BigRedX

The problem with multiple-channel interfaces is that they generally rely on a dedicated "control panel" app to configure the routing and other functions and that no Linux versions of these apps exist. Therefore at the moment under Linux you only get 2 in, 2 out functionality and only if the device is "class compliant". However there is good news for owners of current Focusrite interfaces in that there is 3rd party development of a routing application happening with Focusrite's blessing and support.

There's two problems in this thread. Firstly "helpful" comments by people who have very obviously never played in a band that uses backing tracks in their life. I'm sorry but you really have nothing to add that will help the OP, all you are doing is showing off your ignorance. If you want to start another thread moaning about bands that use programmed or recorded backing as part of their live performance by all means knock yourselves out, but please don't clog up this thread with your prejudices. Secondly we are getting drip-fed morsels of information by the OP which mean the goalposts change with each new posts and assumptions that have had to be made to help find a solution to the OPs problem are rendered irrelevant by the next reply. So lets try and break down the problem piece by piece and try and find a solution that works for the OP. 1. How are your backing tracks created? Your first post suggested that you were producing them from scratch yourself, but subsequent posts seem to contradict this. 2. You mentioned that this cross-talk problem has only started to occur since moving to Logic. What were you using before? And why have you stopped using it? 3. What application are you using on your iPhone to play back the backing? And what file format is your backing track in? (If you are using MP3s I would try keeping it as a WAV or AIFF and see if that cures the problem). 4. Can you please post links to the cable or device you are using to split the stereo signal from the iPhone into two mono signals? The reason I suggested mixing down the backing separately to the click and then doing another bounce to combine them into a stereo file, is that is should completely eliminate any hidden routing issues that are causing the crosstalk problem. Especially if you do the final bounce within a brand new project file with no pre-configured routing. I've just done a trial bounce on one of my band's backing files within my copy of Logic panning the music hard left and the click hard right and I have total separation between the two which can both be heard in the headphones where there is no audible trace of the click on the music channel, and seen by looking at the waveform editor display where there is no visible sign of the music on the click side. Therefore AFAIAC the problem is not inherent in Logic itself, but is either user error when doing the stereo bounce, or occurring somewhere else in the process.

If this was my bass I'd re-do the electrics from scratch. I don't think that very taught wire from the bridge pickup is helping either.

It's actually worse than that because with an physical cab 7-13m metres away you'll get room ambiance which will add spatial information to the sound which the brain can use to try and compensate for the delay in sound waves reaching your ears. Also most of the time you can see that the speakers are some distance away which helps. With earbuds the delayed sound is piped dry and directly to your ears, with no real room ambiance or visual distance clues, which makes the delay far more obvious. There are solutions to the OPs problem but they don't use Bluetooth and are expensive. Have a look at the Boss Waza Air Bass Headphones.

You've already had your answer it's the Gibson Thunderbird. [/thread]

The only NYE gig I've ever done, the "live" entertainment ended before midnight and DJs took over for the actual transition into the new year. Stopping for the new year count down wouldn't have fitted with any of the three bands playing that night.

Not come across Emubands before. There's a couple of interesting "release-level" features only available in the subscription Plus and Pro packages. Has anyone signed up for one of these and then tried to revert to the Basic package after the first year? Was that possible? Or were you "encouraged" to keep the subscription package going?

Maybe because the current Gibson versions are massively over-priced and the more affordable Epiphone version is better looking and closer in spec to the original 1960s Thunderbird?

Are you sure that the problem is a bug in Logic and not some bus (mis-)routing that you haven't spotted? How are you generating the audio for your click track? Have you programmed it yourself or are you relying on the metronome in Logic? To rule out the problem being inherent in Logic itself I would do a mono bounce of the backing without the click and then one of just the click. Drop both audio files into a new Logic project, pan each to opposite sides of the stereo, check that there's no cross talk and do a new bounce to a stereo file. Check that there's no cross talk on the resulting file and you should be good. There's nothing wrong with using a backing track provided that you know what you are doing and have had sufficient rehearsal to work through both the technical problems and any issues that might impact on the "performance" (i.e. too much space between each song etc.) I've been working in bands that have used some form of automated backing whether it be drum machines and sequencers or tapes since 1982 and it can be done to the point where the audience is barely aware of it other than wondering how some of the sounds being produced are created. My current system is based around a MacBook running Logic with a decent quality audio interface. Everything in contained within a single 3U rack case with all connections to the outside world on a patch panel at the front. Everything inside the case is bolted/cable-tied/hot-glued into place so nothing important can become disconnected. We run 2 or 4 channels of backing plus a separate click for the drummer. The system is controlled by a USB foot-switch system which allows me to stop and start the backing, turn looped segments on and off, and automatically call up the next song using macro. It also provides MIDI patch change and CC commands for the multi-effects and synthesisers.

