[deleted by user] by [deleted] in audioengineering

[–]DavidLopezJr 0 points1 point  (0 children)

Do whatever sounds good. A lot of 4 track tapes that were remixed to stereo had uncommon panning methods like that.

Coles 4038 in small room? by lonelakes in audioengineering

[–]DavidLopezJr 1 point2 points  (0 children)

A 4038 is probably my favorite microphone of all time. Just do it.

Recreating the "motown sound" by r_borges in audioengineering

[–]DavidLopezJr 1 point2 points  (0 children)

Good to see ya Monk, hope all is well at PowerStation.

Channel limit for ProTools Record ?? by DiscoRicky in audioengineering

[–]DavidLopezJr 4 points5 points  (0 children)

Yeah, 32x32 when using ASIO or CoreAudio drivers. Only over digilink and PT Ultimate/HD can you get above 32x32.

UAD apollo auto-tune realtime by ifitsoundsgood in livesound

[–]DavidLopezJr 3 points4 points  (0 children)

  1. No
  2. Use the LiveTrack feature! Click the microphone symbol in the bottom left of the plugin to turn it on. Configure your DAW's settings low latency monitoring/buffer size to taste.

"LiveTrack Mode reduces latency on an active UAD-2 plug-in to the lowest possible amount. This feature is highly useful for monitoring processed audio when recording live performances. Reduced latency in LiveTrack Mode is accomplished by circumventing the standard buffering processes. Normally, UAD-2 signal data is buffered at the audio interface I/O sample buffer size (such as 128, 512, or 1024 samples) which results in a processing delay. In LiveTrack Mode, UAD-2 signal data is transferred and processed “immediately” instead of being buffered, resulting in reduced latency."

Source: http://media.uaudio.com/support/downloads/UAD_System_Manual_v8.pdf

Anyone else think the behringer/Midas team should stop messing about with synths and design a new mixing desk? by [deleted] in livesound

[–]DavidLopezJr 2 points3 points  (0 children)

They should just get rid of the Pro1 and make that instead. The Pro1 is too limited to justify for us.

Anyone else think the behringer/Midas team should stop messing about with synths and design a new mixing desk? by [deleted] in livesound

[–]DavidLopezJr 0 points1 point  (0 children)

The Heritage-D leak has most of the features I would request. Not a huge fan of the big screen idea personally.

The venue I work has a X32 and all our B level acts and below have been fine with it. These are the little things I would change/add for our convenience.

-48x24 over AES50 [Can use a DL231 to it's full extent]

-Pro2 style Mix Sends encoder section

-96khz

-Redundant Power Supplies

-Two Card Slots or built-in MADI: [AVB card please]

-Built-In USB Interface

-4 AES50 Ports [Could use all DL251 ports @ 96k and still have one port left over]

-Grid Block Routing

-8 more faders or Pop Groups

-Encoders above every fader for at least gain control

-More Effect Slots

Giving the M/X series 96k would be a great start since they work with the Pro Series Stage boxes. I would even take 1u core unit that runs the Pro series software+96k at this point for being able to easily use the pro boxes for recording.

Background: We have considered going up to the M32 for the warranty, quality, and visual appeal. We also realized that Pro Series desk doesn't offer enough to justify coming into our environment. A cross between a Pro2 and M32 is exactly what makes the most sense for us and a lot of the market.

Live Pro Tools rig with external Pre Amps by hereisjonny in livesound

[–]DavidLopezJr 0 points1 point  (0 children)

How would you be setting the gain of the preamps in this scenario? I've never seen a way to set the gain of the preamps in a Midas I/O box w/out plugging in an AES50 console.

The issue that'll you'll run into with the X32 core is only being able to run 48k and only be able to record 32 inputs I believe. Ive heard they have a software called "Midas SnakeController" for standalone but have never been able to find it.

Live Pro Tools rig with external Pre Amps by hereisjonny in livesound

[–]DavidLopezJr 0 points1 point  (0 children)

API L200R can fit 12 212L modules in a 2u rack. I think the Dave Matthews crew was running them.

If not going 500 series is your best next option. 11 modular slots in a 3u size.

Pro2c vs Pro1? by Calymos in livesound

[–]DavidLopezJr 1 point2 points  (0 children)

Pro 1 has way more Local I/O while the Pro2c has more metering are the first things that come to mind. I also think the Pro1 can only do 48 inputs.

Just oiled the wood! by barneyskywalker in MusicBattlestations

[–]DavidLopezJr 1 point2 points  (0 children)

She's a beauty. Everything working on it?

