Published on Mar 14, 2019 Konstantin Tokarev Assatiani
“Making some house music on the handmade synths. Tokarev Protosynth V1LP on the left and the new ‘H7Synth’ on the right, both running polyphonic modes. Drums and MIDI from FL Studio.”
The just-before-the-holiday-break software updates just keep coming. Next: the evergreen, lifetime-free-updates latest release of the DAW the developer calls FL Studio, and everyone else calls “Fruity Loops.”
FL Studio has given people reason to take it more seriously of late, too. There’s a real native Mac version, so FL is no longer a PC-vs-Mac thing. There’s integrated controller hardware from Akai (the new Fire), and that in turn exploits all those quick-access record and step sequence features that made people love FL in the first place.
AKAI Fire and the Mac version might make lapsed or new users interested anew – but hardcore users, this software release is really for you.
The snapshot view:
Stepsequencer looping is back (previously seen in FL 11), but now has more per-channel controls so you can make polyrhythms – or not, lining everything up instead if you’d rather.
Plus if you’re using FIRE hardware, you get options to set channel loop length and the ability to burn to Patterns.
Audio recording is improved, making it easier to arm and record and get audio and pre/post effects where you want.
And there are 55 new minimal kick drum samples.
And now you can display the GUI FPS.
And you have a great way of making music videos by exporting from the included video game engine visualizer.
Actually, you know, I’m just going to stop -t here’s just a whole bunch of new stuff, and you get it for free. And they’ve made a YouTube video. And as you watch the tutorial, it’s evident that FL really has matured into a serious DAW to stand toe-to-toe with everything else, without losing its personality.
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Published on Sep 27, 2018 AkaiProVideo
“The new Akai Professional Fire represents the first of its kind, a dedicated hardware controller for the FL Studio Digital Audio Workstation (DAW) platform. Created in close partnership with Image-Line, Fire is a high-performance tool designed to enhance the workflow and music-creating experience for all FL Studio producers.”
U.S. retail for Fire is $
As the Akai APC40 was to Ableton Live, so the Akai Fire hardware controller is to FL Studio. It looks like the step sequencing grid you see when you open FL, and it was created in collaboration with Image-Line. So can it bring something new to the integrated controller world?
Okay, so the pitch here is easy: yes, you can use any number of controllers with FL Studio. But first-time users may want an integrated package, and dedicated hardware can be pre-mapped to do useful stuff.
What you get from the Fire is a big grid of buttons, four encoders, and then a whole bunch of triggers including transport and other functions. It’s clearly descended from Akai’s own APC and Novation Launchpad (the latter still features in product images for FL software). The difference: more triggers for software functions, and the grid is 16×4 instead of 8×8.
Shifting from 8×8 to 16×4, though, makes a real difference in workflow. It mirrors the iconic step sequencer that has always popped up first when you load FL Studio (back to the first Fruity Loops), and it makes programming rhythms easier, since you can see a whole bar’s worth of sixteenth notes.
And Akai are positioning this with trap and hip-hop in mind. That makes sense, as those music styles – both in terms of listeners and producers – are growing fast.
What you don’t get, though, is velocity sensitivity, as on the MPC (original and current) and rivals like Maschine. So instead of playing in those velocities, you’ll dial them in with encoders. But while Akai is the brand that popularized that way of working, it does seem that programming in rhythms fits the FL ethos.
$199 buys you a lot of power, though, not only because of the shortcut triggers but also the inclusion of the OLED display – those these little OLEDs currently showing up on entry-level hardware will require a bit of squinting.
What can you actually control, apart from obviously that step sequencer?
Load/audition sounds. Plug-ins and even project files are accessible from the browser.
Step sequencer. Since this can be combined with samples and you can, for instance, dial in pitch changes and the like (see videos), this does look fun.
