physically place them sonically in the live mix as close as I can do it, in other words, I attempt to mix myself. My right foot is glued to my volume pedal most of time. As time has passed both the leader and the sound person have given me a great deal of lattitude based on that model, and trusting that, I don't abuse that freedom. Basically, if it's on the recording, I get to play it (if I can)! I will add that we play some pretty punchy contemporary worship tunes.

Here is an example. On the song Adoration, I use tons of distortion (Plexi amp model and Classic Distortion combined) with massive echo. In the first chorus and second verse I will use the volume pedal to create the cello part. Once again the challenge is to listen to the recording and pay attention to the placement of the cello in the mix.Second chorus I switch to a setting with less crunch and more phasing full chords on the whole note. The bridge is back to the first setting and using volume pedal, single note swells to get the sort of backwards tape loop sound that is mixed in with the strings. Then the last chorus is full chords and a great deal of restraint. This tact is basically treating a distorted guitar like a string section. If you listen to the recording, there is a huge, big 80's guitar sound shadowing the strings.

Whenever I approach playing, especially in church, I always bear in mind that, a punchy "distorted" guitar sound always gives the perception that it is loud, whether it is or not. Stay mindful of that. Prayerfully start slow, let everyone get used to new tones.  I don't know if this was any help at all, but it was a great way to spend my break at work.

Good luck with X3, I don't know how I ever played without it!

Blessings, Strato,, (Don)

Pat,

Thanks for the post - I'm in about the same boat you are, although I've been taking it very slow.  We're on our 3rd sound guy since I bought the X3L 3 months ago, which has given me pause to get my sounds right before I introduce at church.  I've focused on getting a decent general purpose clean tone first, and I've settled on the Blackface Lux. From there, I've been working on some semi-dirty tones and then the Brewster 18 sounds for lead - I've cranked these back a bit, but as long as you don't try these for rhythm chords, they sound good as lead tones.  The semi-dirty (for rhythm crunch "suitable for church") tones have caused me the most problem, as I haven't found something that I really like yet.  Soon as I do, I'll be working with the sound guy and get the XL3 in the mix.

BTW, I'm about 90 miles from Atlanta.

Having fun in church,

Alton