MasterChromatica

its most likely just needing something to block it out, It may also needed to be adjusted in settings if there are any so you turn down sensitivity of the mic, so it picks up less noise.
 
You can make a DIY Dead cat with a coat hangar, and a thin sock if you put the sock on it and bend the coat hangar to cover the mic.

This should most likely fix the problem. Mics are like speakers, they suddenly just dont quit working. You have to do a lot to mess up a Mic or Speaker.

Thats perfect actually.

KNOX was discontinued in 2016 or 2017.

If this is true, Im not for this. Microsoft will dominate the game industry. To me thats not ok.

Do you have network drivers installed?

Elon Mf Musk Please

Elon Mf Musk Please

It will beat it in compute tasks for sure.

Audio codecs

 
MP3

By now everybody should be familiar with the MP3 (MPEG2 layer 3) audio codec. It is the nearly-universal standard format for audio compression. It gives a very good compression ratio and is playable by almost all devices. Its only down side is that it is limited to two channels (stereo).
 
AC3

Also known as Dolby Digital (DD), AC3 is a multichannel audio codec used on most DVDs. It is not as compressed as MP3 (which leads to larger file sizes), has of slightly higher quality and is capable of 5.1 channel surround sound. Higher quality rips will often keep the original 5.1 AC3 track intact if it is available on the disc.
 
AAC

Advanced Audio Coding is a successor to MP3. It's Apple's default audio codec for their iPod and iPhone devices. Though technically (slightly) superior to MP3, it is usually only found in MPEG4 files that have been encoded specifically for the iPod.
 
FLAC

Free Lossless Audio Codec is exactly what it says. It's an open source lossless standard for delivering an exact duplicate of CD audio. It is almost never used in a video file container, but you will see high quality soundtrack rips in this format.
 
Ogg

Ogg Vorbis is a free and open source, lossy audio codec project headed by the Xiph.Org Foundation and intended to serve as a replacement for MP3. The format has proven to be popular among supporters of free software. They argue it has higher fidelity and is completely free by nature, unencumbered by patents.
 
DTS

DTS audio codec is a competitor to AC3. It is technically superior to AC3, though only someone with good ears and very good home theater equipment would notice a difference. DTS tracks are mostly included on big-budget DVD releases of major films.
 
 
 
 
 
Transcode FAQ

 
What is a transcode?

Wikipedia says that "Transcoding is the direct digital-to-digital conversion from one (usually lossy) codec to another." A transcode is any conversion of format.
 
Which transcodes are bad?

The rules generally allow only a single lossy stage in the encoding process, and it must be the final stage. So FLAC->MP3 would be allowed, but MP3->Ogg Vorbis and Ogg Vorbis->FLAC would not be allowed.
 
What is a lossy encoder?

Most lossy encoders use a low-pass filter (LPF) when encoding. The filter is set to cut frequencies above a certain point and leave those below. Encoders operate in this manner because high frequencies are more difficult to encode and a person's hearing is less sensitive to higher frequencies. MP3 encoders at 128 kbps will typically use a LPF at 16 kHz. As you raise the bit rate, the frequency threshold also rises. At 192 kbps the LPF is usually set at 18 kHz or higher. Conversely, lossless encoders do not remove any frequencies from the original file.
 
Why is lossy transcoding bad?

Whenever you encode a file to a lossy format (such as MP3, M4A (AAC), Ogg Vorbis, AC3, or DTS) information is permanently lost. It doesn't matter what you do, it's impossible to get this information back without making a new rip from the original lossless source. If you re-encode it, you are reducing the quality. This applies to any lossy to lossy conversion, so even if you convert from 320 kbps to 192 kbps, the final file will still sound worse than if you had just ripped to 192 kbps from the lossless source in the first place.

It's also important to remember to verify that lossless rips actually came from an original source. People that download lossless expect it to be identical to the original. There's no point in people downloading a bigger file just to get another lossy rip.
 
So how do I verify that my upload isn't a transcode?

The simplest way is to rip and encode it from the original source yourself. That way, you know that there has been only one lossy step (or that the rip is truly lossless, if you decided to do a lossless rip).

The recommended software are Audacity, Audition, and SoX (Spectro and Spek have potential for analyzing transcodes too, but there are still a few missing features that the three preferred programs possess.)
 