Trigger patterns, performances. Hardcore FL users have hacked live rigs for a while this way; now you get hardware that can do it out of the box. Performance mode can trigger both patterns and audio. So yeah – this is absolutely an alternative to Ableton Live.
One-touch mute/solo. Okay, no volume faders (Fire alongside a Novation LaunchControl XL, for instance, would be killer), but one-touch mute/solo is also essential for live jams.
Note mode, drum mode. Yes, you can also use those buttons for pitch and drums, even mapping the first 4×4 grid MPC-style to FPC and SliceX.
Transport, record. Countdown, wait, and metronome settings are also friendly to doing takes.
Parameter control. The four encoders also map to both device parameters and channel and mixer settings.
And if you’re really crazy, Akai wants to let you know you can connect up to four Fires at once.
More detail in the videos (selected – they just dumped a bunch)):
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Sehr lange in Betastatus und sehr lange angekündigt war die Mac-Version zu FL-Studio (ehemals „Fruity Loops“). Jetzt kann man es laden und ausprobieren.
Nicht nur das, denn natürlich wurde die Oberfläche an Mac-Augen angepasst. Die seltsam hässlichen Windowismen wollte man gar nicht erst reimportieren und unternahm strenge Betatests. Denn wenn etwas ganz neu ist für eine Plattform, möchte man natürlich keinerlei Klagen hören und Startprobleme haben.
Warum sollte man sich FL Studio ansehen? Weil es das einzige DAW-Tool ist, das sehr konsequent auf die Step-Sequencer-Programmierung setzt. Das haben andere meist nur als sehr halbherzige und meist als auf 16 oder 32 Steps begrenzte Plug-in-Idee irgendwo in der Sammlung. Aber für ein anständiges Arbeiten taugt das natürlich nicht. Der Bereich Elektro und Techno bis hin zu allem was rhythmisch ist, wird hier auf jeden Fall einen interessanten Kandidaten finden, der nicht so funktioniert wie Cubase oder Logic, sondern doch einen eigenen Weg geht, der nicht dem anderer zu stark ähnelt.
Dennoch gibt es sicher Dinge, die alle DAWs irgendwie haben und anbieten können. Audio kann timegestrecht werden, und es gibt natürlich auch Dinge wie die Piano-Rolle und den klassischen MIDI-Workflow bei der Sequencing-Abteilung.
Es gibt auch eine Fernsteuer-App für die Steuerung per Touch. Die PC-Welt kennt auch schon länger diese Optimierung, welche jedoch in der Mac-Abteilung keine Entsprechung hat, außer auf iOS. Denn Apple geht den Weg sehr gerade, und es gibt keine Touch-Macs bisher. Daher ist es interessant, wie Image Line die Touch-Bedienung umgesetzt haben wird.
Wie üblich gibt es eine Menge an Angeboten von einer einfachen Version bis zu der „All Plugins“-Version. Sie enthält auch den Harmor (addiver Synthesizer) und natürlich Effekte. Die Preise reichen von 99,– bis 899,– Euro. Ohne Harmor und einige Plugins gibt es für 299,– Euro auch eine deutlich günstigere Option. AU- & VST-Plugins beherrscht das System natürlich generell auch in der kleinen Version.
Die kleinen Versionen unter 200,– Euro beinhalten einige Funktionen nicht wie Stretching und Samples per Drag & Drop einwerfen. Bequeme Dinge muss man sich also erkaufen. Dennoch ist das Wesentliche offenbar schon im 189-Euro-Paket enthalten. Was es noch nicht gibt, ist etwas namens Pax/Edison, eine Art Scripting auf dem Mac. Ebenso gibt es eine Liste, was bei der Windows-Version anders ist als in der Mac-Version. Das meiste, das nicht geht, hat mit 32-Bit-Support zu tun, den man allerdings heute wirklich eher nicht braucht. Auf dem Mac ist die Transformation schon lange gelaufen.
