In general, it is a pretty enjoyable improvement. I use 6 plugins in Reaper to finish off the tones from the X3 Live and HD500. I bypass the cabs, and while I use Ignite Amps TPA-1 power amp plugin, I don't use the "pre" models. I will try a patch with one of the pre models, maybe the Treadplate, but I'm not really in a hurry.
The FX I use in Reaper is: Nick Crow Labs Tube Driver -> Ignite Amps TPA-1 power amp [don't forget to click the arrows on the right side and view the "back" of the power amp] -> Ignite Amps NadIR [w/ orange 2 mics and Marshall Mode Four cab impulses] -> ReaComp -> Ignite Amps PTEq Tube EQ [i turn the "tube" switch on] -> ReaEQ [to further shape the tone, scan 3.5-5khz for the "noise" frequency, low/high pass, etc].
With the more "tube-like" response from the Tube Driver, power amp, and Tube EQ, as well as improved cab sims from the IRs, the tone is much more lively and enjoyable to play on both devices. For the X3 Live, the improvement was almost night and day. For the HD500, the difference isn't quite as vast, but still a sizable improvement. Sucking out the "noise" frequency on the HD500 was definitely a big step in the right direction, and I find this much easier to do with ReaEQ. I believe I set it for -5.0db, a pretty narrow curve, and just slid the slider from left to right until I found the frequency, which was around 4.8-5khz. I also did a slight broad bump around 1.2khz, low/high pass, and usually do a -2.5 to -4 cut around 600-650hz. If it's too broad and takes out too much of the low mids, even with it set at -0.5, I'd make the Q narrower. Depends on the overall tone though.
By the way, for those that found the Glenn Delaune trick with the EQ helpful to get rid of fizz on the X3 models, but made the high end too dull, you can turn the hi mid up, I can't remember the frequency but I think it's at or around 7khz or so, and you boost it. I prefer to slowly increase it so you get just enough. If you find the 7khz frequency makes the tone too cold/scratchy/bright, reduce the hi mid setting to something lower, like 5-6khz. This way, you get the low pass filter effect, but without the tone getting too dull on the high end. On the X3 Live, from there, I'd set the EQ to high pass filter the lows [50hz, -7.5 to -12], and a 3-4db cut in the 600-750 range if the tone is too muddled by low mids. If not, then boost 1db between 1.1-1.5khz.
Also a Glenn Delaune trick: using a short delay to "fake" a double track type thickness. Digital delay, 50 on the treble/bass knobs, 100% on the mix knob, 20ms, and 0% fdbk on either side but I prefer to put it in channel A. You can do the same in X3 Live if you dual amp; same settings for the delay, but use it on tone 1.
Anyways, here are two clips I recorded. The first one uses X3 Live and the second utilizes the Pod HD500, and both used the plugins listed above. In NadIR, I delayed the second cab a little bit for the double tracked trick. The tracks are recorded in 1 stereo track with stereo and high quality enabled in plugins. Reason I recorded it in stereo is because it's how I have it set up since I actually just use this to jam [not to record, but I liked the results and wanted to share it with others].
Pod X3 Live [Connor 50 - Marshall Mode Four, Deity Lead - Orange 2 mics]: https://www.dropbox.com/s/qa6b2x3agmejhxn/consolidated2.wav?dl=0 Pod HD500 [bomber Uber - Marshall Mode Four, Angel F-ball - Orange 2 mics]: https://www.dropbox.com/s/vvo2vszni87h2xc/untitled2.wav?dl=0
And yes, I know, they are played pretty sloppily at times and whatnot, but I really didn't have anything in mind when I hit record since I was just trying to record the tone.
