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Sorry ,but can't help but be other than hugely impressed by the fact that you did a 5 hour gig in the hot sunshine , i'd have given up way before the Helix.:-)

Sounds like all may be well but props to Propower for trying to do the right thing!

You may find this method to be a much better and simpler way to do this(if it works for your scenario). This approach just assigns both volume blocks to the expression pedal simultaneously. As you move the expression pedal one volume block's volume will go up as the other's goes down allowing you to set the balance between one path and the other. One of the advantages of this approach is it still leaves the EXP1 setting available if you wanted to assign it to, for example, a wah block. The disadvantage is that the expression pedal is now simultaneously setting the balance of both players volumes in relation to each other e.g. if you boost your volume, you reduce your bandmate's volume, that means you need to use an additional strategy, such as changing an amp model's 'Channel Volume', if you want to increase only your volume without impacting your bandmate's : Set up your two volume pedal blocks, one in each path Make sure they are both assigned to EXP2 (should assign to EXP2 by default). Doesn't matter what switch you use to bypass them, the default toe switch assignment is fine but you could always change it as detailed in the earlier post. Highlight one of the volume blocks, go to 'Global Settings' --> 'Controller Assign' and change the 'Min Value' = 100% and change the 'Max Value' to 0%. Now when you rock the expression pedal the volume block on one path will move towards 100% while the volume block on the other path moves towards 0%. Make sure both volume pedal blocks are active (not bypassed) and save the preset. Now when you rock the expression pedal at halfway both volume blocks will be at 50%. Rocking in either direction will turn the volume block up in one path simultaneously while it pulls the other one down. No need to use a footswitch or toeswitch at all in this scenario as the expression pedal will control the balance between the two volumes. Btw, I alluded to this in my original response as did a couple of other posters here. If you find the gyrations to get everything controlled from the Helix getting excessive or you are not getting exactly the result you are looking for you may find a small inexpensive mixer in combination with the Helix to be a simpler solution in the long run. It may get you a better sound for the second microphone and make balancing the two guitars easier as well. I definitely understand the fascination with trying to get it all to work solely from within the Helix though.

This is my current setup - so this is where I have the L3Ms - on pole stands pointed at my ears. https://imgur.com/a/1ogdVyM

That room looks awesome!

Cape Breton Island Nova Scotia are playing mostly high-gain amps in the Helix with the odd Low gain Marshall here and there

Exactly. In the early days of Helix, I bought one to experiment for use as the main component for solo singer/songwriter stuff requiring 4 inputs (sax/mic, blues harp/mic, vocal/mic, and guitar ....acoustic and Variax acoustic). I wanted to use the Helix as an effects processor and mixer for the various inputs, as well as a guitar amp modeler). I was even using an phantom power supply needed for one of the non vocal mics, and using MIDI extensively for control and mixing. The experiment failed (only because I was asking too much of the Helix and it was never designed for what I was trying to use it for). Now I use a small digital mixer (XR12 with MIDI control) along with an HX Effects. The HX is used for guitar and other effects. Works great. I still think, however, that you could use a Helix effectively as the only mixing/fx device (with powered speakers) for just vocal and guitar in a singer/songwriter situation. Just don't ask too much of it. At some point you (and you'll know when you reach that point!) you really need multiple pieces of equipment.

Download a db meter to your phone and check what your lustening to. heres a study and a chart explaining time and exposure limits. suprising how little can do damage. like 30 min over 90 db is bad. https://audiology-web.s3.amazonaws.com/migrated/NoiseChart_Poster- 8.5x11.pdf_5399b289427535.32730330.pdf

Okidoki, I'm still pondering taking the plunge in to Helix/PowerCab+ world, BUT... The point of the L6 link is that being a digital link, it saves the Helix and PC+ from having to convert the signal from digital to audio and back again 'in between units'. This saves processing power in both units, keeping latency low. The other, better reason for linking the two 'units' digitally is 'that harshness' that a lot of people complain about in digital processing and recording is usually the result of 'inter-modulation distortion' caused by AD and DA converters - a good reason to use the high cut filter on the PC+. Whilst I'm aware of how and what causes this distortion, I'm afraid if I try to explain it, I'll get it wrong somewhere along the line. There are plenty of explanations out there, suffice to say, the less to-ing and fro-ing between digital and audio the better. EDIT: Of course, everywhere I've said "digital to audio", I should have said 'digital to analogue' - it'e pnly audio after it leaves the speaker.