FL Studio aka Fruity Loops has hit a version the developers are dubbing FL Studio 20. At age 20, the software still includes lifetime free updates – and a bunch of new features, including freezing of audio, and Hell freezing over.
The “Hell freezing over” bit you’ll see a lot around this release. It’s a reference to a claim developers Image-Line made that they’d add native Mac support “when Hell freezes over.” The comment at the time wasn’t so outrageous: FL Studio had been built a Windows-native development toolchain that made porting unthinkable. And while about ten years ago the company flirted with using emulation layer WINE to provide rudimentary support, that approach wasn’t terribly satisfying.
Now, Mac users can be first class FL Studio citizens if they so choose. FL Studio 20 is entirely Mac native – not running any kind of emulation. Of course, it may be hard to Image-Line to shake the Windows association, and some Mac users are coming the opposite direction, opting for the power-for-price ratio on Windows PCs. But the Mac still represents a huge portion of musicians, and this means choosing FL doesn’t require choosing a particular OS.
(I will say, though – a new Razer Blade is out. And even the old Razer Blade remains cheaper and better equipped than the Mac. Now you do have to disable some Windows 10 annoyances, like a CPU-hogging malware check and automatic updates on by default. Ahem.)
Okay, so… I have a theory.
Maybe one reason people assume FL Studio is for people making particular kinds of music is that … the video projects a particular kind of … uh, let’s say musical taste. Oh, sure, Ableton can throw a big posh party in Berlin and toss moody high-contrast artist photos beneath a stylish typeface they hired a London design consultancy to choose for them. FL Studio’s video may turn off a lot of producers simply because they hate the music.
So I’ve found a solution. First, cue up this delightful live performance of “Söngur heiftar” by classic Icelandic black metal band Misþyrming. It’s a little longer than the FL Studio 20 launch video, so don’t panic … you’ve got up to 60 seconds to then hit play on the FL Studio launch video, and hit the mute button in YouTube.
It’s the “Dark Side of the Moon” / Wizard of Oz approach to making music tech marketing videos more palatable. And it kind of fits. You’re welcome.
Hell isn’t the only thing FL Studio can freeze. You can now bounce selected audio and pattern clips to audio, render clips to audio, consolidate clips or tracks or takes by bouncing, and more. That’s a huge difference in the FL workflow.
There are plenty of other new features in version 20, too:
Time Signature support (both in playlists and patterns, independently – so, yes, polymetric support if you like – and you thought FL Studio was just for 4/4 trance.)
Playlist Arrangements. Here’s something I find I’m often missing in linear DAWs – you can now set up multiple alternate arrangements, including audio, automation, and pattern clips, all in one project. That could be massive for tasks from trying out alternative song ideas to specific game or live performance sound designs. (I could see a theater show design using this … or fitting a score to different versions of a film trailer … and so on.)
Plugin Delay Compensation, rebuilt. FL already had delay compensation, both automatic and plugin varieties, but it’s been rebuilt from the ground up, say the developers. And it sounds very useful: “Mixer send compensation, Wet/Dry mixer FX compensation, Audio input compensation, Metronome compensation, Plugin Wrapper custom values remembered per-plugin and improved PDC controls in the Mixer.”
Graph Editor is back! This should never really have left, but a “classic” FL feature has returned, letting you edit MIDI information from the Channel Rack – a very Fruity Loops workflow.
Better recording. There’s now a live display of recorded audio and automatic grouping of tracks as you record – both overdue but welcome.
There are loads of improvements to various plugins, of course, plus lots of other fixes and improvements. Details in the manual:
It’s also pretty remarkable that FL Studio has hit 20 years without ditching its lifetime free upgrade policy. FL users have a substantially different relationship with the software than do users of most typical DAWs, both because of its unique workflow and interface and that lifetime policy. But I’m personally intrigued to give it another go – bouncing and working delay compensation make a big dfference, and FL remains a peculiar, interesting toybox full of nice stuff. I think the fact that FL has perhaps not been taken as seriously as tools like Cubase or Ableton Live might itself be a badge of honor – if you can adapt to its often nonstandard ways of working, it offers some big rewards on a small budget.
