FSR is a performance enhancer, basically, we trade a bit of visual fidelity, in the form of resolution, in exchange for a few more frames per second, and I totally dig that, because I have a hard time capping out my framerate these days. (Vega 64, 1440p@144hz, by the way.)

But some people have absolutely beastly systems, stuff that can hit that 120hz or 144hz or 240hz mark with ease, and for those folks, it seems to me, FSR could be used as an image enhancement feature.

Stick with me here: FSR says "Okay, this game is playing at 30fps@100% resolution scaling, so let's turn the resolution scaling down to 75% and bump the fps up to 50fps." What if it could also say "Okay, this game is playing at 144fps@100% resolution, so let's turn the resolution scaling up to 115%, and reduce the fps by nothing."

See what I'm getting at?

I mean obviously right now AMD should be focused on maximizing performance, since that the whole point of FSR, I'm just saying that someday, AMD, if you get the time, a lot of us would really dig having an option for dynamic super sampling/resolution.

Some games don't take a ton of horsepower to run, so AMD should use that extra performance headroom for image enhancements. Anyone else with me? Does that sound like a feature that you'd like to have, or maybe actually use, if it was well implemented?

I'm working on a track that basically builds towards a final, ideally orgasmic, section. It's not a straight line, in terms of rising tension. There are a few plateaus and backsteps. But anyway, I've been trying to figure out how to make the end do what I want to do. What's working best is a new drum part that basically halves my headroom from peaking at roughly -4db to -2db. I know I would lose this effect if I planned on squashing the track during mastering for maximum loudness, but I am not planning on doing this. So...any thoughts? Other reasons this might be problematic?

I've seen many videos on mixing trap beats and most I would see is that they would bring their kick to -6db and bring every thing else up to their liking and when they do that, their whole track would sit around -6db. I use this Technique on all my trap beats but I saw that the master would be clipping even though the loudest element in the beat is the kick which is -6db, but the problem is only the 808 and the kick playing together. On the track I'm working on right now I got the kick at -12, the 808 at -15 and the master is showing that its shooting up 6 extra db. I'm just wondering why its shooting up that far and how to fix it because It makes it harder to leave headroom.

Almost all events I work on are streamed nowadays, so I have to send the sound to embedders or other video devices. I set up my matrixes sends or groups depending on my needs, put all the faders all the way up to have no attenuation. My sends are hitting -18dB and a little above on some peaks. Even at that level, the video guys always ask for more and I end up cranking up the gain on the compressor to have some extra dB. Do you have similar experience ? Why is there such a difference between my sent levels and their received levels ? Thank you for any explanation you might have.

TL;DR: Bought a 2004 RX-8 Grand Touring in Dec 2020 w/ 80k miles / 130k kms from a friend’s dad for peanuts and promptly spent way too much money on mods and fuel over the course of 14k miles / 20k kms doing road trips, track days, and everything and anything.

The car has been an absolute blast to drive and honestly pretty reliable all things considered. If you want to buy one, check out rx8help.com for a read on what you should know.

If I could re-do it all, I might buy a Series 2 RX-8 R3 and do less mods, or just buy the new GR86 / BRZ. It's definitely been a fun journey with this car though!

Pictures

[Summary gallery of my 2021 with this car](https://imgur.com/a/PcsNlyK)

[Photoshoot in its most current spec](https://imgur.com/gallery/7265LA4)

[Night shots with the original body kit](https://imgur.com/gallery/YI3S3Lw)

[Parking garage shot with no aero](https://i.imgur.com/q8EqV11.jpeg)

This is something I’ve been meaning to do (those NSX yearly reviews really inspired me), but u/DarkFire989’s review gave me the kick in the pants to get this started. Here’s my one-year review of my 2004 Mazda RX-8 that I bought in December 2020. I hope by the end of it, you can take away and understand the following:

• Why I took the leap of faith on this specific car
• My perspective on rotary / RX-8 maintenance (it really isn’t that bad)
• The appeal of the car from a tuning and driving perspective
• Pros / cons and quirks, and comparisons

Going to try to keep it somewhat concise, if you have any more questions on anything by all means ask!

The buying experience

In late 2020, I was in a position to own a car again after deciding that I was going to move out of NYC. Wanted to get into a sports car again (I had an Infiniti G35x daily and NA Miata sports car before) that I could semi-daily (WFH life), and I was pretty flexible budget wise as long as the car was something I would like, a good deal, and generally reliable. I am partial to high-revving sporty cars that’s slightly “out of the norm” to help you understand my biases.

