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Q. What are the differences among DDR/DDR 2/DDR 3/ DDR 4 Ram? What is the best choice among them? While going to buy a laptop or a desktop we are given the choice of various configurations including various types of Ram and we often get confused, not having sufficient knowledge. Well, in this article , I am going to compare DDR1 vs DDR2 vs DDR3 vs DDR4 and mention difference between DDR1, DDR2, DDR3 and DDR4 SDRAM memory types. I will also explain the differences between SDR SDRAM and DDR SDRAM types. Each generation of memory is marked by speed and frequency increases and power consumption decreases. Because computer hardware is all connected and interdependent, this leads to speed increases in other components. Introduction: SDRAM stands for Synchronous Dynamic Random Access Memory. As the name suggests it has synchronous behaviour and as a result it synchronizes itself with CPU timing or clock signal. FOr example PC133 SDRAM refers to SDRAM running at the clock signal of 133 MHz. There are two types of SDRAM viz. SDR SDRAM and DDR SDRAM. Difference between SDR SDRAM and DDR SDRAM :- SDR SDRAM:- It is the short form of Single Data Rate SDRAM. In this SDRAM type, same frequency is used for Input/Output operations, bus clock and internal clock. As mentioned above PC133 uses 133 MHz for all these purpose. SDR SDRAM can either read or write one at a time in single clock cycle. DDR SDRAM:- It is the short form of Double Data Rate SDRAM. It can transfer data on both the rising edge of the clock as well as falling edge of the clock i.e. doubles the transfer rate without even increasing the clock signal frequency. DDR SDRAM has 2 bit prefetch buffer size which is double of SDR SDRAM. There are various versions of DDR SDRAM viz. DDR1 (or simply DDR), DDR2, DDR3 and DDR4 based on various features as explained below. DDR1 SDRAM or DDR SDRAM :- Following are the features of DDR1 SDRAM type: • It transfers data on rising and falling edge of clock. Hence it has double data transfer rate compare to SDR SDRAM type. • Clock speed: 133 to 200 MHz • Prefetch buffer size: 2 bits • Operating voltage: 2.5V • Data transfer rate: 266 to 400 MT/s (MegaTransfers per SECond) • Examples: DDR266, DDR400 DDR2 SDRAM :- Following are the features of DDR2 SDRAM type: • It operates external data bus two times faster compare to DDR1 SDRAM type or DDR SDRAM. • Clock speed: 133 to 200 MHz • Operating voltage: 1.8 V • Prefetch buffer size: 4 bits • Data transfer rate: 533 to 800 MT/s (MegaTransfers per SECond) • Examples: DDR2 533, DDR2 800 DDR3 SDRAM :- Following are the features of DDR3 SDRAM type: • Its power consumption is less compare to previous version i.e. DDR2 which is about 40% less. This is due to use of lower operating voltage of 1.5V compare to DDR and DDR2 SDRAM types. • Operating voltage: 1.8 V • Prefetch buffer size: 8 bits • Data transfer rate: 800 to 1600 MT/s (MegaTransfers per SECond) • DDR3L-800 , DDR3L-1066 , DDR3L-1333 and DDR3L-1600 • Special functions used: ASR (i.e. Automatic Self Refresh) , SRT (Self Refresh Temperature). DDR4 SDRAM :- DDR4 memory is the latest generation of double data-rate random access memory. DDR4 replaces DDR3, which replaced DDR2, which replaced what is now called DDR. Following are the features of DDR4 SDRAM type: • It provides further lower operating voltage and faster transfer rate compare to other DDR types. • Operating voltage: 1.2V • Data transfer rate: 2133 to 3200 MT/s • Example: DDR4-2400, Micro Technology Inc. • It processes four data in a single clock cycle. • Efficiency: better than DDR3. • Special functions: DBI (i.e. Data Bus inversion), CRC, CA parity. In a nutshell, it can be deduced that the latest DDR4 Ram is the fastest and most energy-efficient Memory which provides the smoothest performance till date . If you found this article useful , showing support by sharing to your friends,family and acquaintances will be much appreciated. Keep visiting the site as I share such articles often.. Thanks and Cheers! Share on Facebook Share on Twitter Share on Google Plus About Subhajit Surai This is a short description in the author block about the author. You edit it by entering text in the "Biographical Info" field in the user admin panel. RELATED POSTS
