![]() Plan on grabbing a 240GB SSD to use as your main system drive. Restarts are a fact of life and you’ll quickly appreciate the time saved. If you haven’t yet worked on one, you’ll be amazed at how fast they power up and shut down your computer. I like for their efficient website portal and great prices. 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. 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.Īim for 24-32GB of RAM. Adding PCI-E cards, serial drives and RAM is dead simple. These computers sport dual display output (a must) and multiple Firewire 800 (which we still utilize) and USB ports. They seem to get significantly cheaper every month and there’s a glut of them to choose from. 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). 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. With Pro Tools being as ubiquitous as it is, it’s a useful addition to pretty much any studio setup.
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