It's not even close to a loaded TDM system. 128 tracks and virtually unlimited plugins depending on the number of mix cards you buy.
Last time I checked, TDM was limited to 64 simultaneous tracks, 128 including virtual ones. I can comfortably work with over 100 simultaneous, heavily edited, 24-bit tracks on my Nuendo system.
The last TDM system I did a mix on was a fully expanded Mix setup with a late version of PT4. Running out of processing power wasn't particularly difficult, even without reverb. I understand that's improved in the last year, just pointing out that everything has a limit, even TDM.
What DAWs leave ProTools in the dust sonically?
Which economy cars will beat a Geo Metro? PT still has a few problems with sound, IMO. Nuendo is no better either, but that's another thread. Paris has the best rep. for sound quality in a multitrack production DAW (Sonic wears the crown for a mastering DAW), and from the few times I've tinkered with it I'm inclined to agree that it doesn't sound too bad.
There are people that can "handle" 15 ms of latency to track to. Some people can't.
You're being generous, most native system with a loaded up session running can't get anywhere near 15ms. It's definitely the primary strength of a DSP-based system like TDM.
That said, it only applies to situations here the computer is the whole studio. I don't use them like that for a number of reasons, preferring instead to work with analog tools as much as possible, using the DAW as a recorder and editor. For that, Nuendo works beautifully - the only monitoring latency is from the ADAC's, and isn't any more than with other digital recorders.
OTOH, there is a workaround if you need to overdub something with a native system but don't have an external mixer available. Export a rough mix of the track into a new session file. With only one or two effects going I can get the latency down on my setup to 3ms (plus ADAC). It may not be ideal, but it's definitely usable.
Each system has its place. Considering what you get, 10,000K is a bargain! Mix inside!
$10K is often used to describe the starting point of a TDM system, but I can't for the life of me figure out how to build one that cheaply. Best price on M+ is around $7500. Mac with an approved SCSI drive and monitor, about $4000. 888|24 is another $3000. That's $14,500 for enough stuff to get started with.
I needed 24 channels of analog i/o, which drives the TDM price up to $20,000, but let's use 8 channels for comparison. Nuendo software, $1000. Top-shelf, single-cpu PC system with screen and two IDE drives, about $2500. Nuendo/RME 8 channel i/o, about $1750. $5250 for enough stuff to get started with.
Granted, the TDM system does have more signal processing horsepower. It also has by far the best third-party plug-in support. OTOH, I have more usable tracks and, IMHO, a much better editor. I also have enough money left over to buy a small car.
That's the reality that Digi needs to address. Their native solution is really weak, and their DSP solution is comparitively expensive. No doubt they have a gap-bridging system in the works though.
Then again, there's something to be said for NOT having Pro Tools. Don't laugh, there is. "Pro Tools" has become a verb for a number of things, not all of them good. PT has been around long enough that most everyone has done a project all in the box, and most of the people I know have done several. Maybe I'm listening to the wrong people, but I'm starting to sense the beginning of a backlash. If that ever happens en masse, well, I'd hate to be still making payments on a whole PT-based studio.