A quick reminder that Hurtsfall have our very first headlining gig coming up on Wednesday 22nd November at the Angel in Nottingham.

Hurtsfall have our first proper headlining gig at The Angel in Nottingham on Wednesday 22nd November. I'm also playing there with In Isolation on the Saturday supporting B-Movie. However the gig sold out well over a month ago so unless you already have tickets, you'll not be able to get in.

I've seen the guitar in question close-up at an exhibition of famous instruments. TBH I was rather glad it was in a sealed glass case because it is pretty disgusting. You could probably clone Rory from the sheer amount of human "gunk" coating the various pats (especially the bridge). I wouldn't feel safe playing it without wearing a full hazmat suit.

Nothing... at the moment. One of my originals bands was offered two NYE gigs. One turned out not to be actually on NYE so we politely turned that down. The other has gone quite after we confirmed that we would be available and like to do it - unless we hear otherwise very soon we'll have to assume it's not going to happen.

Unsurprisingly I like it, however I currently have no use for basses with only 4 string or basses with no frets. And why would you even want to play this seated? It's obviously designed for catching the attention when playing gigs.

If you have message notifications by email then it is possible to read your messages without having to visit Basschat.

Is the seller sure about the scale length? The original Gibson model is the more conventional 30½" scale.

As you've discovered making emulations of pre-synth keyboards (electric pianos and organs) sound realistic is as much how you PLAY them as how they sound.

How have you got the audio file(s) for the backing and click configured? As two separate mono files or a stereo file with the pan for the backing and click baked in? How are you outputting the backing and the click? Via the headphones socket or using a decent audio interface? If the problem really is Logic (which I doubt as I use it for live backing with no problems like this) is it the best application for playback of the backing track?

I'm the oldest child. TBH when I was growing up it just wasn't a very music-orientated household, and "pop" music was very much frowned upon. This is despite the fact that my dad was a competent piano player (I never heard him play once but there are photos of him playing when he was younger) and my mum is extremely musical - violin at school, learnt the guitar (for her teaching job) at the same time as me and for a long time was much better than I was, since then she has gone on to sing in several notable choirs and now in her 90s plays in an oldies ukulele group that probably does more gigs a year than me!

I was 8, and not even vaguely interested in music, back in 1969.

The only regret I have (and it only with hindsight that I realise it's a regret) is not working harder when I could and making more of the opportunities I had musically in the 80s. In particular I turned down the chance to work with William Orbit. In my defence, at the the time he was still to have any kind of commercial success, and I didn't think much of his band at the time (Torch Song).

There are basically two types of Aggregator service. One charges and annual fee for their services but then passes on most if not all of the payments you receive from each download or stream. Good if you expect LOTS of people to be downloading or streaming you songs. However you need to keep paying the annual fee otherwise your music gets taken down. The other has a one-off fee (last time I did this myself it was around $50 for an "album" but has probably gone up since) for each release and takes a cut (about 10%) of all your download or streaming payments. Better in the long term if you don't expect to get a lot of streams and downloads or if your release is basically a vanity project, as once you've paid your initial fee for the release you don't have to do anything else and your music will be available until you specifically ask the Aggregator to take it down. Bear in mind that unless you do lots of promotion and you music turns out to be very popular you are unlikely to make your money back from either method. I've got music from 4 different bands (2 current, 2 previous) available via both these methods and not one release has turned a profit purely from streaming or downloads. Luckily I'm also a main songwriter on most of the songs so I have made an overall profit on some releases when the PRS royalties from on-line activities are also taken into account. However the overall amount of money I've received from on-line activities is minuscule compared with I've made from selling CDs/Vinyl/Cassettes after the bands have played at gigs and PRS royalties from gigs and radio play.

I was lucky in that about 10 years ago I was able to build up a collection of about 50 guitars and basses, so that when it came to pare it down to just the instruments I really wanted was going to actually use it was easy to compare and contrast and make a decision about which I liked and which I was just owning because I could. I'm now down to two 5-string basses, two Bass VIs and two guitars, which is basically a main and a backup for each. It would be nice to still have most of the instruments I sold, but the ones I kept are the ones that were getting the most use and therefore it's better that the others have hopefully gone to people who will actually play/gig/record them and not keep them unplayed in their cases.

These days any decent multi-effects unit has a means of editing it using a computer. The days of menu diving (apart from the occasional rehearsal room tweak) should be long over. I've said before the convenience of knowing that every time I select a particular patch on my digital multi-effects unit it will sound exactly as I was expecting far outweighs any supposed sonic superiority of individual analogue pedals.

Herco Flex 75 plectrums, although I usually buy them 100 at a time so that doesn't work out particularly cheap.