Along with his colleague Kate Finan, the team has built several powerful Pro Tools rigs without spending a fortune. Here’s how they do it:
The modern post production professional is inevitably tied to some kind of software. For a sound designer, that software is undoubtedly Pro Tools. There are other options out there but the truth is none have come close to breaking through the stronghold Avid has on the market. I haven’t walked into a single professional sound facility that wasn’t running one iteration or another. And for good reason. Pro Tools makes our job fast and efficient, and for my part is pretty much transparent in the creative process. Sure, each new version comes with glitches and quirks but when you add it up, it’s a stellar piece of software. Affording this software is another story.
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. Even then, there were limitations to track count and processing ability. Editors were keenly aware of just how far they could push their gear before things started to go haywire.
These days, things are different. 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. 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. Here’s how we go about building Pro Tools systems that are powerful and relatively affordable.
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.
A few caveats. 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. In the same regard, there are many cheaper ways to get your hands dirty with Pro Tools. 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.
Computer:
The backbone of your rig needs to be reliable. Time tested and rock solid, I like the Mac Pro models from early 2010 (code name Nehalem). You’ll do fine with a Quad-Core 2.8 Ghz and finding a refurbished model on ebay is a snap (search for this model number: MC250LL/A). They seem to get significantly cheaper every month and there’s a glut of them to choose from. These computers sport dual display output (a must) and multiple Firewire 800 (which we still utilize) and USB ports. Adding PCI-E cards, serial drives and RAM is dead simple. Despite being over 5 years old, these are standards that are still widely supported by third party manufacturers making this model the sweet spot where technology meets price point.
Memory:
Aim for 24-32GB of RAM. Short of this, try and get one on the cheap with as little RAM as possible and buy a RAM kit to easily upgrade this yourself. I like macsales.com for their efficient website portal and great prices.
Storage:
I’m loving SSD’s (solid state drives). If you haven’t yet worked on one, you’ll be amazed at how fast they power up and shut down your computer. Restarts are a fact of life and you’ll quickly appreciate the time saved. Plan on grabbing a 240GB SSD to use as your main system drive. On top of all your application needs, this is more than enough storage to cover the inevitable random downloads and other miscellaneous junk that bogs down a system drive. Fill up two more HD spots with dedicated media drives. One drive each for projects and video files; a 2TB and 1TB respectively. This will get me through a handful of series before I need to offload to our backups (which you should be doing regardless). Of course your mileage may vary. Unfortunately they aren’t making SSD’s large (and cheap) enough for these yet so I go with the reliable Western Digital Caviar Black drives.
Pro Tip: You’re not going to find an older model Mac Pro with an SSD system drive. Since you’re going to replace this drive on any rig, should you find a used computer for sale with a large (1TB or above) system drive, take advantage of this by planning to format it as one of your two media drives.
Pro Tools Software and Interface:
For track count and surround capabilities, any working sound designer and mixer will probably need to go with Pro Tools HD. That’s the call we’ve made. I like the HD Native systems and with these Mac Pro computers, the PCI-E card is the logical choice. Going with Thunderbolt means jumping in on a much newer (and thus expensive) computer. Since it’s not internally installed, thunderbolt has the advantage of possibly graduating to a newer system down the line, but for my money overall I’m willing to gamble that neither PCI-E or Thunderbolt is a guarantee, so you might as well go with the cheaper complete system option. For an audio interface, we use the OMNI HD I/O.
It’s a simple clean solution with lots of power and options
A simple D-sub cable gets you all the XLR outs you need for surround. As a bonus, you get a really great preamp for recording on the fly as well as some optical ins and outs (which we use to monitor Soundminer through the internal sound card). It’s a simple clean solution with lots of power and options.
Pro Tip: You can find any manner of AVID products online, usually brand new and cheaper than retail. Even better, I’ve found that a lot of these listings are coming from a few sources. Usually online music shops and the like. You’d do well to hit them up directly and ask for a sales quote. Chances are they are trying to meet a certain price point on Ebay to cover fees and would be willing to work directly with you for a cheaper price point. Find yourself a sales rep you like working with and make the connection. Going forward, this relationship can end up being very valuable for both parties as you will inevitably grow your gear along with your career.
