![]() Second, we are covering audio recording and transfer drives - not boot drives, as we shouldn't be recording audio to them. The same basic principles apply to SCSI, eSATA, RAID and Fibre Channel drives, although these typically require additional cards, drivers and special setups. And now for the fun stuff about hard disk types and formats.įirst, this topic covers the most common and almost universally supported drive types - IDE, EIDE, SATA, FireWire 400, FireWire 800 and USB 2.0. We should all be familiar with OMF, AAF and consolidated WAV files and how to open or import their data, and we should also be well-versed in requesting or dealing with appropriate sample rates, bit depths and file types. I will assume that everyone has already figured out how to deal with audio data transfers among DAWs and hard disk recorders. ![]() This article will hopefully help shed some light on current compatibility issues. I get a few drives every week that cause a headache for one reason or another. Passing around the data is simple - just grab your FireWire or USB drive and hand it to the next guy. A typical production workflow in today's world involves multiple studios, multiple computer operators and more often than not, multiple DAWs and host platforms. So, just to muck things up a bit, the universe has found a new way to complicate issues - hard drive types and formats. We are actually living in a pretty simple time, where compatibility is more likely software-based than hardware-based, and adjustments are made with mouse clicks rather than screwdrivers and jumpers. ![]() Then we became concerned about DASH, DAT, DA-88, ADAT, 44.1, 48, TC and emphasis. Once upon a time, the important facts about your recording media included mono, stereo, track counts, NAB, CCIR, nanowebers, IPS and NR. ![]()
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March 2023
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