Announcing FL STUDIO 20 [FL Studio News]
You’ll need the sound back on for this one, but here’s an extended tutorial video explaining what’s new:
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Published on Apr 15, 2018 Konstantin T
“Making music on the DIY synths, two Tokarev Protosynth V1LPs running the pads and a Protosynth V2 prototype grooving with the bassline. Running loop in the FL Studio, sending MIDI notes to the synths. Audio output from synths gets processed by some dynamics and effects vst processors on the computer.”
Not just for gamers any more: Razer’s high-spec Blade laptop holds promise for music making, too. I’ve taken one for an extended test to see how it holds up.
Do you know what you want in a production laptop? Well, odds are, yes, you absolutely do. But as computing has pushed harder into mobility, we’ve often had to sacrifice power, specifications, and expandability we want. That is, we’ve been told what we want, rather than being heard.
The thing is, what a laptop consumer wants isn’t necessarily what we want for music, video, and the like. If you’re like me, you want a powerful machine to tote between home, studio, office, and tour spots. But it might be okay to plug that machine into power most of the time – and a little extra thickness isn’t such a big deal.
The Razer Blade is a feeling of relief – getting what you actually want for music and visuals. And that may say something about where the creative PC lies at the moment – if it was overlapping with mainstream issues for a while, it’s again a niche.
On the surface and in the marketing, this is a gaming machine. But the same specs gamers want – yes, even including the GPU (more on that in a bit) – can be just as useful to music and visual production. Razer are also the first from the PC gaming industry to figure that out, as they’ve touted the machine with their Razer Music program and even bundled a full license for FL Studio (commonly known as “Fruity Loops”).
I’ve been testing my Blade since earlier this year. It’s a machine that’s both faster and cheaper than a MacBook Pro flagship – no dongles required. (I had a MacBook Pro on loan for a portion of the same time period – and, while it was also an exceptional high-end machine, sorry, Apple, I kept coming back to the speedy Razer with its more conventional keyboard action and additional ports.) Having it over that time has let me see what it’s like in the studio and on the road for extended periods. Gamers can vouch for its quality in that territory. So let’s see if it holds up to creative use.
The nicest thing about the Razer’s design is, you’re not going to notice it much. It’s just an all matte-black design that nicely slips into the background as you work. There’s one Razer touch – the neon-green “snake” logo on the back. That logo will earn tons of compliments from gamers (turns out more of my musician friends game than I thought) – and everyone else will think it looks like an energy drink logo or that you’re going to start making trance. But there’s nothing anywhere to distract you from working.
I’m not going to pull any punches: if you miss the old pro Apple designs, you’re going to crack a smile the moment you pick up the Razer Blade. The scaling and feel seem like a MacBook Pro from a couple of generations ago. (There are even faint ribs on the top cover reminiscent of the PowerBook G3 Series, for added nostalgia.)
To me, the best feature of the form factor is the keyboard. It’s crisp and has a full-sized action. In fact, when this machine was next to Apple’s offering, it was the keyboard that constantly had me switching back to the Razer above all. The trackpad is also really solid – I have mine set just for scrolling gestures and nothing else, but that’s fine.
Razer likes to advertise the Chroma support on this keyboard, which changes color based on context. There’s a C++-based SDK, and if I ever have any spare time, I’d love to write a little MIDI plugin for that or do some animations to sound for live sets.
More likely, you’ll use Chroma one of two ways. There’s dedicated support in Image-Line’s FL Studio for Razer Chroma, which provides a bunch of nifty features, depending on mode:
Chroma support is available as a plug-in for visual feedback, or activates for piano input when you use FL’s Typing to piano keyboard.
There’s an update coming for other Chroma peripherals, too.