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Here is the man who commissioned these images, James Skinner. From the Hazrat-E-Dilli blog: "James Skinner and Tashrih al-aqvam Colonel James Skinner,(1784-1841) or Sikander sahab was an Anglo-Indian military adventurer who is known for raising 2 cavalry regiments for the British, known as Skinner’s Horse. Even today they are part of the Indian army. He spoke fluent Persian and is the author of the book Tashrih al-aqvam(an account of origins and occupations of some of the sects, castes, and tribes of India). It was completed in 1825 and is part of the collection of the British Library. Skinner translated into Persian the summary of the Vedas and Shastras with a survey survey of both Hindu and Muslim occupational groups and religious mendicants in the Delhi region. The book also gives details of Hindu, Jain, and Sikh religious faqeers (mendicants) such as yogis and sanyasis as well as the Muslim Afghans of Kasur, qawwals, and fakirs. The text was illustrated by a number of Delhi artists commissioned by Skinner for the album, the chief of them being Ghulam Ali Khan. The watercolor paintings all seem to have been made from live subjects by the painter who accompanied Skinner on his travels." These images below are from the Asia Society page, which offers no information about any of the specific images, only a brief general overview. I gathered as much information as I could about the images from this LessingImages.com page. some of the images have no descriptions that I could find on the web: Hindu Tantric ascetic Kshatriya warrior A Vaishya, a Hindu trader A Vaishya money lender An astrologer with his divination board. "Dakaut", impure Brahman caste, represented by a fortune teller. An image of the elephant keeper in India riding his elephant from Tashrih al-aqvam (1825). Female conjuror/Bhanmati A bear-keeper with his dancing bear. Nat – gypsy acrobat A singer or bard. Bandijan or kalavant, a singer or bard from the Bhat caste. A Harlot Ship's captain, represented by the Mars, a naval battleship Bhangi, a caste represented by a sweeper. Chamar, a caste represented by a tanner. Shoemaker. "Moci", Muhammadan shoemakers, an occupational sub-division of the Camars. A dyer ("chimba" class) dipping cloth in red dye. Man with a rifle. Dhanak, a caste formerly of bowmen and hunters. A brush maker. "Kanjar", a wandering tribe who make rope and articles of grass. Bavari, an itinerant predatory tribe, represented by a bird-snarer. Kahar, the carrier or bearer class of the eastern Panjab. "Mallah", boatman class. Boatman in the River Ravi in the foreground with Lahore Fort beyond. Two men wrestling. Macchi, a Muslim caste of fishermen. Man with his Ghulam servant Hajjam, a barber, i.e. Muslim barber as opposed to Hindu A Bari leaf-worker. Bari, a caste that made plates and cups from leaves. Jarrah, a caste of surgeons. Baghban, a gardener. Making a garland. "Kunjra", an occupational group represented by a greengrocer. Coppersmith (Thathera). Ahangar, the Persian term for the Lahore caste of blacksmith. Bellmaker. Weaver, Julaha, a Muslim caste of weaver. A tape-weaver. Rope-maker Potter, Kumhar, the potter caste of the Panjab. A brickmaker. Goldsmith (Sunar). Sunar, the Goldsmith caste. An artist seated, and at work. Tashrih al-aqvam. Chipi (or chimba), a cloth printer. Printing green cloth with a red geometric design. Khayyat (or Darzi), a tailor. Darzi is an occupational group rather than a caste but it is organised in the guilds. Embroiderer. A betel-nut seller preparing his wares. Earpicker. A man cleaning another man's ears. Kalal, a Hindu caste of distillers or tavern-keepers. A professional criminal. Mina, a Hindu caste of professional criminals, represented by a man cutting through the wall of a building at night. "Raj", mason or bricklayer. An occupational sub-group of the "Tarkhan" or carpenter caste. Represented by a man ("raj") building the wall and another ("muzdur") mixing mortar. Khati or Tarkhan, carpenter caste of the Panjab. Man sawing a plank. Man attending a pilgrim. Two