linear

I feel every gigging bass should also have a compartment in the back with a magnetic cover.  Inside would be the truss rod tool, allen keys, a little spanner for tightening up the loose hex nut on the guitar player's jack socket, Rizla and filters for the drummer, emergency tramadol: all the essentials.

25 minutes ago, la bam said:

Ie to make the 'Homer Simpson mobile' of bass guitars. 

Speed holes

Apologies about sending you down a dead end with MME.  There is a reason I mentioned it, but it's definitely not what you want here.  That's what I get for posting late at night.

If you can get OBS to recognise and capture three audio inputs on your interface, that sounds positive.  Have you tried Recording a video to disk with OBS, and if so, are the audio channels all present and panned correctly?  This would be my first step before testing a stream.  If the audio is all correct on the video you've recorded you know that the issue lies elsewhere.

A couple of other notes:

Simply using the default installation of OBS is not enough to solve your issue.  To capture audio from more than the first two inputs on you interface with OBS, the plugin you need to install is here: https://github.com/Andersama/obs-asio/releases You then need to set up some ASIO sound sources; a mono one for your bass and a stereo one for your backing track.  And finally, of course, you need to configure OBS to stream to Facebook Live https://en-gb.facebook.com/business/help/497386444253763

You may have seen YouTube videos suggesting that you use VoiceMeeter as a solution  Voicemeeter is a software mixer that does support ASIO connection to your interface.  As you can see from my screenshots, I do use it, but Voicemeeter brings a lot of issues of its own, and I only use it when I can't find any other way to do what I need.

Also, for the scenario where you are streaming with an instrument, an external audio source like your record player, and perhaps even a microphone so you can talk - it is pretty common for people to use a small hardware mixer in front of their interface.  I know it seems crazy when you have so many available inputs on your 1818, but it really does simplify things and you get easily accessible volume knobs for all of your sound sources.  I'm not suggesting you go out and buy a mixer, but I mention it for completeness.

No worries.  Lots of people have issues like this, which is why there are so many YouTube videos on the topic.

For my suggestion about using the Desktop Audio as the sound source, you'll need to go into the sound settings on your computer.  On mine it looked like this:

Down at the bottom you can see the Stereo Mix input device.  It might not be called Stereo Mix for you, but hopefully there will be something similar.  It was disabled by default for me, so I enabled it.

And then, in the Facebook Live settings:

For the microphone, I would choose Stereo Mix.  And then set up Ableton as you did before.

Streaming with an audio interface can be tricky.  I think the problem here isn't so much with Facebook Live, but with the way your audio interface is being seen by the operating system, and thus by extension Facebook Live, OBS, etc.

Just to clarify what I think is happening:  Although you have an 18i8, it sounds like your OS is seeing it as a 2-in, 2-out device.  This is standard behaviour when the interface is being used as a 'soundcard' by the OS.  So, Facebook Live can't receive your audio from Input 3, as it doesn't know it exists.  In addition, the 2 inputs it can see are actually considered a single stereo input, and that's why you're getting Input 1 panned to the left and Input 2 to the right.

When you do multi-channel recording in your DAW it is usually accessing your intreface via ASIO, which gives it access to all on the ins and outs.  Facebook Live does not support ASIO.  OBS does support ASIO, but I think you have to install a plugin first.

One way around this would be to set everything up in Ableton (using the MME/DirectX driver rather than ASIO) and set Facebook Live to stream your desktop audio.  You'll need to have software monitoring turned on on your tracks.  Only issue with this is that you'll either need to monitor your bass playing from Ableton's output with all of the latency that entails, or do a little bit of extra configuration so that you don't hear the desktop audio through your headphones/monitors, and then you can use the inbuilt monitoring of the interface.

(Edit: the bit above about switching Ableton to MME/DirectX is wrong to the point of being the opposite of what we want.  I'm an idiot)

That's just one idea.  There are other ways to do it.  Ultimately, the best solution is to use something like OBS with ASIO support, but it's not the easiest thing to configure.

2 hours ago, GHfingerblast said:

The net really is just society in microcosm. Guy buys a budget bass and seems kinda ok with it until a light bulb goes on and he realizes he can pander to the herd better if he talks about how, yes, it’s dirt cheap, but if you think that’s a good idea for a beginner, you’re wrong… and of course the really weak sheep chime in with their self-applause about how “this is bad for a beginner since they’re making GOOD beginner guitars…”. Right. For 3, 4 & 5x the price. 
 

and for the guy who said “they’re just building down to a price point”, I wish you were in arms reach so I could beach-slap you and do you the biggest favor of your pathetic life. 
 

I must be the one exception who got a good bass from Glarry. Maybe it’s just good karma though; it pays to not being a whiny meow meow sometimes. You all should give that a shot lol. 
 

And no, I have no connections to glarry. And I bought a pick guard that I had to re-connoiter, and it still fits weird. But I knew I didn’t have a “p bass”, so…I knew it was a project.  yeah, all that work, and i STILL love the way it looks now, yellow with a green pearl PG. The neck and the rosewood fretboard are worth AT LEAST the price of the whole bass. You could have a collection of nice necks and f-boards with which to do some experimenting with building guitars if you weren’t so busy sucking each other off verbally. 
 

have i said yet how much I hate your weak, whiny asses? Well, that goes quadruple, azz’oles. Buncha critics 😂 😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂

I haven't begun to start thinking about my entry for Basschat Post of the Year, and then this turns up.  No point in even entering now

I play what I want.  If that means I'm judged to be a bad bass player, that's fine.  It just means my role has been to make the rest of you look good by comparison.  No need to thank me.  Financial contributions are however welcomed.

