Testing an SSD for SQ-Drive compatibility

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This topic contains 4 replies, has 5 voices, and was last updated by Profile photo of MarkPAman MarkPAman 2 years, 9 months ago.

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    Profile photo of IraBob

    My Glyph HDD feels a little clunky to me, so I just bought a Sandisk SSD and would like to try it out in the SQ-Drive. I’ve looked at the database on the A&H site that contains all the drives that users have tried for the various A&H desks, but this one isn’t mentioned (yet). Without an actual group of performers to record, the only way I can test the drive at this time is to load up some of those Telefunken Labs tracks for playback. I’d like to test the drive’s ability to handle a recording session in advance.

    Is there any way to stress test a drive prior to using it in an actual live setting? 16 channels at 96k recording for 75 minutes is what I’d like to test, to make sure it’s ready for “Prime Time”.

    Profile photo of Mike C
    Mike C

    Maybe assign pink noise to a mix and then assign that mix to all the tracks.

    Profile photo of WaihekeSoundie

    Yep– what I did was loop a track I knew really well and was pretty quiet so I could hear any artifacts or drop outs easily and sent that in on ST3 which I then patched L and R to all the SQ USB channels and left it for a few hours recording.
    Worked perfectly for me.

    I prefer the idea of a music track to pink noise just because it might be easier to hear issues- especially things like tracks getting out of time with each other? (If that could even happen).
    Just a thought though.

    All best

    Profile photo of nottooloud

    SQ Drive has an error count that should give you some indication, regardless of source.

    Can you hear one sample missing in the quiet part of a track? I can’t. That would be enough to destroy sync for the rest of the recording, though.

    I won’t use SQ Drive, myself, but if I wanted to test it, I would play any known file into all channels and record it. Then I’d drag those files into my DAW, add a polarity-reversed copy of the source for each track, sample align it to the start, and render the mix. If it doesn’t null, it failed.

    Profile photo of MarkPAman

    Something I wrote in another thread:

    Listening to a test recording for spikes or dropouts is very boring – especially if you’ve done all your tracks for 8 hours!

    1. It’s useful to record a silent track, as any noise that shouldn’t be there will show up in the DAW easily.

    2. Record a sine wave twice, with the polarity reversed on one – mixing these together should get you silence (or very close). Then in the DAW, shift one of these in time accurately, by a whole number of cycles – I tend to add a whole second. Now when you mix them together, you should still have silence, but any dropout will show up on screen.

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