I heard of this specific RX-8 in particular as it was my friend's dad's car that he had owned since new. He bought the car new in Aug 2003 (previously owned a 1979 RX-7 and loved that) and drove it daily for years with my friend in the backseat. I always liked the RX-8 from m

You see a lot of reviews on youtube and gear websites by publications and influencers who have messed around with a piece of gear for a couple nights tops. Sometimes they literally unbox it in the video. So I think it might be useful to offer a perspective from a consumer who's been using something for a while.

If you are not familiar with the Fender Tone Master series, look it up or my review may not make much sense.

My personal background:

I bought the Fender Tone Master Deluxe reverb early January 2021 and It has been my main amplifier for a year.

I've been playing guitar for 13 years. I mostly play at home or open mics. But I've also jammed with full bands and gigged on numerous occasions. I also record in my bedroom studio. I'm a bit of a gear head and have tried a lot of stuff and do way too much research.

I've played a bit of everything but my favorite thing by far is blues. My own style is influenced by Jeff Beck, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, Robert Johnson, John Lee Hooker, Jack White, John Mayer, and Dan Auerbach... so you can see why I'm drawn to fender amps.

Here are my thoughts. I'll be thorough...

Why I bought the Tonemaster over the tube counterpart.

I used to like strictly analog gear. Vintage style tones are my preference. I'm one of those guys.
but I'm also young and quite tech savvy.

So I try to find a balance of the classic analog sound and modern practicality. The Fender '65 tube reissues are dream amps. But In practice, I have a Vox AC15 that I have NEVER brought to a gig or an open mic because..

1. It is heavy and bulky
2. More susceptible to noise issues than say a digital solid state amp.
3. More susceptible to problems that may not be quicky diagnosed or fixed in a live setting.
4. Requires occasional tube replacements which can be costly if music isn't a source of income.
5. It's too loud in many situations, and it's too quiet and many situations.

The tube counterparts to the Tone Master amps have all these same problems.

Even if I got a smaller, low-wattage fender amp, the problem is a lack of headroom when I want to use my reverbs, delays and a looper.

So the way I have been solving these problems recently have been the Boss Katana Artist, Vox MV50 amp heads, playing live with the Boss ME80 or GT1000 directly to a PA system, and recording using plugins like Amplitube.

I felt the features on the katana were overkill - As is the case with every digital modelling amp.

The ton

Twitch likes to create hearing damage to its users? Its not a little louder. Its twice the db's in most cases. Its unacceptable and irresponsible Audio levels are depended on many things. Levels, dynamic range. compressiom, headroom. Is it Music or talking. Type of music.

This is intentionally creating hearing damage.
Its outside all the norms.

Throughout Reddit, there seems to be great disagreement about 24 bit vs 32 bit. Proponents of the former say that 24 bit has adequate dynamic range for most real-world scenarios (especially when audio is monitored like it should be in the first place) and that 32 bit is really only for SFX. Proponents of the latter say that 32 bit float is a lifesaver for those who are less experienced, are one man shows who have to handle the camera, lights, and sound, or are in environments where loudness can vary widely or without warning.

Are both sides correct? What are your guy's thoughts?

I have to make sure it has -6db headroom and I have no compressors or limiters on the master bus. Im just wondering whats the best way to achieve this? I apologise if its a noob question but im really stuck and the youtube tutorials I've found aint helping. Any advice is appreciated thanks!

I have been making beats for a little over 2 years now, and recently discovered that I can get great dynamics and loudness if I mix to -2 on the master mixer, and then use a limiter at -4 to leave headroom on my unmastered mixes. I have seen videos where professional producers say its a sin to put a limiter on the master mix channel, but if I don't do this I always have random peaks that shoot up to the red even if most of the mix is at -4 db. I do not mix through the limiter, I only use it at the end when I am ready to render my mix and need to control peaks. I am curious to hear what other producers think about this, and what you do to control weird peaks.

We will be discussing the draft EIP to decrease calldata gas costs: Call data gas cost reduction with total calldata limit — HackMD. (PS: EIP-4488 it is!) I’m not going to dive into technical and implementation details, but I’ll definitely dive into what this means for rollups and the end users. Please note that everything here is purely my personal opinion on the matter.