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Nature & Countryside High Desert Ambiences 1: Essentials Play Track 10+ sounds included, 94 mins total$29$14.50In High Desert Ambiences 1 – Essentials, get the desolately beautiful sounds of the American Southwest as the sun brings to life the songs of desert wildlife. This collection features sounds that will make you fall in love with the desert with the trickling of distant rivers, smooth cricket chirps, echoey caws from ravens so close you can hear the details in their wings flaps, snorts from a cautious yet curious mule deer, choruses of birds at dawn, and much more. Most recordings are well over 4 minutes, with one half-hour night-time track that will make you want to take out your tent immediately. For lush, peaceful nature sounds from the heart of the American Southwest, here’s High Desert Ambiences 1 – Essentials.
2% for the Planet:
Two percent of the price of this library is donated to an environmental cause. I view it as an “artist royalty” for the planet!One Year Anniversary Sale:
• A huge THANK YOU to all customers who purchased my sound libraries this past year! Sale ends Monday 8/21.
KEY FEATURES:
• Featured on Designing Sound: “Our Favorite Sounds of 2016”
• Desert dawn and evening choruses
• Distant flowing river, songbirds, and insects
• Ravens soaring and squawking in a stark and resonant valley
• Lengthy night-time cricket chorus
• Partially audible and ultrasonic bat clicks up to 70kHz
• Ghostly distant animal calls
• Mule deer warning snorts and jumping movement
• Files ranging from 31 seconds to 30 minutes
• Rio Grande dawn chorus along the Texas/Mexico river border
• Locations: Near Marfa, Texas (in a mountain valley at an altitude of 6,000 ft) and Big Bend National Park along the Rio Grande River, Texas/Mexico border.
• These desert ambiences are extremely quiet, so I have included descriptive markers to signal interesting events in an otherwise featureless waveform. These markers can be read in programs such as RX, Reaper, and Soundminer. The markers are also included as .txt files in the sound files folder.
GEAR USED:
Sennheiser MKH 50/30 MS pair
Mid/Side recordings decoded to LR stereo
Sound Devices 702
Rycote AG MS BlimpNeed more than the essentials? Listen to High Desert Ambiences 2 – Dawn and Morning Choruses ($79, 94 stereo WAVs, 20 GB, 4 hours 47 min, 192 kHz / 24-bit).50 %OFFEnds 1503360000 -
Be sure to check out Soundlister - you'll find 100s of audio professionals there already.
Furniture:
Audio desks are fancy and extremely professional looking. They are also very expensive. You can easily double your room budget just by picking out a decent sized piece. Instead, I suggest you go with a desk that speaks to your personality and doesn’t break the bank. As long as it has enough room for a keyboard and perhaps a shelf for a couple of visual monitors, you’ll be good to go.
Ikea has plenty of options, most of which are highly customizable. Picking up stands for your audio monitors will give you the opportunity to pick a much smaller desk and to be very deliberate with their placement. You can find stands like the On Stage SMS6000 that do the trick for a very reasonable price. I prefer fancier looking ones for my front Left and Right (since they are fully visible), but if cost is an issue you can always start with a these in a stereo rig and then graduate them to the rear when you upgrade to 5.1.
A professional audio rig doesn’t have to break the bank. We’ve found that this formula is the best possible solution for where things stand today. That said, the technology and price points are constantly changing. The important thing to note here is to utilize creative thinking not only in your work, but also when purchasing gear for yourself. There are many creative solutions to finding the right fit. All you need is a little time to think it through… and a lot of patience for Ebay.
Disclaimer: Neither the author, nor Boom Box Post, Inc. or A Sound Effect has been paid to endorse any of the aforementioned products.
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Ringing Rocks has the chiming, beautiful tones of an ancient boulder field. As hammers strike stone, the powerful clangs resonate like church bells and bring to life a natural sonic wonder. Plus, you receive many types of melodic tones, hammering rhythms, grinding metallic stone, resonant scrapes, and much more. If you need rocks unlike any you’ve heard before, listen to Ringing Rocks.
2% for the Planet:
Two percent of the price of this library is donated to an environmental cause. I view it as an “artist royalty” for the planet!One Year Anniversary Sale:• A huge THANK YOU to all customers who purchased my sound libraries this past year! Sale ends Monday 8/21.