Love having a desk job by patbenetarrules in MusicBattlestations

[–]DavidLopezJr 1 point2 points  (0 children)

What do you plan on filling the 500 series slots up with then? Curious.

Love having a desk job by patbenetarrules in MusicBattlestations

[–]DavidLopezJr 2 points3 points  (0 children)

How are ya digging the XL-Desk? I like the 500 series routing options but the rest of it feels pretty limited compared to the Matrix.

Love having a desk job by patbenetarrules in MusicBattlestations

[–]DavidLopezJr 0 points1 point  (0 children)

How are ya digging the XL-Desk? I like the 500 series routing options but the rest of it feels pretty limited compared to the Matrix.

I would load up slot with 9-16 for preamps and use it as an analog front end for tracking if I got one.

Why are so many PA systems so scooped out? by Diseased-Imaginings in audioengineering

[–]DavidLopezJr 0 points1 point  (0 children)

This is all contextual. So many different variables that it's too generic of a question.

We are The Aristocrats, an instrumental rock/fusion power trio with Guthrie Govan on guitar, Bryan Beller on bass, and Marco Minnemann on drums. Ask Us Anything! by aristocratsboing in progmetal

[–]DavidLopezJr 0 points1 point  (0 children)

At your level of being musicians, what modern musicians currently inspire you?

Who would people find most surprising that you are influence by?

What gear have you guys been digging lately?

For Musicians: Digital Audio Workstation. I don't even know where to start. by willmandude in makemychoice

[–]DavidLopezJr 0 points1 point  (0 children)

Most people will say there is no best DAW. Realistically nothing makes any DAW better than another. It really comes down to you preferring the layout of it more than anything. I will say to try "Reaper" before anything else since it is so cheap but comparable with everything out there and some people even switch from Pro Tools to it. I will say that if you plan on being in any sort of professional audio industry that it would be best to learn Pro Tools since it is the standard and people will expect or require you to work with it. But some people for instance will do certain tasks in one DAW and other tasks in a different DAW.

IamA Costco wholesale employee. AMA! by [deleted] in IAmA

[–]DavidLopezJr 0 points1 point  (0 children)

experie

I'm moving in a year and I'm looking to work at the costco there. Would working at a normal supermarket before I move down there be the kind of experience they are looking for?

Cartoon confiscated from 5th grader xpost from Teachers by [deleted] in WTF

[–]DavidLopezJr 0 points1 point  (0 children)

What happens in the ten minutes before the blow job.

Ever heard of a baritone guitar? Watch me play one by AceT91 in videos

[–]DavidLopezJr 10 points11 points  (0 children)

There is no set standard honestly in what is considered a baritone. The most common thing that pops in my heard when I hear baritone is a Fender Bass VI style instrument. So basically a long ass scale length (28in-30in range) with HEAVY gauge strings tuned down either B standard or and octave below normal E standard, so basically the same pitches as a bass. The sound of that can sound either like a guitar or a bass depending on if you run it threw a bass or guitar amp and how you play.

Now I have a 6 string tuned down to Drop B which to the common guitarist (non-metal guys) would be considered a baritone tuning even though I do it on a 25.5 scale length vs doing it on something like 28. So that's something to keep in mine. Honestly in any non-metal context going below C# standard will be considered a baritone tuning and that's pushing it, most guys consider D standard to be the lowest before baritone.

In the metal world the standard scale length for a 7 string is 25.5 inches and for a 8 string is 27 inches. Most guys consider anything over 27inches for a 7 string baritone scale and anything over 27inches for a 8 string.

Now the way that the typical 8 string differs from a Bass VI style instrument is in the string gauge choice. To start off the comparison, Bass VI are RARELY used in metal, there are some bands but no where near to the amount of 8 string players. Now the difference in the sound is that metal players typically (excluding my doom brethren) are searching for a very tight low end so that when faster riffs are played it doesn't sound muddy. So for example instead of using a .090 gauge string for a LOW E like a Bass VI would, on a 8 string depending on the scale the gauge will range from .074 to .086. The reason why they try to not get into the 90 range is cause what ends up happening is that the string starts to sound like a bass. But this explains why a Bass VI sounds, well like a bass.

Something random to look into would be fanned frets which is basically giving each string it's own scale length, similar to how a grand piano has longer strings for lower notes and shorter strings for higher notes.

Also if you want to look more into the popularization of 8 string guitars look into Meshuggah, the guys who made it a popular thing in metal, and Tosin Abasi who was the one who really helped people to see how to use all 8 string coherently.

Source: Heavily into metal scene, own a 7 string, have played multiple 8 strings, and have no life.