First, a brief recap of rollups. They execute transactions, generate proofs, and compress transaction data to commit to Ethereum. For all rollups running at scale, the compressed transaction data component becomes the dominant gas cost as the primary bottleneck. (Addendum: the definition of “at scale” varies by the nature of rollup and their respective fixed batch costs. More on this later.) This is what is committed to Ethereum as calldata, and as a result, reducing cost of calldata has a dramatic impact on the end users’ transaction fees on rollups.

Tl;dr: this EIP will reduce transaction fees on rollups by ~5x, while the limit will ensure that it remains safe. Given how transaction fees & blockchain demand work, I believe the net impact will be far greater than 5x.

There’s been a lot of talk about reducing calldata this week. Louis from StarkWare has a great thread about it, responding to a prompt from @PhABCD. I had briefly covered the cost implications, but will dive into it more here.

Over the last year or so, we have seen exponential demand for Ethereum smart contract transactions, whether it be DeFi, NFT or memecoins, which has led to skyrocketing gas prices. Unfortunately, because rollups must compete with these use cases, there’s been unnecessary contention, leading to calldata being overpriced in absolute terms. This draft EIP effectively subsidizes rollups so they can make better use of Ethereum blockspace. With significantly lower costs on rollups, this will also reduce the cost of DeFi, NFT, memecoins and other smart contracts on rollups, hopefully incentivizing more people & developers to migrate from Ethereum mainnet to rollups. This will, in turn, lead to reducing demand and gas prices on mainnet, which in turn w

I've just finished reading Mixing Secrets for the Small Studio by Mike Senior and it was an incredible read. Highly recommended for everyone. I know that not everybody's going to read it though, and I have made notes while reading it (though I highly recommend it, if only for the amusing prose if not for the huge amount of info that this guide omits), so I thought I'd share the wisdom. This is a bit long, but it might be valuable to some of you.

So here are 270 mixing "secrets" from the book:

How to listen

* Mix at low volume. Listen at different volumes.

* Cut low ends on everything except bass and kick.

* Use spectrum analysis to evaluate the low end.

* Take plenty of rest.

* Switch monitors frequently.

* Compare to good mixes. ALL THE TIME.

* Compare to good mixes - plural. You should have a reference for each aspect of your mix.

* Edit snippets out of the reference tracks, so you can switch quickly to the correct spot.

* Build a reference library, labeled by mix aspect.

How to prepare

* Before mixing, export stems, including midi. Mix in a separate project.

* When possible, do sub-mixes.

* Tracks should have meaningful names and colors.

* Use markers to mark different sections.

* Color sections and ranges of interest if your DAW allows for that.

* Before starting, listen to each track solo. Mark points of interest (problems to hide, gems to bring forward).

* For each track, define the frequency ranges that it would live in.

* Break vocal tracks, lead guitars, bass guitar etc. to different tracks by section as needed. (Multing)

Timing/pitch fixes

* Find the most rythmically tight track, straighten it out as much as possible, make it groove, then use it as a reference for all the other instruments, introducing them one by one, starting with the most rhythmically important, with a focus on maintaining groovitude.

* To judge if an attack is in time, you have to start listening two bars before it hits.

* Double-tracked instruments need their timing adjusted each track soloed at a time.

* Pay special attention to when notes (especially bass notes) end.

* To avoid obvious timing edits, make them:

- On silence.

- On noise.

- Pre-masked.

- Masked by another track (e.g. snare hit).

- In-phase.

* Once timing corrections are done on each track separately, re-listen to the whole arrangement, and move tracks slightly back or forwards to get the exact groove feel you're looking for.

On comping

I don't want to step on anybody's toes here, but the amount of non-dad jokes here in this subreddit really annoys me. First of all, dad jokes CAN be NSFW, it clearly says so in the sub rules. Secondly, it doesn't automatically make it a dad joke if it's from a conversation between you and your child. Most importantly, the jokes that your CHILDREN tell YOU are not dad jokes. The point of a dad joke is that it's so cheesy only a dad who's trying to be funny would make such a joke. That's it. They are stupid plays on words, lame puns and so on. There has to be a clever pun or wordplay for it to be considered a dad joke.

Again, to all the fellow dads, I apologise if I'm sounding too harsh. But I just needed to get it off my chest.

