Yep, and I feel many commenters in this thread are comparing value propositions only in terms of specs. I’ve built a number of Mini-ITX cases, from 5L to 20L, and they are a pain to work with and maintain. In some cases it’s impossible to make a reasonable filtered airflow, so dust builds up very fast, and a teardown to do clean up is pretty annoying. Steam Machine looks very straightforward to maintain. And it’s also tiny and quiet.
I believe the tools like Resolve are built around VFX reference platform specs. I doubt anyone will standardise on the basis of a rolling distro where you can’t pin glibc version. https://vfxplatform.com
steamos is not a rolling release. yes, it’s built on arch, but they halt with snapshots and do testing and their own patches before they roll out updates.
Honestly, I completely missed the quotes on the first read. I agree with the sentiment that crimes should be called out as crimes and not, e.g., ‘oopsies’.
I respectfully disagree — a lot of conveniences that C# provides produce GC trash which will cause frame spikes. I remember having had to add a non-allocation string.contains alternative at one project. Lambdas and linq also have this problem, or if a string is passed through native-c# boundary. Language itself is really nice though :)
C# is too much of a you hold it wrong language, you can easily avoid the problem you describe, but it is such a pain, i do like the fact that the language constantly improves in all directions so it definitely does not remove its positive sides when you do a thing in the right way
I’m not as experienced as some people here, but in ~10 years, I’ve never needed to write code for anything other than x86 or arm. So I agree with the author on their priorities.
Not all ARM systems are created equally. For example many of the 32bit ARM processor didn’t even support floating point ops. So they’d have to be calculated in software.
Aside from various different variations of ARM, I’ve worked several variations of x86 and AMD64, SPARC, PowerPC, MIPS and others I’ve likely forgotten. Not to mention a few 8-bit CPUs too, but those there more than 20 years ago and not really fair to discuss here.
If I'm not mistaken, he's either affiliated with or otherwise connected to the effective altruist movement, hence he can't be unbiased. I find this article tells an interesting perspective on it: https://www.noemamag.com/the-politics-of-superintelligence/
The whole rationalist movement is super bizarre to the "normies".
It's not at all surprising that they are increasingly getting labeled a cult (they aren't by traditional definition but there are a lot similarities). I'm really surprised it hasn't hit the mainstream yet given the connections to Elon, Thiel, frontier labs, dark crypto funding, FTX/SBF, some suicides and some murders. It's all a little nuts.
Meanwhile you got all the anti-democratic NRx people on the other side of it.
I suspect this new doc coming out on HBO will spark a media frenzy.
> Reaper is currently a de-facto standard for game audio design
Such a wide and strong claim, I'm not sure there is a single de-facto choice specifically for "game audio design", I've seen most major DAWs, including Reaper, to be used for game audio. If anything is close to a de-facto standard in video game audio, it'd be Wwise and/or FMOD as audio middlewares, then whatever the artists happen to be familiar with for the actual production.
Unless you're talking about some specific genre here, either music- or game-wise?
From my experience, it’s very rare to see someone not using Reaper for sound design. Some use Pro Tools or Cubase, but they aren’t as common as Reaper. It really has no competition due to how easy it is to prepare dozens of assets with a single render (all with correct naming and loudness) as well as extensions that add features no other DAW has (e.g. Global Sampler, stuff by LKC Tools, etc.).
It’s not very good for music, though, so here, the situation is a bit more diverse. So yes, I’m talking concretely about sound design.
I think now it seems clear you're talking about "sound effect design" specifically maybe, rather than sound design? Particularly because you say it's not good for music production, but plenty of us do sound design together with music product, but I've also never done sound effect design, which it does sound like you're talking about.
I’ve never heard of anyone making distinction between “sound design” and “sound effect design” in gamedev. I don’t know anything about cinema or other creative industries though, but my original post is only about video games.
> making distinction between “sound design” and “sound effect design” in gamedev
I think it's more because I come from the side of music production, "sound design" is something I do all the time, but for the purpose of music production. So maybe because I come from the other side, "sound design" makes it sound like you're talking about general sound design, the same stuff you'd do for music production and music in general, but considering the rest of your message, I think probably other's will easier understand you if you'd say "sound effect design" instead of just "sound design". Kind of like any programming is programming, but "demo scene programming" is a sub-niche of that.
No harm no foul, just thought I'd add some extra context for others who similarly got confused by it as me.
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