AParedes

Unfortunately these use different types of supplies - POD Go uses the DC3 (DC power) and POD X3 uses the PX2 (AC power). We do not recommend connecting a PX2 to a POD Go device.

the following tone template may help if you want to tackle this on your own: https://line6.com/tone-templates-diagrams/eric-clapton--hideaway.html

there is some good intel at the following link: https://musicaficionado.blog/2018/08/29/larry-carltons-sessions-with-steely-dan-and-joni-mitchell/

In the video here it looks like a Les Paul into a Marshall JCM800, I would start with that and add some delay in the appropriate spots;

This Helix Minute video may help point you in the right direction:

the Mesa Boogie Dual Rectifier or Mk IV amp models will be your best place to start looking for a tonal match.

connecting an 8 ohm output into a 4 ohm input is not recommended. We recommend matching the output to the input (i.e. 8 ohm on both sides).

I have used this configuration with no problems, so you should be fine.

Helix Rack would likely be the best replacement for your X3 Pro and has a Variax input - learn more here: https://line6.com/helix/helix-rack.html

The two items that always stick out to me when thinking of 80s clean are chorus and compression. The Arion SCH-Z (PlastiChorus in HX) was a favorite of Mike Landau, while the Dytronics® Tri-Stereo Chorus (Trinity Chorus in HX) was used all the time as well. For compression I have seen a number of different compressors used, so you can dig around and see what your favorite sounds used and build from there. Steve Lukather was a prominent player in this era, so I am adding a couple scans from old magazines for additional material. hope this gets you pointed in the right direction. S Lukather 8804 GW.pdf

For the classic Dime tone I recommend using the Oblivion (Hi Gain) amp voicing, then EQing for the instrument/room. check the tone template for more effect info: https://line6.com/tone-templates-diagrams/dimebag-darrell--cowboys-from-hell-tour-rig.html

the classic Iron Maiden Guitar tone was based on the Marshall 2204. I would try the Voltage (crunch) or Kinetic (Dynamic) for the amp setting, then adjust the other effects as needed. Here are the Tone Templates for Adrian and Dave from Piece of Mind's tour for additional info: https://line6.com/tone-templates-diagrams/adrian-smith--piece-of-mind-tour.html https://line6.com/tone-templates-diagrams/dave-murray--piece-of-mind-tour.html

that graphic is from the old "Guitar Geek" Website that was a great resource for guitar gear for a number of years (I believe the gentleman's name was Adam Cooper). These diagrams were featured in the US Guitar World magazine, I believe this info was taken from a Wolf Marshall interview with someone in the Ozzy camp from the time Randy was with them. You can also check the following link for the RR Tone Template, which shows the icons you'll want to look for in your Line 6 device: https://line6.com/tone-templates-diagrams/randy-rhoads--diary-of-a-madman-tour.html a couple notes: A: the KWB distortion was a take on the MXR dist.+ according to Ben Adrian (KWB creator and Line 6 sound designer). B: Rhoads has his Marshalls modified so the channels were jumped internally, if you check pics of his rig you won't always see the classic "jumper cable" like you see with other players. this topic is discussed in the excellent "The History of Marshall: first 50 years" book by Nick Bowcott and Michael Doyle.

Alex Lifeson used an EH EM flanger on the Exit Stage Left album (Moving Pictures tour). Spirit of Radio was the opening song trom that album so I would try the Cortesean Flange. Here is a link to the Rush Gear Wiki: https://rush.fandom.com/wiki/Alex_Lifeson_equipment#Hemispheres And here is a tone template with the other gear in case this helps: https://line6.com/tone-templates-diagrams/alex-lifeson--moving-pictures-tour-rig.html

Agreed. I personally shoot for the best tone for FOH/console, then make adjustments in the playback system (IEM or wedges). My IEMs ( Sensaphonic dual drivers & Shure 425s) lose low end compared to most playback systems, which can be compensated for on the monitor console by cutting some top end to the IEMs, so it doesn't affect what is happening in the mains.. the other "more involved" way to do this on Helix/HX could be to have separate sends with different EQing to FOH and Monitors, assuming you don't already have those outputs assigned to other needs.

You may want to use different presets for different guitars, especially when switching between SC and HBers. Perhaps use the preset you like with the JB as a starting point, then adjust from there? SC pickups traditionally have more top end than HB, so that would be the starting point for adjustments if you're looking to make these sounds more similar.

a couple additions: 20C Trademark – Eric Johnson 21B Another Thing – You’ve Got Another Thing Coming, Judas Priest 23B Ridin’ Lightning – Ride the Lightening-style Metallica tone 25C Bit Like Heaven – Just Like Heaven, the Cure

There is a full listing of the POD Go amps/cabs/effects here: https://line6.com/podgo-models/

You can also check out the link in the Helix resources, which shows when the model first appeared: https://line6.com/helix-models/

If you want to power a Variax instrument externally, you can use the XPS DI. They are currently out of stock in the US shop, but may be able to source regionally or online: https://shop.line6.com/accessories/guitar-accessories/jtv-variax-cable-power-kit.html

Instead of changing the blades on the unit itself, have you considered using a "travel kit" outlet adapter? The DC3/g/h are 100-240v (50/60 hz) compatible, so there will not be an issue there. I have done this in the past when working in different regions and have never had an issue. When you're not performing you can use the same adapter to power other items.

that case looks amazing, well done! If someone is interested in an "official" POD Go shoulder bag, here is the link: https://shop.line6.com/accessories/bags-covers-cases/pod-go-bag.html

Did a quick search of Everygrey amps and found three it looks like they are associated with- I recommend starting with a PV Panama (Peavey 5150), German Mahadeva (Bogner Shiva), or German Ubersonic (Bogner Überschall). I personally like to use dual cabs with a dynamic and condenser mic to widen the range of tone. Hope this helps.

Hi Vorak, You can definitely get high gain sounds on LT, you'll just need to decide which amps work best for your applications. in case this is helpful: Chemical X was a Marshall SLP with the Bradshaw gain boost (AKA "Dookie") Mod. You could try putting a boost in front of a Brit Plexi and adjust from there? Lunatic was an alternative to Insane, a bit of a happy accident. Insane based on the POD 1.0 Recto with gain added Some amps that you may like that didn't exist on the previous products are Revv Gen Red & Archetype Lead. Line 6 Badonk is an update of Big Bottom, which was a manipulated Triple Recto. Hope this helps!

Here is an old Edge article we have used quite a bit, as well as using dual delays: http://www.amnesta.net/edge_delay/ along the same lines - here are some cool notes on how David Gilmour did similar delay settings - http://www.gilmourish.com/?page_id=50 have fun!