I have an HPE DL380 Gen 10 in my lab and I noticed the ARC size isn't growing beyond 64GB despite having plenty of memory available.

Version: TrueNAS-SCALE-22.02-RC.2 (LAB environment)

Current workload: ISCSI only. zvol to lab vmware cluster with about 15 running machines. 70/30 mixed read write typically.

Any ideas why the ARC would not grow beyond 62.7? It has been running with this workload for ~20 days. it isn't causing any issues or anything as far as I know. I'm just testing SCALE out in the lab and noticed this. If this might be a bug or something I'd be happy to work with someone or file a report with IXSystems if it can help.

Machine specs:

CPU: Xeon Bronze 3104
Memory: 128GB (HPE certified)
ARCL2: None
SLOG: HPE 16GB NVDIMM
Sync=always
Disks: 24x 1.2TB 10k RPM SAS (2x raidz2 vdev's)
Controller: HPE Smart Array P816i-a SR Gen10 (Drives are passed to the OS)



ZFS Subsystem Report                            Fri Jan 14 08:01:07 2022
Linux 5.10.81+truenas                                            2.1.1-1
Machine: labtruenasscaletest01.fakedomain.local (x86_64)                         2.1.1-1

ARC status:                                                      HEALTHY
        Memory throttle count:                                         0

ARC size (current):                                    99.2 %   62.2 GiB
        Target size (adaptive):                       100.0 %   62.7 GiB
        Min size (hard limit):                          6.2 %    3.9 GiB
        Max size (high water):                           16:1   62.7 GiB
        Most Frequently Used (MFU) cache size:         45.0 %   27.8 GiB
        Most Recently Used (MRU) cache size:           55.0 %   34.0 GiB
        Metadata cache size (hard limit):              75.0 %   47.1 GiB
        Metadata cache size (current):                  4.5 %    2.1 GiB
        Dnode cache size (hard limit):                 10.0 %    4.7 GiB
        Dnode cache size (current):                     1.1 %   53.4 MiB

ARC hash breakdown:
        Elements max:                                               2.3M
        Elements current:                              56.5 %       1.3M
        Collisions:                                                22.2M
        Chain max:                                                     5
        Chains:                                        

Got my quest 2 the other day, and I should have a good wifi/pc setup from all I can tell.

PC is a Ryzen 9 3900X, 1080ti, 64gb ram. Connected via gigabit LAN to a FritzBox 7490, which in turn has a 5ghz link to the quest 2 and also is within 3 feet of me with a direct line of sight.

Airlink performance is borderline unusable. Frequent hitches and stutters (every 2-3 seconds) mixed with frequent performance degradation to the point of being unusable, and that's just oculus home.

Debug tool already has bitrate set to 0 as well. No steamVR, yet, so OVR should not interfere since I'm literally just sitting in oculus home, trying to debug.

Dynamic bitrate kinda works, setting it to fixed makes it go apesh*t though. Connection should be able to more than hande it, according to the router I have 866mbit up/down, and max bitrate is only 200mbit that I can set in oculus.

Edit:Also verified that my router is sending with full power, and that no other interference is on the 5ghz channels being used by it.

Furthermore checked the usage on the 5ghz channel. The only devices sharing it are the 3 family phones (generally always unused, my parents aren't tech savvy) and one smart speaker. Overall network load is consistently below 10%, so should be way more than enough headroom, I somehow doubt devices merely being present could cause something like this?

Resolved! - Some info:

I am happy to report that it now works just fine! I'm not entirely sure what got it in the end, the one big change I made is turn off something in the router that allows 2.4/5ghz switching for devices, perhaps that did the trick. I also rebooted again, so it is entirely feasible this did something.

Another theory - one I'll yet have to test in the evenings - is that f.lux isn't reserving encoder sessions when it's not actively applying a screen tint, but I'm quite certain that I ran my last tests during similar hours, aka before tinting was applied.

Either way, I got to enjoy a few hours of wireless VR, and it really is amazing! Now to set up sidequest, and see if I can get the max bitrate a little higher still in order to get a clearer picture. Which it's definitely better than a rift S, I'm just exploring what headroom I still have now.