This is all an interesting gimmick, but of more universal appeal, you’ll find settings in the included Razer Synapse utility that let you tone down the color or choose when and how to light keys. I like the “reactive” mode onstage – keys light when you need to see them, but otherwise disappear into blackness. And blackness is good.
Oh yeah – everything is black, everything is matte. That’s really what I want, as I’m either focusing on the display or trying to make my laptop disappear into the background as part of a live rig.
That includes a full HD (1080) matte IPS display, which I find is easier to use in almost every situation than a glossy display. It’s great for mobile use and terrific onstage, thanks to the matte surface reducing glare and particularly broad viewing angle. There’s literally no . It’s crisp and clear, though you may find some laptops with greater color depth and accuracy and more brightness; basically, I prefer an external monitor for intensive work when I need color precision for graphics and more real estate and brightness. On the road, this display did the trick.
I didn’t get to test the higher-density Razer, which is 4K (with touch). If you’re thinking of that one, note that Windows’ scaling at high densities isn’t as consistent across applications as on macOS, either (a Windows gripe, not a Razer gripe), though that’s gradually changing. Ableton Live 10 beta for instance just unveiled features for managing higher densities.
So the display is fine, but doesn’t feel like a key feature here. For extended use, I’d connect an external display, anyway. I could imagine the touch model could be useful live, too, though I just use an iPad Pro connected to the Razer so I can move the touchscreen over by my other gear.
Now to the good bits. You get a pretty ample set of connectivity on the Razer Blade. You get three full USB 3.0 ports, and one USB-C port that doubles as Thunderbolt 3. So you have Thunderbolt for high-end audio interfaces like the Universal Audio Apollo line, and three USB ports you can use without adapters. That’s about perfect. There’s also dedicated HDMI output which can drive 4K. (This is the killer machine for live visuals – more on that below.)
Bluetooth and WiFi are also up to the latest specs.
When you think gaming machine, you probably think fast GPU – but the Razer is worth eying even just for the CPU. This model comes with an Intel i7-7700HQ quad chip, so 3.8GHz in turbo mode. My most intensive soft synths were no match for that horsepower. This becomes especially nice when getting lavish with Reaktor Blocks modular setups and huge live rigs; I was finally able to create the virtual modular of my dreams without making the CPU sputter here and there.
You’re also decked out on RAM, with 16 GB of DDR4 memory.
Storage is configurable, with up to 1TB SSD storage – yeah, that’s a terabyte of SSD, not a choice between getting an SSD and having enough space.
Sure, I use external storage, but it sure is nice not to have to depend on it for big DJ track collections alongside massive audio and video projects.
The sweet spot for me is, you can max out this machine for US$2,499.99 with the full 1 TB drive, or go for the nicer display for US$2,799.99. (Prices start at US$1899, or you may also consider the lower-priced Stealth – see bottom of article. There’s also a sale on this month, and refurbs do become available now and then.)
That’s a premium price, but the trick is, you don’t get astronomical by maxing out the specs the way you do with flagship offerings like the MacBook Pro or Microsoft Surface Book. You get a balanced machine that has all the storage, memory, and CPU you could want right now, and without sacrificing the I/O you need, too.
Of course, what puts this over the top is going to be the GPU.
That’s where this category has really transformed recently, because you now get what is essentially a high-end desktop GPU in a laptop. It’s the NVIDIA GeForce GTX 1060 VR with 6 GB RAM. That’s not available on the Apple side, and there’s reason to want it. This is a GPU that can do all this fancy experimental machine learning stuff. It can do high-end virtual reality. And it’s got way more power than you could ever use right now for live visuals.
I’ve been playing with Unreal Game Engine as a custom visual development environment for live performance. I tested more conventional tools like Isadora and Resolume Arena, and they were able to run tons of advanced shaders easily.