actors. Bahrupiya, originally an occupational group of strolling players. Washerman. Dhobi, a caste of washermen. A cotton-dresser. Dhuniya or Pamjara, synonyms for the caste of cotton-dressers, represented by a masked man using a bow to prepare raw cotton. Acrobats. Nat, a caste of gypsy acrobats. A water-seller. Saqqa, a Muslim caste of water-carriers. Man sifting grain with a sieve. Agari, a grain-sifter. Sweepings-sifter. A man searching sweepings for gold or silver. A labourer wielding a pick. Badhak or Qassab, the caste of butcher. A snake-charmer of the Sapera caste. "Bharbhumja", occupational caste of corn roasters. Man using a kiln type of brazier to roast grain. A mat-weaver, possibly of the Dumna caste. A screen-maker, possibly of the Dumna caste. Polisher. (Term "Barhiya" caste applies to Hindus and "Saikalgar" to Muslims). Man polishing a "tulwar". "Gandhi", a caste of perfumers or druggists. Surrounded by shelves of bottles, a man is pouring liquid into a bowl. Ribari, a caste of camel-men. Lime-burner. Cunari, a caste of lime-burners, in front of a kiln. Runner or messenger ("paik"). Luniya, a caste of salt-diggers. Kamdangar, a bowmaker. Shown bending the wood of a bow over a bowl of embers. Leather-bottle makers. (Presumably members of the "Chamaar" caste). Sannyasi, a Saiva mendicant. "Paramahamsa", a naked ascetic, usually a Saiva. "Dandi", a Saiva ascetic who possesses only a staff and a waterpot. "Sarabhanga" order of ascetics who did not believe in the ordinary ideas of pollution. A portrait of Bhajan Das Bairagi, a member of the Vaisnava order of ascetics, usually followers of Ramananda. "Nanga", a naked ascetic. This particular one is associated with the "Vairagis" and is armed with a spear, gun and tulwar. "Dhundiya", a member of the strict "Sthanakavasi" sect of Jains. Wearing a mouthcloth to protect microscopic life from harm, he carries a brush to clear insects from his path. Kanphata yogi. A Saiva ascetic with large earrings and wearing the 'linga' around his neck, accompanied by Tashrih al-aqvam. 1825 "Jangama", a member of the priestly order of the "Virasaiva" A Nanakpanthi, a follower of the teachings of Guru Nanak, the first guru of Sikhism. A Sikh A Suthra Shahi, an order of Sikh devotees Sadhu, Hindu renunciate. Qusuri or Kusuri, a pathan of Kasur -Tashrih al-aqvam (1825) ‘Qawwal’, a sub-caste of the large Muslim caste of ‘Mirasis’ or singer/genealogists. A man beating a Dhol drum. Sufi dervish "Tashrih al-aqvam album The illustrated Tashrih al-aqvam (an account of origins and occupations of some of the sects, castes, and tribes of India) was completed in 1825 and is part of the collection of the British Library. The text, a summary of the Vedas and Shastras, translated into Persian by Colonel James Skinner (1778–1841), is a survey of both Hindu and Muslim occupational groups and religious mendicants in the Delhi region and begins with an account of the house of Timur down to Akbar II (reigned 1806–37). The largest section is devoted to the various Hindu castes found in the area around Delhi. In addition to these major occupational groups, The text also discusses Hindu, Jain, and Sikh religious mendicants such as yogis and sanyasis; after listing the kings of Avadh, the book describes the Muslim Afghans of Kasur, qawwals, and fakirs. The Tashrih al-aqvam, along with the Tazkirat al-umara(historical notices of some princely families of Rajasthan and the Panjab)—also by James Skinner and illustrated—are examples of a new kind of nonliterary Persian text written by, or under the patronage of the British that emerged in late Mughal literary culture and combined topography, biography, and ethnography. Skinner commissioned Delhi artists to illustrate the album, the chief of them being Ghulam Ali Khan. The artist accompanied Skinner on his travels, and the watercolor portraits in the British Library manuscript are likely studies from life.The portraits in the Tashrih al-aqvam, especially those of ascetics, are done in a realistic manner that reflects the ethnographic quality of the text. Some figures are named. All of the paintings from the album may be viewed here."
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