I just bought my first subwoofer for Christmas, the Rhythmik FVX15. Set up the dials and knobs on the back according to the recommended settings. Calibrated it using audyssey with my Denon AVR. Audyssey set the sub to -10.5 dB. (I turned Dynamic EQ and volume off.) I changed all speakers to small, increased the crossover to 80z as well for all speakers. Watching a few things in Netfix, skipped to supposedly bass heavy scenes and was extremely unimpressed. I increased it to -5 dB in the manual adjustment screen through the AVR and was a little more happy. Then I increased it to -2 dB and now it feels like I'm in the movie theater, with my whole basement rumbling. That's kind of what I expected a subwoofer of this magnitude to sound like but maybe my expectations were too high? Is it okay to leave the sub at this level? If Audyssey is telling me it should be set to -10.5 dB, why do I have to increase it so much to be satisfied? I know there is a 45 day return period so I have been thinking of sending it back and upgrading it to the FV18 to give myself some more headroom? But if I did go ahead and do that, wouldn't Audyssey again, set the sub to be underpowered, forcing me to jack it up in the settings? And if -2 dB with the FVX15 is already causing my basement to shake, would a bigger sub be pointless?

Alot of great jokes get posted here! However just because you have a joke, doesn't mean it's a dad joke.

THIS IS NOT ABOUT NSFW, THIS IS ABOUT LONG JOKES, BLONDE JOKES, SEXUAL JOKES, KNOCK KNOCK JOKES, POLITICAL JOKES, ETC BEING POSTED IN A DAD JOKE SUB

Try telling these sexual jokes that get posted here, to your kid and see how your spouse likes it.. if that goes well, Try telling one of your friends kid about your sex life being like Coca cola, first it was normal, than light and now zero , and see if the parents are OK with you telling their kid the "dad joke"

I'm not even referencing the NSFW, I'm saying Dad jokes are corny, and sometimes painful, not sexual

So check out r/jokes for all types of jokes

r/unclejokes for dirty jokes

r/3amjokes for real weird and alot of OC

r/cleandadjokes If your really sick of seeing not dad jokes in r/dadjokes

Punchline !

Edit: this is not a post about NSFW , This is about jokes, knock knock jokes, blonde jokes, political jokes etc being posted in a dad joke sub

Edit 2: don't touch the thermostat

Do your worst!

They were cooked in Greece.

It's post-christmas. Lots of new people are asking questions about gear, and in particular, clouldifters. I thought i'd put this out there to help answer some questions that people may have.

TL:DR; The Klarks are probably good enough, and you probably don't need one unless you're on an interface that's 3+ years old or super cheap.

#The Test

##Setup

Here's the setup: A podtrak p8 with default settings, Kopul Premium Performance 3000 Series XLR cables (1.5' and 10' lengths), Rode Podmics with A7WS clown noses, all in a semi-treated space (non-studio). https://imgur.com/eTWrcM6.jpg

In between the 1.5' cable and 10' cable, I have plugged in a Klark CT-1 (red channel 1), a CM-1 (orange channel 2), a Cloudlifter CL-1 (yellow channel 3), and nothing (green channel 4, gotta have a control). https://imgur.com/SfhQoaX.jpg

After plugging them into my Podtrak p8, I set the 3 channels with in-line boosters to condenser mode which both supplies phantom power AND reduces gain levels on the pre-amp: https://imgur.com/EsOFfz6.jpg

On the 4th, i set the channel to dynamic mode which is how you'd run a podmic without a booster. This increases the default pre-amp volume. I kept it as-is: https://imgur.com/6FHdDzJ.jpg

After that, I ran some speaking tests, a 1khz test tone, and some silence for noise purposes.

##Raw Audio

In case anybody wants to hear the raw wav files that I recorded to see if there's any coloration that happens (i can't hear any) or wants to analyze the spectrum a bit more in-depth than I have, you are welcome to them. https://drive.google.com/drive/folders/1EHz-UG0uuF9pK_ObWXwJ3dlJ_bUG4pwa?usp=sharing

##Results!

This is why you're here. In order to get these results, i pulled a bit of silence from the recorded wav files and let izotope RX's spectrum de-noise learn the noise profile.

No booster in dynamic mode ($0) - https://imgur.com/yhyweBz.jpg - This is what the noise of the room, the mic, the cables, and the p8 looks like. *quick edit note, i had the wrong image linked here, this is now the correct link... that's what i get for shuffling too many wave forms without in-picture labels...