Hey Tom, Like you, I have to watch my back and have fought sciatica in the past (luckily beaten for now), and am most often playing in a small pub sharing the stage with 5 other musicians, so space is a premium. My solution has been a Helix, run direct to front of house, with an Alto TS210 for some stage volume. Like Eschworld said, if you have an excellent stage monitoring solution, a separate PA isn't necessarily, but the monitoring setup at our haunt is fairly limited, and I find I can't hear myself due to their position and the bodies between me and them. My choice of the TS210 came down to one big factor that might also appeal to you: weight. Alto's T-series seem to weigh much less than other comparable PA speakers. The TS210, for example, is only 22 lbs, while many other 10-inch PAs of similar wattage are closer to or even over 30 lbs, and its handles make it very easy to carry. Is it mind-blowing in terms of sound? Probably not. But it is a back-pleasing option, and it's not a huge hit to the wallet if you later decide it's not quite good enough sound-wise. My two cents. For something even lighter... it also might be worth considering an HX Stomp. I haven't used one (wasn't around when I bought the Helix) so I can't say how intuitive it is compared to a Helix (which is really damn intuitive), but you can't get much lighter and smaller than an HX Stomp and 10-inch PA (if necessary).

I think Helix LT would be ideal for you. You can even use your stomp boxes in the FX loop if you have some you want to keep. Helix sounds great and is easy to use, has the same processing as the bigger Helix, just fewer connection options (which are still abundant enough for many routing setups). The effects pedals are effectively indistinguishable from the real thing, and so are the amps. I have A/B'd some of the amps against Helix and many times could not tell which was which as I switched back and forth. I have three Helix LT now (two at home and one at my vacation home). I can freely move my patches from one to another (using HX Edit and a USB stick that came with Helix) so they are all effectively identical. I still use my tube amps occasionally at my home studio with a UA OX Box, but Helix goes with me wherever I travel and is my primary rig. You will need at least one solid P/A (FRFR) speaker for mono sound reproduction, two would allow for stereo use or louder sound. For that I use Yorkville PS12p and PS10p along with the sub (PS18s) and it is just an awesome setup. The PS12P is a really powerful and clean full range speaker suitable for small to medium venues and even works well outdoors with plenty of bass and headroom (1400W program power, for real). So if I want to go streamlined and self-sufficient, I only have to carry my guitar, Helix, and one PS12P P/A speaker along with two cables (guitar>Helix and Helix>P/A), a pick, plus one cable for going XLR to FOH if desired. Easy load in/out and setup/teardown. The P/A speaker is the heaviest item, obviously but has awesome handles and is easy to carry - also if you are going direct to FOH, you wouldn't even need to bring the P/A speaker unless you want it as a stage monitor. Hope this helps. D

Can Helix do what you want? Yes. Whether or not you'll like it is another question entirely, and unfortunately there's only one way to find out. Modelers are very different from a tube amp and a bunch of pedals, and many players... probably most... have a rather steep learning curve to overcome at the beginning. Do not expect to pull it out of the box, plug in, and be instantly thrilled with what you hear. It almost never happens. Check out some youtube vids on patch creation... particularly Jason Sadites' channel. It'll very likely take toy a while to wrap your head around what to do, not to do, etc.

I think you'd be better served just getting a small digital mixer.

Actually I'd probably try out the chorus/phaser in all sorts of places and see what fits best. That's one of the hallmark of those type of effects. They can go pretty much anywhere and each position will have a little bit different effect.

Hi Propower, This might put your mind to rest. A couple of years back, someone asked a similar question over on TGP, although it wasn’t such a marathon gig as yours. Anyhow, check the reply #10 from Digital Igloo, Line 6 product manger. https://www.thegearpage.net/board/index.php?threads/helix-at-outdoor-gigs-question.1833840/ Hope this helps.

John Squier used a Fender twin reverb in the early days ,his effects included an Ibanez Tube Screamer and a Boss CS-1 Chorus ,so You’d be looking at the Helix versions which are the US Double Nrm amp model, along with the scream 808 and 70’s chorus ,probably throw in some reverb for good measure, this combination should get you near to the tone on She Bangs the Drums.

