You want to record audio in the modern age? You donâ€™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 arenâ€™t all the same. Picking out the right one can be tough. Here are some things Iâ€™ve learned â€” sometimes the hard way.
1. Heed the DAW makersâ€™ suggestions.
If AVID says that Pro Tools doesnâ€™t support it, donâ€™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: Youâ€™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 â€” itâ€™s like red-lining a Geo Metro. 7200 rpm is better. 10,000 rpm better still.
And then thereâ€™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 donâ€™t always make these stats readily available. When in doubt, assume the drive doesnâ€™t meet spec (because it likely doesnâ€™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 makerâ€™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 youâ€™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 isnâ€™t better.
For tracking and mixing, you donâ€™t necessarily need a 3 TB drive. (Unless, of course, youâ€™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 canâ€™t stress this enough. Millions of ones and zeros (i.e. your priceless recordings) can go poof at any time â€” and thereâ€™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…
The audio device buffer underflowed. If this occurs frequently, try decreasing the “H/W Buffer Size” in the Playback Engine panel or remove other devices from the audio firewire bus. (-6085)
Occasionally this error pops up in Pro Tools, usually after I return from a meal in the middle of a long recording or mixing session. The session file will only playback audio for 1 second or less and then the error message pops up. Apparently, Pro Tools 9 is a workaholic and doesnâ€™t like taking lunch breaks, at least when running on the particular combination of MacBook Pro, Mbox 2 Pro, and Western Digitalhard drive that Iâ€™m using.
Following the directions to decrease the “H/W Buffer Size” in the Playback Engine panel doesnâ€™t seem to help. In fact, not only does decreasing the buffer size seems contrary to the suggested way to solve a buffer underrun, but it then sometimes throws this error message:
A CPU overload occured. If this happens often, try increasing the “H/W Buffer Size” in the Playback Engine Dialog, or removing some plug-ins. (-6101)
Iâ€™ve tried a lot of things and the problem seems to be related to the hard drive and firewire ports. Hereâ€™s how I fix it.
Save and Close the session.
Quit Pro Tools.
Eject the hard drive used for recording audio.
Unplug the audio hard drive and Mbox 2 Pro (or the audio interface youâ€™re using).
Wait 10 seconds.
Reconnect the audio hard drive and audio interface.
If you ever crawl inside an old hollow log and go to sleep, and while you’re in there some guys come and seal up both ends and then put it on a truck and take it to another city, boy, I don’t know what to tell you.
Hopefully this solution worked for you. Let me know if youâ€™ve had the same problem, what hardware you are running and if this solved the problem.
Pro Tools hardware is either not installed or used by another program. If you thought that having Pro Tools 9 installed meant no more â€œHey, Mr. Engineer Genius, where’s your fancy hardware?â€ errors, then this nagging error probably came as a surprise. It did for me. Since installing Pro Tools 9, my workflow has allowed […]
Pro Tools hardware is either not installed or used by another program.
If you thought that having Pro Tools 9 installed meant no more â€œHey, Mr. Engineer Genius, where’s your fancy hardware?â€ errors, then this nagging error probably came as a surprise. It did for me. Since installing Pro Tools 9, my workflow has allowed me to jump around from my Mbox 2 Pro, Mbox 2 Micro, and MacBook Pro’s built-in sound card. This has been really handy while trying to finish up my album on the road. But, apparently, all that hardware hopping can cause the playback engine to get stuck in some funky states that don’t so work â€“if at all. See my previous post â€œFIX: Pro Tools could not set sample rate to specified valueâ€ for a similar issue.
Obviously, the problem has something to do with the playback engine. Since the error dialog only offers an â€˜OKâ€™ button, which closes Pro Tools, there doesn’t seem to be a way to work around the problem. There is not even a way to know what hardware Pro Tools is expecting.
I found a simple solution via this Sweetwater forum. The answer given there details how to get Pro Tools running on a PC, but I found that it worked for Macs too and without having to install any drivers. The fix is kind of like booting Pro Tools in safe mode. Simply hold the â€˜Nâ€™ key while starting up Pro Tools. This will bypass the normal start up sequence and open up the Playback Engine window. Now you can select the correct playback engine and continue using Pro Tools.
In my situation, Pro Tools was looking for the last connected device (my Mbox 2 Pro), but since it wasn’t available it opted for the next available option: my MacBook Pro’s line input, which doesn’t make a very good playback engine.
Let me know if this fix worked for you.
This problem may have been fixed in the Pro Tools 9.0.2 update that came out yesterday, though Iâ€™ve not been able look through the 9.0.2 Readme file in detail or to test this out on the updated software. Iâ€™ll update this page when I find out more.