37 minutes ago, Beedster said:

I assumed when i read it that they we early 20s but at 37, well.............. 🤔

Some of us are late developers.  I'm in my forties and just waiting for the right opportunity to present itself

3 hours ago, Richard R said:

How about Monitor O/P, which looks like the obvious output?

My initial thought too, but, according to the manual, using the headphone out disables the monitor outs on the back.

I like puzzles like these, but I see that as I was typing it has now been solved

However, in the theoretical case that there were no spare channels on the headphone mixer, my idea was to send all channels to one of the mix groups, and record from the outs for that group.  This is a stereo-safe solution, as I wasn't sure if your outboard effects were stereo or mono.  And, you'd only need that 3.5mm stereo to 1/4" mono cable that you already have.

This does presuppose both mix groups aren't in use for something else, and the absence of obstinate rhythm guitarists.

You  need to use a tungsten pan.  If you use an aluminium or steel pan it's going to boil long before the strings do, obviously.

If it's this preamp: https://ebssweden.com/content2/effects/ebs-stanley-clarke-signature-acoustic-preamp/  it does indeed have an effects loop, and looking at the manual the loop comes after the amplification and eq stages.  So, you have the choice of having the compressor before or after, whichever sounds best for you.  You'll need to buy a special 'insert' cable if you want to use the effects loop.

Can you find out exactly what model this Roland unit is?  Then you can maybe track down a manual or at least some guidance as to what kind of footswitch it's expecting.  Once you know that, it all becomes a lot easier.

I note that the GT-1000 uses a USB micro cable.  If it's the case that the device is not being detected at all, is it possible you are using a cable that is intended for charging only?  Switching to a cable that supports 'data' or 'sync' should make it work.

I'm not saying that's definitely what happening in OP's case, and if he's using the cable that came with the device it seems unlikely, but I thought I'd mention it as it isn't unheard of; e.g. the NUX Mighty Plug operates as a recording interface, but apparently it won't work with the included cable.

With coils that close I don't see the point of a blend either.  If I had a passive Ray I'd go for a single volume and tone control.  I'd probably fill the third space with a series/parallel switch, which would no doubt prove to be more of a distraction than an asset.

I don't think the fact that I couldn't afford to buy a bass in the 1960s is quite the comfort some people on here seem to think it is.

The thing that I don't understand is what happens to all the old basses?  Not the 'vintage' Fenders and what have you, but all of the other ones.  Where do they all go?  It's not like they rust away.  Surely by now there must be more bass guitars in existence than people who actually want one.

Well @Old Ozzie Guy hope that answered your question.

52 minutes ago, Dankology said:

Lots to clear up here...

 

1) I'm using Reaper to record these tracks (the earlier mention of Ableton was because I had noticed the same issue there - on a Mac, using a different interface)

Ah, I see.  Same issue with two different interfaces would, with near certainty, rule out the particular driver issue I was talking about earlier.  Apologies for sending this in what was perhaps an unhelpful direction.

I'm interested, as I'm in the process of (very slowly) doing a similar thing so that I can have a slim neck Stingray without selling a kidney to buy an SLO.

I agree about the stock bridge.  It's perfectly functional, but IMO one of the ugliest bridges in existence, second only to the oval abomination on Lakland Skylines.  It was the first thing I changed.

Did changing the tuners to licensed Hipshots change the neck balance noticeably?  I find mine neck dives a touch if I have it on one of my thinner, slippier straps.

2 minutes ago, Dankology said:

I'm pretty sure this isn't a latency issue. 

 

I'm currently recording in Reaper which seems to be rock solid in every other respect. I experienced the same issue in Ableton and also on another system running Reaper: I'm pretty sure this is me.

 

Much as I'm beginning to recognise that this is an ingrained aspect of my playing and one that likely has minimal impact on the overall performance,  I really would like to develop the ability to play on, before and after the beat at will...

You may well be correct. 

The same concept does apply for any DAW; I just assumed you were using Ableton.  If I'm understanding correctly, the drums tracked to a click and the recorded track was ahead.  And then you tracked and you were ahead.  You get where I'm coming from.  Could just be coincidence, of course, but that test I linked to is worth doing in any case.  I check it whenever I start a big project and there's been a few driver updates.

I have had exactly this problem.  It can be ahead or behind.

There is obviously a delay between you playing a note and it getting converted to digital and passed on to the DAW.  The driver for you interface tells the DAW what this delay is, and the DAW moves your recorded track ahead by the appropriate amount.  However.  Sometimes the number reported by the driver is incorrect.  If the number is too small your recording will appear behind the beat.  If the number is too large your recording will be ahead.

What you need to do is a kind of loopback test, where you connect an output from the interface to an input and record sound from an existing track into a new track.  If all is well the tracks will line up perfectly.  Otherwise, you can measure how much it is out by, and Ableton has a special place in the settings where you can correct for this.  It's not Delay Compensation in Ableton btw - that's a per track setting for a different type of latency issue.

This is an old video, but the concept is still the same.  Skip to 3:53 - "Driver Error compensation."

There's another potential phase issue aside from polarity inversion: if you have any digital pedals in the effected chain they will add a slight delay to the signal which will result in comb filtering when blended back with your dry signal.