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Post by Blackdawg on Nov 10, 2020 21:04:50 GMT -6
Not all ram is equal. Assuming it's DDR4, how fast the clock speed is does make a difference and the timing as well.
CPU efficiency is also important as in the memory controller of said CPU. This all adds up with how fast memory can be accessed and used.
Which at this time, AMD's Ryzen CPUs are by far the best at.
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Post by svart on Nov 10, 2020 21:30:33 GMT -6
My Lenovo SFF is boss.
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Post by Deleted on Nov 10, 2020 22:29:48 GMT -6
So - is 16gb of this Ram better in this newer computer? Or is ram ram?? This is super tempting to me because right now, my 2012 handles everything really well - I’d really just like to shorten render times and maybe not have to freeze different VIs sometimes. Also like to be able to use Luna a little more efficiently Freeze and render times are my problem too. I commit more than most modern mixers but my template if I didn't record everything myself right now for every track not a bus or send is: 1. bad ass pre emulation 2. U-he Satin 3. ReGate
4. JS: ReEq or Pro Q3 for notching 5. TDR Nova GE if not Reaper or if no FabFilter
6. TDR Slick EQ GE x2 7. Goodhertz Faraday (for drums and vocals) 8. SDRR 2 Desk mode maximum quality on everyting and freezing adds time. This can be 20 seconds to a minute for me, when I read a book or goof off on my phone. If it's a DI guitar or bass, my templates are insane.
I'm worried about not being able to replace SSDs too. I replace them on my laptops when Crystal Disk goes red. If it's soldered in, you basically have lost a machine.
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Post by Johnkenn on Nov 10, 2020 22:30:55 GMT -6
So - is 16gb of this Ram better in this newer computer? Or is ram ram?? This is super tempting to me because right now, my 2012 handles everything really well - I’d really just like to shorten render times and maybe not have to freeze different VIs sometimes. Also like to be able to use Luna a little more efficiently Freeze and render times are my problem too. I commit more than most modern mixers but my template if I didn't record everything myself right now for every track not a bus or send is: 1. bad ass pre emulation 2. U-he Satin 3. ReGate
4. JS: ReEq for notching
6. TDR Slick EQ GE x2 7. Goodhertz Faraday (for drums and vocals) 8. SDRR 2 Desk mode maximum quality on everyting and freezing adds time. If it's a DI guitar or bass, my templates are insane.
I'm worried about not being able to replace SSDs too. I replace them on my laptops when Crystal Disk goes red. If it's soldered in, you basically have lost a machine.
I need to use the Faraday more often...it's definitely super colored - and that's a great thing.
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Post by Deleted on Nov 10, 2020 22:43:03 GMT -6
Freeze and render times are my problem too. I commit more than most modern mixers but my template if I didn't record everything myself right now for every track not a bus or send is: 1. bad ass pre emulation 2. U-he Satin 3. ReGate
4. JS: ReEq for notching
6. TDR Slick EQ GE x2 7. Goodhertz Faraday (for drums and vocals) 8. SDRR 2 Desk mode maximum quality on everyting and freezing adds time. If it's a DI guitar or bass, my templates are insane.
I'm worried about not being able to replace SSDs too. I replace them on my laptops when Crystal Disk goes red. If it's soldered in, you basically have lost a machine.
I need to use the Faraday more often...it's definitely super colored - and that's a great thing. It's great and more useful than Vulf ime. Vulf is great on When the Levee Breaks type drums, not Rock n Roll if we're going on Led Zeppelin IV songs but tons of other plugs, including Faraday, can do When the Levee Breaks room pump. The warmth slider is why I use it as my 1176 and my drum close mic leveler. With Faraday's warmth slider and sidechain high pass filter, I can target which frequencies to hit. The attack and release are program dependent too so they don't mutilate the performance like an LA3 will when leveling drums. The individual hits still look and sound like the raw tracks on faster attack (1x or so) and slow release time to the performance and that saves me drastic fader moves. Slow attack and fastest or slow release is a good envelope shaper too. Faraday just does a ton of stuff for 100 bucks without getting nasty.
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Post by OtisGreying on Nov 10, 2020 23:37:58 GMT -6
M1 chip has 8 core CPU and 8 core GPU. Same Chip in Mini as in the 13" MBP. Which means the GPU in the mini is now on par of the current 13" MBP which is probably a huge upgrade from previous gens. The mini starts at 699.... (+200 for 16gb ram, but this may be user-upgradeable) That's crazy cheap for next gen tech. Very interesting! Pretty sure it’s soldered memory, not upgradeable. Max 16GB. So, if you need lots of RAM for sample based VI’s, this might not be a viable option. So RAM is more important than CPU power for sampled VI's? Like kontakt pianos? Do soft synths fall under that category?
