Hard drives are hard.
You want to record audio in the modern age? You don’t have a Zildjillion dollars to be able to record to tape? Even so, it all ends up digital. You need some hard drives.
Five Audio Recording Hard Disk Drive Tips
Hard disk drives aren’t all the same. Picking out the right one can be tough. Here are some things I’ve learned — sometimes the hard way.
1. Heed the DAW makers’ suggestions.
If AVID says that Pro Tools doesn’t support it, don’t expect it to work. Legit DAW makers will post the system requirements for their software/hardware. Look them up. Follow their recommendations and instructions. Spoiler: You’re probably going to have to spend more than you had planned for.
2. Faster is better.
A faster drive means it read/writes faster. And faster read/writes means more tracks and/or higher quality.
Traditional hard disk drives have platters that spin. A hard disk drive that spins at 5200 rpm really isn’t fast enough — it’s like red-lining a Geo Metro. 7200 rpm is better. 10,000 rpm better still.
And then there’s flash drives, which are way faster than hard disk drives.
There are also seek times to consider, for which lower numbers are better. Seek time is the baseline amount of time in milliseconds that it takes for a drive to fetch data.
I have found that drive manufacturers don’t always make these stats readily available. When in doubt, assume the drive doesn’t meet spec (because it likely doesn’t).
3. Data interfaces matter.
Hard drives have come with lots of data interface flavors: PATA, SATA, USB (1, 2, 3), FireWire (400, 800), Thunderbolt, Ethernet, and some are even wireless. The data interface dictates bandwidth, which roughly translates to how many tracks you can record at once and how much latency your playback will suffer. More bandwidth is better, which translates into better recording and mixing experiences. Again, check your DAW maker’s system requirements and choose the drive with the fastest and most forward-compatible data interface.
Also make sure your computer can handle the data interface type you’re choosing. And find out if the data port you intend to use on your computer is sharing a bus with any other peripherals in your computer. That can adversely affect your bandwidth, causing a data bottleneck.
4. Bigger isn’t better.
For tracking and mixing, you don’t necessarily need a 3 TB drive. (Unless, of course, you’re recording a 10-piece prog-rock group with 40 minute “works” at 32-bit 192kHz.) Save the big, slow drives for backups and archiving. Use smaller, faster drives for works in progress. If you have more than one project going at a time, consider using a small drive for each project, so the different project files are not interleaved with each other on the drive. This will speed up read/write times, as the drive will not be jumping around on the platters trying to find the files for the current session. This also saves money, since really fast and really big drives are expensive.
5. Always have a backup.
Have a backup plan, because hard drives fail. All the time. More so than any other part of a computer. Make sure to always backup your work after every session, whether recording, editing, or mixing. And make sure you have an extra drive ready in case one goes down during a session. I can’t stress this enough. Millions of ones and zeros (i.e. your priceless recordings) can go poof at any time — and there’s never a right time for that. Buy more hard drives. Make backups like a chronic. Sleep well.
So there you have it: my top five hard drive tips. Comment below to let me know what you would add to the list.
And enjoy some “Tainted Love” made with old hard disk and floppy disk drives…