Quote:
Originally Posted by Darryl Ramm
The world is kinda inverted. Pro Tools requiring HDX for large IO counts, but with HDX DSP that is increasingly a boat anchor for large mixing. Different thing for low latency tracking.. but it's mind numbing that large post shops have to go DigiLink to MTRX etc. to get large IO count.
Yet another innovator's dilemma for Avid, yet another one I'll never be surprised if they keep on doing the wrong thing. But they need to decouple high IO counts from Digilink, and show a clear roadmap for the future high-end, is that Dante AVB or both or what? DigiLink needs to die. We are on the edge of interesting new computers like the Mac Studio, and hopefully soon the Mac Pro that make the processing power of a maximum config HDX system look so stupid.
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Well said, as usual. :)
If you need high I/O counts simply to route to and from the Dolby renderer, then clearly a better solution is a variation on the Dolby Audio Bridge that lets you continue to use the HD engine (and thus hardware I/O and DSP). Or integrating the renderer directly into Pro Tools as Logic and Nuendo have done. Either would suit me fine: there's no way I'm going to buy more HDX and DigiLink cards to get the full 128 channel bed+object count, it's crazy expensive and the alternatives of using fewer objects or the Dolby Audio Bridge work fine. (Generally I do the former because I don't want to lose DSP or I/O.)
Decoupling high I/O counts from DigiLink is I guess mostly a business decision, tempered perhaps by the fact that Avid having a higher QA threshold, i.e. they want to make sure high channel counts work reliably on native systems. But surely we are at that point in 2022. I'm sure if Apple really wanted to (which I doubt given the size of the market to them), they could push things further down the stack to a real-time OS Pyramix/RTX64-style and displace DSP entirely.