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Post by the other mark williams on Nov 10, 2020 23:42:19 GMT -6
Pretty sure it’s soldered memory, not upgradeable. Max 16GB. So, if you need lots of RAM for sample based VI’s, this might not be a viable option. Is RAM more important than CPU power for VI's? Depends on the VI, to an extent. If it’s an algorithm, then CPU is more important. If it’s sample based, it’s going to (generally) chew through your RAM more. But that’s a bit of an oversimplification. There are some exceptions to these generalizations. We would need more details on your setup to help better.
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Post by Johnkenn on Nov 11, 2020 0:26:20 GMT -6
I need to use the Faraday more often...it's definitely super colored - and that's a great thing. It's great and more useful than Vulf ime. Vulf is great on When the Levee Breaks type drums, not Rock n Roll if we're going on Led Zeppelin IV songs but tons of other plugs, including Faraday, can do When the Levee Breaks room pump. The warmth slider is why I use it as my 1176 and my drum close mic leveler. With Faraday's warmth slider and sidechain high pass filter, I can target which frequencies to hit. The attack and release are program dependent too so they don't mutilate the performance like an LA3 will when leveling drums. The individual hits still look and sound like the raw tracks on faster attack (1x or so) and slow release time to the performance and that saves me drastic fader moves. Slow attack and fastest or slow release is a good envelope shaper too. Faraday just does a ton of stuff for 100 bucks without getting nasty. So the warmth slider actually accentuates the upper frequencies and you can use the SC up to where you want kick and toms to be controlled?
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Post by Deleted on Nov 11, 2020 1:14:01 GMT -6
It's great and more useful than Vulf ime. Vulf is great on When the Levee Breaks type drums, not Rock n Roll if we're going on Led Zeppelin IV songs but tons of other plugs, including Faraday, can do When the Levee Breaks room pump. The warmth slider is why I use it as my 1176 and my drum close mic leveler. With Faraday's warmth slider and sidechain high pass filter, I can target which frequencies to hit. The attack and release are program dependent too so they don't mutilate the performance like an LA3 will when leveling drums. The individual hits still look and sound like the raw tracks on faster attack (1x or so) and slow release time to the performance and that saves me drastic fader moves. Slow attack and fastest or slow release is a good envelope shaper too. Faraday just does a ton of stuff for 100 bucks without getting nasty. So the warmth slider actually accentuates the upper frequencies and you can use the SC up to where you want kick and toms to be controlled? Yeah, warmth tilts the frequency dependent sidechain in favor of high or low frequencies. More warmth = more highs suppressed and less warmth = more lows suppressed. Yeah, I move the sidechain up to where I want control if there's bleed. If I have a snare with the lowest fundamental at 200 hz and lots of bleed below it, I move the sidechain hpf to right below 200hz. Then warmth is even more control. Color is how hard you hit the modeled old Cinemag (?) transformers. Threshhold also influences the color so adjust the gain of what you feed it for different color. It's more complex than UAD 1176 but more flexible. The knee is harder but the program dependencies make up for it somewhat.
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Post by jcoutu1 on Nov 11, 2020 6:49:28 GMT -6
Freeze and render times are my problem too. I commit more than most modern mixers but my template if I didn't record everything myself right now for every track not a bus or send is: 1. bad ass pre emulation 2. U-he Satin 3. ReGate
4. JS: ReEq for notching
6. TDR Slick EQ GE x2 7. Goodhertz Faraday (for drums and vocals) 8. SDRR 2 Desk mode maximum quality on everyting and freezing adds time. You have all those plugins on all of your tracks? Wild.
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Post by donr on Nov 11, 2020 7:43:50 GMT -6
I just took a flyer on the 13" MacBook Pro M1. Not so much for music, but my 2015 MBP laptop is getting hinky. I'm curious. I watched the Apple Event, man that campus in CA is other worldly. Looks like a movie set. Also, no people, no masks. We're living in a sim!
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Post by Johnkenn on Nov 11, 2020 9:54:16 GMT -6
So the warmth slider actually accentuates the upper frequencies and you can use the SC up to where you want kick and toms to be controlled? Yeah, warmth tilts the frequency dependent sidechain in favor of high or low frequencies. More warmth = more highs suppressed and less warmth = more lows suppressed. Yeah, I move the sidechain up to where I want control if there's bleed. If I have a snare with the lowest fundamental at 200 hz and lots of bleed below it, I move the sidechain hpf to right below 200hz. Then warmth is even more control. Color is how hard you hit the modeled old Cinemag (?) transformers. Threshhold also influences the color so adjust the gain of what you feed it for different color. It's more complex than UAD 1176 but more flexible. The knee is harder but the program dependencies make up for it somewhat. I think I think of "warm" backwards from most people. I always think of warmth as bringing in highs - are more fidelity.