This matters for music, too, because you can off-load visuals (even 3D ones) to the GPU and run your music setup alongside. Even if internal graphics pull off what you need, shared memory on internal graphics means you’re limited by available memory resources.
Since it comes from NVIDIA, shader compatibility for the 1060 is excellent, and you get support for the CUDA instruction set (think acceleration for everything from graphics to machine learning). For one, this hardware is an excellent pairing for Adobe Creative Suite. Running on the graphics card, I was able to quickly render and transcode big video projects in a matter of minutes. Now, Apple can tout their acceleration for Final Cut Pro X, but … the dedicated GPU here easily keeps up in real-world applications, and the number of editors I know even on the Mac who prefer Premiere and After Effects to Final Cut Pro and Motion these days is considerable.
Using the GPU is the one time this machine is loud. Put the graphics under load, and that fan kicks in. Then again, I don’t think you’re going to be doing a sensitive studio recording while also using the GPU, so mostly this isn’t noticeable; the machine is quiet all the rest of the time. I don’t mind hearing the fan while my Premiere project renders.
But I think the GPU is worth watching. This is what future-proofs the machine. Artists want to work with advanced visuals, creative shaders, sophisticated video processing, live visual performance, 3D, VR, and AI. Heck, just one commission or workshop working with machine learning might pay off the investment. And the 1060 is a good baseline.
This is the area of Razer’s lineup naturally most likely to change in upcoming models, especially as NVIDIA are also focused on new lower-power, lower-heat versions of their desktop lineup. But I still think this generation makes a worthy investment, even if you can’t yet run the GPU and get long battery life for now. (You can switch off the GPU to conserve power on battery.)
It’s also worth saying, musicians may want to invest in gaming laptops – for various reasons, not just on-paper specs.
Apart from various creative applications, music and sound design for games is becoming a big area. And that means you’ve got a good justification to go for a gaming laptop. (Yeah, it’s a tax writeoff.) There are plenty of reviews of this laptop as a gaming laptop, and I’m no expert there. But I can at least say, gaming breaks on this thing are as fun as long hours in the studio. It’s a shame we have to do other work!
By the way – while Microsoft’s Surface laptops look interesting, it seems they suffer from insufficient power to the GPU. (See The Verge’s recent coverage.) That’s a deal-killer for me – and the price from Microsoft is steep, plus they lack Thunderbolt. The Razer I think wins handily.
If anything is holding most users back from the PC side, it’s probably poor past experience with Windows.
Windows 10 still doesn’t exactly win any contests for UI refinement. There’s some confusing mingling of tablet features and new UIs with the desktop bits of Windows you know well. And there’s the usual digging through settings panels.
But let’s talk about what matters. Compatibility with Mac volumes is no longer a problem. (I use Paragon’s products.) I think there’s a lot to like about the Windows file Explorer, but if you don’t like it, you can easily replace it with whatever you want.
Microsoft have also fixed the biggest problem with Windows for audio. You can now rely on the stock drivers for music work without worrying about latency and glitching, thanks to years of investment in that subsystem. So skip things like ASIO4ALL and use your internal audio card in WASAPI mode, and everything’s fine. You can also easily install drivers for routing audio and MIDI between apps and different machines.
Some gripes remain. Driver installation and management for USB audio and MIDI drivers can still be a bit stickier than on other OSes. As I mentioned earlier, scaling the UI is also not entirely consistent yet. But on balance, I find Windows to be easy enough to work with. (It’s also great that you can now install an Ubuntu command line, if you care about that, which I do.)
Windows also has some excellent platform exclusives, like FL Studio, or vvvv and Touch Designer for visuals (Touch Designer’s recent Mac arrival still isn’t as complete). So much of the rest of our software is now cross-platform, you’ll barely notice. I found switching from Final Cut back to Premiere why so many other people have done that, and all my daily music apps are cross-platform.
Don’t listen to people who say you need to do a bunch of hacking to make Windows work for audio; you don’t. Just choose audio interfaces with stable drivers, and you’ll be fine.