Key Features:
• Featured on Designing Sound: “Our Favorite Sounds of 2016”
• 237 files, 500+ natural chime and bell-like rock sounds
• Captured in 192 kHz for exquisite detail and sound designing potential
• Location: Near Upper Black Eddy, Pennsylvania
• A small hammer, medium sledgehammer, and crowbar were used to create a variety of timbres
• Audio files with single rock strikes alone
• Audio files with many sequential, varying strikes
• Resonant scraping of hammers on rock for tactile textures that are perfect source material for rich metallic dronesHow It’s Made
Read the full story of these mysterious rocks on the – A Sound Effect Blog!Gear Used:
Sennheiser MKH 50/30 MS pair
Mid/Side recordings decoded to LR stereo
Sound Devices 702
Rycote AG MS Blimp
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Animals & Creatures High Desert Hummingbirds Play Track 290+ sounds included, Approx. 30 min total mins totalGet the stunningly detailed sounds of one of nature’s tiniest aerial acrobats flapping and fluttering in one of the quietest outdoor places in the continental United States. With their ultrasonic chirps, mesmerizing flight abilities and evolution-exhibiting beaks, this library captures the sounds of these rarely heard creatures from a mere two inches away.
2% for the Planet:
Two percent of the price of this library is donated to an environmental cause. I view it as an “artist royalty” for the planet!One Year Anniversary Sale:• A huge THANK YOU to all customers who purchased my sound libraries this past year! Sale ends Monday 8/21.
Key Features:
• 255 clean sounds of hummingbirds recorded in the resonant mountains of west Texas
• 35 sounds of hummingbirds with other songbirds
• Humming, buzzing, popping, fluttering, and purring drones
• Wing slaps and wing contact movement
• Ferocious territorial dogfights
• Laser-like chirps
• Ultrasonic chirps up to 30kHz
• Wild vocalizations
• Swift fly-bys, whooshes, and dive bombs
• Multiple species with a variety of fundamental “hum” frequencies
• Categorized into high, mid, bass, and sub-bass hummingbirds
• Clips ranging from solo hummingbirds to six-bird feeding frenzies
• Microphones placed 6-8 inches from hummingbird feeder with flybys as close as 2-3 inches
• HD videos at 60 fpsHow It’s Made:
Get the full story behind the High Desert Hummingbirds SFX library on the – A Sound Effect BlogNational Museum of Wildlife Art:
Recordings from this library are featured as part of Iridescence: John Gould’s Hummingbirds at the Nation Museum of Wildlife Art.
GEAR:
• Sennheiser MKH 50/30 MS pair
• Mid/Side recordings decoded to LR stereo
• Rycote AG MS Blimp
• Sound Devices 702
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This is not very good advice… there are FAR better rig configurations that would make this setup look like what it really is… antiquated. Do yourself a favor and do not follow this articles advice.
Hi Bryon, thanks for chiming in! Of course you’re right that there are far better rigs than this, but they’re going to cost a lot more too. I know Jeff and the team are mixing 5.1 TV series on setups like these, with a huge track count. So the takeaway here is that a carefully selected, older rig – with some modifications – will get you very far for substantially less than you’d (very easily) spend on a new one.
I should be clear here that this post is intended for independent editors and small studios. Any large studio should have the capital to invest in technology that will hold up for many many years. When amortizing the cost of these rigs, I’d be more than happy to get 3 years out of the part that appears antiquated (the Mac Pro). The emphasis here is on the AVID hardware and finding the most affordable way to get it running.
Any computer configured for Pro Tools is completely subjective. There are hundreds of options here. This is just one man’s take and by no means a one size fits all solution. We found through a lot of trial and error that this setup is simple, upgradeable and just right for our purposes.
As I write this, I have a 256 voice session printing entirely in the box to 5 sets of 5.1 and 5 sets of LtRt stems, taxing the CPU around 70% while running HD video and plenty of live plug-ins (in addition to a bunch of other apps). That’s the hardest we need to push a rig and I still have plenty of power to spare. The system specs may appear antiquated, but I have in front of me reliability at a reasonable price.
That said, Bryon is someone I worked with for years and I do not take his comments lightly. Simply put, he is much more of an expert on this topic than I am. I’d be very curious to hear what his solution is for the same power and price point.