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Post by Deleted on Nov 11, 2020 13:39:08 GMT -6
Freeze and render times are my problem too. I commit more than most modern mixers but my template if I didn't record everything myself right now for every track not a bus or send is: 1. bad ass pre emulation 2. U-he Satin 3. ReGate
4. JS: ReEq for notching
6. TDR Slick EQ GE x2 7. Goodhertz Faraday (for drums and vocals) 8. SDRR 2 Desk mode maximum quality on everyting and freezing adds time. You have all those plugins on all of your tracks? Wild. The power of Reaper I could replace it with a channel strip but the quality is just not there. You go from 3d to 2d with PSP Infinistrip pre amps driven hard, Scheps Omni, and any of the bx_consoles, including Lindell 80. I get that people want to track with them but the trash builds up (PSP and Lindell 80 EQs turn into a trash can)and it has to be swapped out or you pile on more trash. I’d rather just track with on interface DSP or some McDSP, no cpu usage (He’s the best in the game at efficiency), stuff and swap it out later. I need a better gate but I rarely gate unless there is noise issue. Gating always kills organic vibe. Be careful with preamp plugins too. You need to trim massively. I turn them off for stuff tracked through the same big boy pres but they can’t be replaced by a lot of UAD plugs due to mud ( voiced to sound impressive around Apollo sound ?) or waveshapers like True Iron (too static). The Ray Dratwa and Shattered Glass stuff are the best around but I haven’t tried Kush yet. Also there are a lot of cool special eqs to thrown in beyond Pultecs. Slick EQ GE is a hyper flexible monster with saturation on and the various output stages. The saturation doesn’t get plastic like Kotelnikov or turdy like Molot GE because it was by the Variety of Sound guy who quit the plugin game. The Fuse Audio EQs I’m testing are more useful than their curves suggest. The Overloud W495 (best non guitar overloud plug) and Soundtoys Q or whatever eq are magical West German eqs worth using. Satin can’t be replaced either. There is nothing else close to it in flexibility and subtlety. UAD Ampex and Slate VTM are cool but less subtle and way less flexible. I’m liking Fuse Flywheel too but haven’t tried it on every track yet. Kramer Tape is cool on two bus and makes stuff have balls and jump outta the speakers but the build up across a mix is gritty and gross. Fuse TCS-68 is subtle enough for a mix but is a cassette. For Satin, pick a preset and gainstage appropriately with input, VU 0, hiss, and headroom knobs. The headroom is important because a lot of what people like is the analog amplifier output sound when overdriven. Satin’s is fairly clean (Studer or Fostex but better? It doesn’t sound like cheap opamps) and not like an Ampex. The other tape plugs I’ve tried are special FX for creative use more than anything else but can sound good like wow control and Magentire and Hornet and tape desk without the console on (aliases to hell). They don’t give the universalization and glue. The same with SDRR 2 desk mode, hq+ quality, drive on 1 or 2, one stage. Just works and gives a nice transistor circuit quality to everything. Medium crosstalk on busses. The drift modulation is way better than brainworx TMNT that can sound like broken channels. Like MJUC, there’s nothing else close to SRRR itb and it’s 30 bucks. To do what SDRR Desk, the pre, and eq plugs do analog for already recorded tracks, you’d need at least a Louder than Liftoff, a really good line stage, and a nice sounding eq to run everything through. Analog has way more variety of timbre than itb plugs. Good plugs are like a small subset of the analog gear world. There’s nothing within 5 miles of the ballpark itb for API sound or the distortion of a dbx VCA. The ic opamp variety is huge and the tube and discrete transistor world is far bigger than “good plugins.” I tried to keep a ton of variety in my standard track template but it’s nothing compared to what you can build and buy.