Klark Ct-1 round fethead form factor clone ($35) - https://imgur.com/adm50Ih.jpg

Klark CM-1 boxy cloudlifter form factor clone ($35) - https://imgur.com/tcu0TRp.jpg - not sure why that spike is there at around 7khz, but there it is. I'm too lazy to re-run the test on a spare and would probably just let the spectrum de-noise filter take care of it.

Clo

I'm surprised it hasn't decade.

It seems like Dolby Atmos is this looming entity on the horizon for us audio engineers. So this morning I figured I would take my first dive into the world of spatial (binaural) audio from the consumers perspective by getting an Apple Music subscription.

First and foremost I'm quite impressed, I listened to some re-worked classics and was quite happy with how their interpretations sound. I settled my case study on the new album by James Blake (Friends that Break Your Heart). For about an hour I would go back and forth between the Spotify and Apple (Atmos) version. I was using headphones for this since I know that most consumers will either be listening on headphones, bluetooth speakers or their car PA of which headphones would be the most common and ideal consumer use case.

When I first listened to Blake's new album on Spotify last week it sounded claustrophobic. It was quite unpleasant to listen to, lot's of close harmony severely squeezed together in the stereo field and filled to the brim with unclear panning decisions and quite some masking in the lower mids. There's also quite a bit of strange artifacting going on in the upper mids which didn't stand out to my ears as phase summing issues so I took it as an artistic effect that wasn't to my taste.

Listening to the Atmos mix this morning, it's lush. Wide but still focused and quite dynamic. It caught me off guard, so there was a very well produced and mixed album hidden in the lackluster record I heard the week before. I most of all noticed the amount of headroom and dynamics all the individual stems had. It seems like having this object in space approach made the engineer more prone to conserve the dynamics instead of trying to glue everything as tightly together as possible to achieve a "competitive" sound. Overall the mixes sound more natural, musical and effortless.

Listening to "A Milli" by Lil Wayne in Atmos demonstrated the same approach. Leaving way more space for the music to breathe instead of cramping everything together to achieve as much loudness as possible.

Overall, I was quite satisfied with what I heard. However, I wasn't severely impressed with Atmos bineural audio. There is some "magic" there but it's nothing I haven't heard on less commercial stereo mixes. (A recent example would be "Desert Mule" by Nils Frahm & F.S. Blumm.) I am excited for the future of music and especially engineering after hearing some of these records. It seems like this development is pushing popular

Don't you know a good pun is its own reword?

Two muffins are in an oven, one muffin looks at the other and says "is it just me, or is it hot in here?"

Then the other muffin says "AHH, TALKING MUFFIN!!!"

For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.

I said "hey look, an escaPEA"

No one near me but it didn't half make me laugh for a good hour or so!

Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂

And now I’m cannelloni

Because she wanted to see the task manager.

I'm not talking about the game itself at all here, it seems to run fine on Series X but I don't care, the PC port is garbage. The game regularly and consistently crashes every 10 or so minutes since the open world section started. This is on a clean Windows install with the latest Nvidia drivers, no help. Aside from constant crashing:

• Frame pacing sucks and the game is never smooth even when fps is technically locked to 60, although it's hardly ever really locked since even with dynamic res there are still drops.
• CPU usage is insane unless in-game fps limiter or vsync is enabled. Disable them and my 5600x jumps from 20% to 70-80% even if the fps is capped externally. The problem here like I said, is that in-game fps limiters are shit, so it's a lose-lose situation.
• Dynamic resolution which seems to be the only way to get decent performance, never keeps the GPU pegged to 100% and often drops to 80% or under targeting 60, which means it's always dropping resolution more than it's necessary and the game is blurrier at lower res with GPU headroom to spare. Gears 5 for example, always keeps the GPU at 100% when scaling resolution so you're always getting the best picture possible at any moment.
• The optimization itself is awful in the open world. 3080 and the game can't lock at 4k 60 even with most settings at medium. The open world absolutely does NOT look good enough to justify this, nor is it doing anything that hasn't been done a decade ago in terms of structure. It's classic open world stuff with Halo's gameplay that looks 3 years old at this point but runs like a game from 3 years in the future.

Microsoft can spend 7 billion dollars to buy Bethesda but they can't produce a respectable PC port for their biggest franchise after 6 years of development.

And boy are my arms legs.

But that’s comparing apples to oranges

Heard they've been doing some shady business.