Just one gripe, Microsoft – please let us delay automatic updates without hacking the Registry. (At least Microsoft quality control has been better than Apple’s, but this is more about timing updates when they’re convenient, which is essential on a machine you use onstage. Anyway, in the meantime – do something like this.)
I’ve used this machine for a lot. It’s been a studio machine, working with Ableton Live, Maschine, Reaktor, Pure Data, Bitwig Studio, and dabbling again in FL Studio. It’s been a live machine, both running live music (with Live and Reaktor/Reaktor Blocks and Pd), and simultaneous audiovisuals (adding visuals in Resolume and Isadora). It’s been a video machine, working in Premiere and Creative Suite. I’ve DJed with it, done productions on the road. It’s handled onstage situations and smoke machines and dirt. And it doesn’t seem to be slowing down.
I feel I haven’t even scratched the surface yet, either. (Um, apart from some literal scratches I tried to put in it – did I mention I play really underground spaces? It’s resisted that, too. Nice to have a rugged machine.)
That CPU/GPU combination plus Windows is now proving handy as I experiment with creative coding and use with machine learning / deep learning tools and Unreal Game Engine and Kinect 2. (I’m developing some new courses and a new live AV show.)
I’m really happy with the Razer Blade. I hope Razer continue to refine hardware here. It’s not hard to imagine what a next generation would look like: longer battery life, a new generation of NVIDIA graphics (which will be required to deliver on battery), and refined display would be welcome. USB-C charging would be nice.
For now, though, there’s not much reason to hold off if you’re looking to upgrade. With so many specs being this solid, I think Razer are going to be at the top of the list for anyone looking for a production machine – full stop. And talking to others in the community about recent purchases, plenty of people agree.
This is a gimmick-free, compromise-free, high-end choice. And after some years away from the PC, this is as happy as I’ve ever been on a Windows machine.
Disclosure notice: I contribute to the Razer Music program, but without any monetary compensation. I had this Razer Blade provided by Razer Europe on extended loan.
For more information:
music.razerzone.com is Razer’s music-focused site, which has tutorials and such (of interest to PC users in general, not just Razer customers)
Razer has US$400 off on select models through December 23. Products are available direct (with localized service and pricing):
My model, as tested:
Razler Blade 14” – i7-6700HQ CPU @ 2.6G, 16GB RAM, 1TB SSD, NVIDIA GTX 1060 VR GPU with 6GB VRAM, 16GB (DDR4) RAM. Graphics and RAM are actually standard that way; storage is available from 256G-1TB SSD on the HD model or 512G-1TB on the 4k model. And all of this is just 4 lbs / 1.86 kg – not ultrabook light, but perfectly portable.
I think the 14” model is the most balanced choice, but you can also upgrade to a roomier 17” Razer Blade Pro (with slightly higher-end specs, too), or opt for the more compact 13” Razer Blade Stealth. (To save space, the Stealth can use an external GPU, so you have graphics power when you need it.) Details:
Razer Blade Pro 17” – Full HD model (same CPU/GPU as 14”) with 16GB RAM and 256GB SSD + 2TB HDD. RAM can be upgraded to 32GB, SSD to 2TB, HDD to 4TB by user. Also have the 4K model, with GTX 1080 GPU, overclocked i7-7820HK, 32GB RAM, RAID 0 SSD up to 2TB, and mechanical keyboard.
Razer Blade Stealth 13” – New 8th gen quad-core CPU available, 16GB RAM, QHD+ touch screen, up to 1TB, and with Gunmetal color option (no glowing green logo or green USB ports, but also no Chroma keyboard). Can be paired with Razer Core for more graphics power and connectivity.
Let me know what machines you’re using these days. And, yeah, maybe we can add each other on Steam.
The post Long-term hands-on: Razer Blade 14” as creative laptop appeared first on CDM Create Digital Music.