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Post by Deleted on Nov 11, 2020 13:55:00 GMT -6
Yeah, warmth tilts the frequency dependent sidechain in favor of high or low frequencies. More warmth = more highs suppressed and less warmth = more lows suppressed. Yeah, I move the sidechain up to where I want control if there's bleed. If I have a snare with the lowest fundamental at 200 hz and lots of bleed below it, I move the sidechain hpf to right below 200hz. Then warmth is even more control. Color is how hard you hit the modeled old Cinemag (?) transformers. Threshhold also influences the color so adjust the gain of what you feed it for different color. It's more complex than UAD 1176 but more flexible. The knee is harder but the program dependencies make up for it somewhat. I think I think of "warm" backwards from most people. I always think of warmth as bringing in highs - are more fidelity. That’s the old school definition where “warm” = good. Now warm means “less highs” and phatter sound to a lot of people. Some people just hate treble. There’s also this thing where younger people and people less exposed to a variety of gear have never heard anything that can reproduce timbral warmth and body so when they hear it, they view it as distortion rather than fidelity. So a lot of really clear tube and discrete stuff gets criticized when the clarity is greater than almost anything using for example, the modern very well measuring TI and THAT audio ICs. They seem to all have a certain sound dialed in that affects the decided upon timbre of the products they’re in. I’ve heard this criticism of the awesome Bricasti M1 and Woo WA33. They can’t easily be beaten by similar sounding stuff can buy online with a click or a phone call even if the Woo doesn’t hang with the best custom intestate transformer using stuff. Yet people have still complained about their warmth. Then you hear what they listen on in their home system or monitor off in the studio and it’s always something like an RME Fireface feeding Genelecs or a bad hifi system or some beat up console with a crappy monitoring path. They just can’t hear anything through it or are too accustomed to the distortion.
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Post by javamad on Nov 11, 2020 20:11:25 GMT -6
I just pulled the trigger on an iMac 27” 8 core.
Will be using it with Logic and looking at Luna.
Thing to realise about ARM and a Daw is that the DAW has to run completelt in ARM or Rosetta ... you can’t mix.
So as I don’t want bleeding edge in my studio and I needed a new computer ...this was the move for me.
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Post by OtisGreying on Nov 11, 2020 23:43:00 GMT -6
I just pulled the trigger on an iMac 27” 8 core. Will be using it with Logic and looking at Luna. Thing to realise about ARM and a Daw is that the DAW has to run completelt in ARM or Rosetta ... you can’t mix. So as I don’t want bleeding edge in my studio and I needed a new computer ...this was the move for me. Why can't you mix in DAW in ARM or Rosetta? I'm confused
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Post by javamad on Nov 12, 2020 4:57:17 GMT -6
I just pulled the trigger on an iMac 27” 8 core. Will be using it with Logic and looking at Luna. Thing to realise about ARM and a Daw is that the DAW has to run completelt in ARM or Rosetta ... you can’t mix. So as I don’t want bleeding edge in my studio and I needed a new computer ...this was the move for me. Why can't you mix in DAW in ARM or Rosetta? I'm confused
So, the Daw is one software program that invokes plugins inside its execution environment. Therefore the DAW and all plugins you use must be in the same runtime technology. I should have clarified I was talking about Daw plus plugins.
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Post by Johnkenn on Nov 17, 2020 14:22:43 GMT -6
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ericn
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Post by ericn on Nov 17, 2020 15:11:16 GMT -6
Only if Apple’s latest design runs cool enough that they don’t need to throttle the MI because of poor venting. It’s interesting that the First M1 machine was a really slow Mini that was sent out to developers, yet the Mini is the one that’s yet to ship.
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Post by Deleted on Nov 19, 2020 19:45:12 GMT -6
Only if Apple’s latest design runs cool enough that they don’t need to throttle the MI because of poor venting. It’s interesting that the First M1 machine was a really slow Mini that was sent out to developers, yet the Mini is the one that’s yet to ship. They went with an internal power supply in a tiny case.
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Post by kcatthedog on Nov 19, 2020 20:56:20 GMT -6
Minis are shipping and so far it seems it’s hard to get the fans , at least in the laptops to even turn on. Would think the mini might be even less heat sensitive: more internal space?
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ericn
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Post by ericn on Nov 19, 2020 21:02:21 GMT -6
Minis are shipping and so far it seems it’s hard to get the fans , at least in the laptops to even turn on. Would think the mini might be even less heat sensitive: more internal space? If the PSU is in the case I’m betting we still see heat issues
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Post by kcatthedog on Nov 19, 2020 21:25:02 GMT -6
Maybe, but Russ from pt expert has been stress testing the laptop and says it doesn’t even get warm and he never got the fans to come on?
I saw the new mini opened up in a yt video today and there is a fair bit of open space internally, so I wonder if it’s thermal coupling is better or worse than the laptop?
Time will tell .
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ericn
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Post by ericn on Nov 19, 2020 21:46:33 GMT -6
Maybe, but Russ from pt expert has been stress testing the laptop and says it doesn’t even get warm and he never got the fans to come on? I saw the new mini opened up in a yt video today and there is a fair bit of open space internally, so I wonder if it’s thermal coupling is better or worse than the laptop? Time will tell . I have seen the videos as well and while somewhat hopeful, I know space does not equal heat exchange. Those are 2 very different concepts.
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Post by kcatthedog on Nov 19, 2020 23:41:50 GMT -6
I understand : am just curious to see as the m1 and new memory seems full of surprises ?
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