What is the difference between FhG and LAME?

FhG and LAME are simply two different MP3 encoders. Both operate in a similar way - using the low pass filter to remove higher frequencies and compress the file. Each encoder uses a mathematical algorithm to determine which frequencies to disregard in order to produce the final file, and it is this algorithm that differs between the two (and, in fact, all) MP3 encoders. Most people will tell you that the LAME algorithm is better than the FhG algorithm in that it removes fewer frequencies for the same file size and produces a "cleaner" encode. I strongly recommend using LAME over FhG. (For more information, read the MP3 Specific Dupe Rules.)
 
 
 
How to interpret the frequency spectrogram of songs

I've seen a lot of discussion about how to spot transcodes. Many people have suggested using a spectral analysis from programs like Cool Edit / Adobe Audition and looking at the "cut-off" point. There is some disagreement about how effective this is, but those who recommend it suggest looking for cut-offs between 16 kHz (as the signature of a 128 kbps MP3 source) and 22 kHz (i.e. no cut-off at all) as the signature of a lossless source.

One counter argument to this "cut-off" level method is that the same cut-off that characterizes lossy encodes may also be the result of a poor quality recording - a bootleg of a live show or a "third world" vinyl master.

A number of spectral views have been posted and linked to but nearly all of these have been analyses of entire tracks... which IMHO is NOT the most effective way to use spectral analysis to detect transcodes.

What I haven't seen anyone discuss is the "blocky" appearance of the frequency spectrogram of lossy rips, which is noticeable only when you zoom in close enough. IMHO this is a more reliable way to detect whether a file, which purports to be lossless, has in fact been transcoded from a lossy rip, and may even be a useful way to detect re-encodes from lower to higher bit rate MP3s (although this is much harder whatever method you use). However, some consideration of the source material is necessary here as well. Electronic music, for example, frequently makes use of instruments that use the same technology as lossy audio encoding, so a blocky appearance in the spectrogram might be normal for a lossless source under certain circumstances.

The image below illustrates what I mean. The track (from an album by Philip Glass) was ripped from CD to FLAC and a 1-second sample was saved to 320 kbps LAME MP3 and 128 kbps FhG MP3; and then in each case saved again to FLAC. The spectral analysis was done at full screen on a monitor with a resolution of 1920 x 1080. Each of the three strips below is of the same 0.15 second interval in all three audio files.

 

 
 
And here are bigger strips of the three spectral analyses. The zoom level is the same - bigger simply means that what is shown here is around 0.5 seconds - and NOT the whole track!

And here are bigger strips of the three spectral analyses. The zoom level is the same - bigger simply means that what is shown here is around 0.5 seconds - and NOT the whole track!

FLAC

320 kbps LAME MP3


128kbps FhG MP3

I would choose the R9, even though I dont do things with cad and 3D, you would still destroy anything you throw at Plex. I have a 1600 which is 6 cores and I can have 6 4K transcodes on medium x264 settings and still have enough headroom for gaming @1080p60. So I think this CPU will be able to double those transcodes and still have room for gaming. 

My CPU is a Ryzen 1600@3.9GHz I wanted to clock more but I have to wait till Friday to buy my AIO.
I think these are good Cinebench scores, not sure though. 

HeHeHe

line it up and stick it in. if that doesnt work you're doing something wrong

INVEST NOW!!!

it clears the cache for that page to re download style sheets and what not.

Yeah lets hope they dont Shit the Bed on this one.

The 1080 can do it lol. These are my own benchmarks.

I see your point now, this could also be the mid to low end GPU there are supposed to multiple models.

Set your own Fan Curve

old pcs are fun to mess around with but if you dont have space like me. then the ppl who live with you (wife/kids) start to get upset. thank god for ebay. dont worry i have a secret stash dont tell anyone. 

Thats crazy, I would not spend my own money like that, I would build like 5 Systems for the price of that one system.

Titan Xp costs $1200 on their site lel
https://www.nvidia.com/en-us/geforce/products/10series/titan-xp/
 
And you don't need that expensive RAM, it gives no noticeable boost
 
Still agree that's expensive but there are people who have money and do that

given that there isnt a service in existence that can actually livestream a game capture at 4k, what's the point ?