TL;DR: Bought a 2004 RX-8 Grand Touring in Dec 2020 w/ 80k miles / 130k kms from a friend’s dad for peanuts and promptly spent way too much money on mods and fuel over the course of 14k miles / 20k kms doing road trips, track days, and everything and anything.

The car has been an absolute blast to drive and honestly pretty reliable all things considered. If you want to buy one, check out rx8help.com for a read on what you should know.

If I could re-do it all, I might buy a Series 2 RX-8 R3 and do less mods, or just buy the new GR86 / BRZ. It's definitely been a fun journey with this car though!

Pictures

• (Summary gallery of my 2021 with this car)[https://imgur.com/a/PcsNlyK]
• (Photoshoot in its most current spec)[https://imgur.com/gallery/7265LA4]
• (Night shots with the original body kit)[https://imgur.com/gallery/YI3S3Lw]
• (Parking garage shot with no aero)[https://i.imgur.com/q8EqV11.jpeg]

This is something I’ve been meaning to do (those NSX yearly reviews really inspired me), but u/DarkFire989’s review gave me the kick in the pants to get this started. Here’s my one-year review of my 2004 Mazda RX-8 that I bought in December 2020. I hope by the end of it, you can take away and understand the following:

• Why I took the leap of faith on this specific car
• My perspective on rotary / RX-8 maintenance (it really isn’t that bad)
• The appeal of the car from a tuning and driving perspective
• Pros / cons and quirks, and comparisons

Going to try to keep it somewhat concise, if you have any more questions on anything by all means ask!

The buying experience

In late 2020, I was in a position to own a car again after deciding that I was going to move out of NYC. Wanted to get into a sports car again (I had an Infiniti G35x daily and NA Miata sports car before) that I could semi-daily (WFH life), and I was pretty flexible budget wise as long as the car was something I would like, a good deal, and generally reliable. I am partial to high-revving sporty cars that’s slightly “out of the norm” to help you understand my biases.

I heard of this specific RX-8 in particular as it was my friend's dad's car that he had owned since new. He bought the car new in Aug 2003 (previously owned a 1979 RX-7 and loved that) and drove it daily for years with my friend in the backseat. I always liked the RX-8 from

TL;DR: Bought a 2004 RX-8 Grand Touring in Dec 2020 w/ 80k miles / 130k kms from a friend’s dad for peanuts and promptly spent way too much money on mods and fuel over the course of 14k miles / 20k kms doing road trips, track days, and everything and anything.

The car has been an absolute blast to drive and honestly pretty reliable all things considered. If you want to buy one, check out rx8help.com for a read on what you should know.

If I could re-do it all, I might buy a Series 2 RX-8 R3 and do less mods, or just buy the new GR86 / BRZ. It's definitely been a fun journey with this car though!

Pictures

[Summary gallery of my 2021 with this car](https://imgur.com/a/PcsNlyK)

[Photoshoot in its most current spec](https://imgur.com/gallery/7265LA4)

[Night shots with the original body kit](https://imgur.com/gallery/YI3S3Lw)

[Parking garage shot with no aero](https://i.imgur.com/q8EqV11.jpeg)

This is something I’ve been meaning to do (those NSX yearly reviews really inspired me), but u/DarkFire989’s review gave me the kick in the pants to get this started. Here’s my one-year review of my 2004 Mazda RX-8 that I bought in December 2020. I hope by the end of it, you can take away and understand the following:

• Why I took the leap of faith on this specific car
• My perspective on rotary / RX-8 maintenance (it really isn’t that bad)
• The appeal of the car from a tuning and driving perspective
• Pros / cons and quirks, and comparisons

Going to try to keep it somewhat concise, if you have any more questions on anything by all means ask!

The buying experience

In late 2020, I was in a position to own a car again after deciding that I was going to move out of NYC. Wanted to get into a sports car again (I had an Infiniti G35x daily and NA Miata sports car before) that I could semi-daily (WFH life), and I was pretty flexible budget wise as long as the car was something I would like, a good deal, and generally reliable. I am partial to high-revving sporty cars that’s slightly “out of the norm” to help you understand my biases.

I heard of this specific RX-8 in particular as it was my friend's dad's car that he had owned since new. He bought the car new in Aug 2003 (previously owned a 1979 RX-7 and loved that) and drove it daily for years with my friend in the backseat. I always liked the RX-8 from my y

It really does, I swear!