Time tested and rock solid, I like the Mac Pro models from early 2010 (code name Nehalem). The backbone of your rig needs to be reliable. If you aren’t in the position to take on this kind of work just yet, maybe jump in with a Mac Mini and standard Pro Tools and bookmark this post for when the need arises. In the same regard, there are many cheaper ways to get your hands dirty with Pro Tools. You’re not going to mix the next summer blockbuster feature, but you’ll do just fine with about 95% of the work out there. This system has more than enough steam to edit and mix a significantly track heavy television series or medium size film. You’re not going to mix the next summer blockbuster feature, but you’ll do just fine with about 95% of the work out there.Ī few caveats. Here’s how we go about building Pro Tools systems that are powerful and relatively affordable. So what makes for the best balance of power and affordability? In starting Boom Box Post, we’ve built a lot of rigs and I think we’ve struck a great balance. ![]() Computers have long since become powerful enough to handle the heavy lifting required for basic editorial and mix and Avid is moving toward a more software based business model. Editors were keenly aware of just how far they could push their gear before things started to go haywire. Even then, there were limitations to track count and processing ability. When I started in the industry, on top of purchasing a decent computer, having a legit rig meant shelling out insane sums for stacks of HD cards paired with sync and I/O devices. Affording this software is another story. Sure, each new version comes with glitches and quirks but when you add it up, it’s a stellar piece of software. Pro Tools makes our job fast and efficient, and for my part is pretty much transparent in the creative process. I haven’t walked into a single professional sound facility that wasn’t running one iteration or another. There are other options out there but the truth is none have come close to breaking through the stronghold Avid has on the market. For a sound designer, that software is undoubtedly Pro Tools. ![]() The modern post production professional is inevitably tied to some kind of software. Building a Pro Tools rig, however, can take a large bite out of anyone’s budget – but it doesn’t really have to be that expensive, as demonstrated in this guide by Jeff Shiffman, co-founder of Boom Box Post and Supervising Sound Editor on Teenage Mutant Ninja Turtles and The Loud House.Īlong with his colleague Kate Finan, the team has built several powerful Pro Tools rigs without spending a fortune. Over the years, theirīreadth of knowledge and experience has allowed us to work in partnership with some of the Pro Audio world’s finest manufacturers.With Pro Tools being as ubiquitous as it is, it’s a useful addition to pretty much any studio setup. These tweaks to the BIOS and system itself as well as the software, are the secret of a truly powerful music PC.īut we don’t just stop with audio PCs, our Pro Audio team is made up of music professionals from all over the country, including top producers, composers, DJs, instrumentalists and engineers. Ounce of power and subtlety out of your DAW. Over the years, we have accumulated the knowledge needed to coax every Scan Pro Audio have been winning awards for over a decade for our digital audio workstations (DAW), based on the ethos of our highly acclaimedģXS Systems, where every effort is made to bring the highest specification and service levels, we have some of the most experienced audio PC builders in Europe. Scan Pro audio peripherals from music instruments, studio monitors, mics and DJ equipment to fully built custom workstations and laptops
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