First Question: I have never tried to set up the Helix with two mics. Not sure how a mic will sound coming into a Return input as it does not include a mic pre as the Helix's mic input does. If I did attempt this I might try to use some brand of mic preamp such as a Presonus or even a small mixer for the mic that I intended to use in the Helix Return input. Frankly I don't know how impedance issues or mismatches plugging a mic into the Return might effect the sound but you could try it. Might work just fine with the right mic and mic preamp. I suppose you could also just plug the mic into the return jack and try to use the Helix's Mic Pre block and whatever other effects you want to include but I have no idea how this would sound either. Maybe someone else here has tried this. Let us know if you get this working and sounding decent. 2nd Question: "Setting up volume blocks on two paths and using a footswitch instead of the toe switch to flip back and forth." These instructions are for making the changes on the Helix but you should be able to do this from the Editor if you prefer. Create a volume block on your first path. It will be assigned to the toe switch and EXP2 by default Highlight the volume block got to global settings and press controller #1 'Global Settings' --> 'Bypass Assign' Change the assignment from "Toe Switch" to whatever pedal switch you want on the 'Switch' parameter e.g. 'Switch' = "Footswitch 9" Create another volume block on your second path. It will be assigned to the toe switch and EXP2 by default Highlight the volume block got to global settings and press controller #1 'Global Settings' --> 'Bypass Assign' Change the 'Switch' parameter assignment from "Toe Switch" to the same footswitch you used for the volume block in your first path, e.g. "Footswitch 9" With the volume block in the second path still highlighted go to global settings and press controller #2 'Global Settings' --> 'Controller Assign' Set the parameter 'Controller' = "EXP1" Save the preset Now Footswitch #9 (in this example) will control which volume block is being operated when you click it - first path or second path. Remember, the toe switch no longer controls the two volume block bypass states. If the bypass state of the two volume blocks in the two paths is not flipping bypass states the way you want just set their bypass states to the desired combination via the Helix's 'Bypass' button e.g path#1=on and path#2=off and Save again.

Fletcher-Munson curve https://en.wikipedia.org/wiki/Fletcher–Munson_curves

Thanks for that tip. My IR cuts are aggressive. 4k on the highs usually.

You're probably running a high and low cut filter on your preset. Where is your high cut set? High frequency harshness is amplified exponentially the more volume. It has a name. The something-muncher-effect. Lol, something to that effect. Just a thought but if your answer is "12k" that can be a factor. If you've already got this stuff under control, disregard my post :)

No matter what speakers you pick, how big they are, or where you put them, the process is always exactly the same: 1) Pick a sane volume. 2) EQ until you're happy with the way it sounds. 3) If you deviate significantly (in either direction) from the aforementioned volume, repeat #2. So much depends on the listening environment, and one's personal definition of what sounds "good", that it makes these discussions almost entirely fruitless. My "special sauce" won't necessarily work for anybody else. Just do it...turn knobs until you don't need to turn them anymore. If you're even half awake, you'll know when you're done.... And now for the really crappy truth: What sounds magnificent today, might not tomorrow. And no it's not the gear, it's you. In the absence of some obvious and significant malfunction, the gear and the room are the same as they were yesterday. But you might not be. Maybe you're just playing like crap today, or you're cranky because you sat in traffic for an extra hour on the way home, or your dog died. Perception can be influenced by damn near anything. There are no absolutes, and no magic formulas.

Ear fatigue is one thing... that'll happen even at low to moderate volumes if the session lasts long enough. But actual pain is something else entirely. I don't care how "uninspiring" you find sane, moderate volumes...if you're playing so loud that it actually hurts, then you are doing irreparable damage to your hearing. That damage is cumulative, and you will not get it back. How inspiring do you suppose it is to go deaf? Turn it down... And just in case this comes across as a public service announcement, I did plenty of damage to my own ears in my teens and early 20's. By the time I was 25, I started getting tinnitus. After a rather stern warning from a hearing specialist, I started wearing custom fit, flat response earplugs at every gig and show I attend. No exceptions. 20+ years later, and in a quiet enough room, I can still hear some ringing to this day. I was stupid.... you don't have to be.

AND... for those who are interested, this feature request is already up for vote on Ideascale. So hurry up and VOTE!

While I understand the question I do not understand the question.. :) Why would you want to stick to a versatile amp/cab or even have desire for 'consistency' sound wise (you definitely want to have consistency volume wise!)? I play in cover band and we play music from 50's onwards and to me Variax + Helix as modeller with all the handy features of snapshots and presets etc provides the means not to be limited like I were with real amp, cab and limited space effect board. I deliberately seek for the sounds to differ from one style / era to another. Typically I create a preset for a certain style & era / band and reuse them by using different snapshots & stomp boxes, change of Variax guitar model etc to match the mood. Also, as a rule I do not switch presets during a song but use snapshots. Of course, occasionally I need to create a song specific preset to have the sound & control needed. These technological options may have spoiled or even damaged me and I may have gone to the extreme. I do not expect the cover bands to provide a copy of the original sound wise nor arrangement wise. But I do often find it quite boring when a band plays and each of the players have pretty much 'one sound' for the whole gig - particularly so with the cover bands.

Are you on a canoe trip in West Virginia? If so, paddle faster....;)