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Dark-Destroy
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[转帖]聲卡歷史回顧
使用 LLM 解释/回答一下
与其他电脑产品相比,声卡的历史并不算长。但是向来竞争激烈的硬件行业,会让任何一样产品的发展历史都变得耐人寻味,做为多媒体力量的象征,声卡当然也经历了一次又一次轰轰烈烈的变革……
1 最初的尝试者
虽然PC声卡是在90年代才得以普及,但它的问世却早在1984年。英国的ADLIB公司是目前公认的“声卡之父”,虽然他们最初开发的产品只能提供简单的音乐效果,并且无法处理音频信号,但在当时无疑已经是一个很大的突破。由于技术不够成熟、成本又非常高昂,因此这类带有试验品性质的早期ADLIB音乐卡,没能普及的,况且那时候电脑的运算速度也不足以应付大规模的多媒体处理,普通用户对于电脑音乐依然处在一个比较懵懂的时期。
2 把声卡带入主流市场
把声卡真正带入个人电脑领域的,应该算是新加坡的CREATIVE创新公司。说起来CREATIVE研发“多媒体声卡”的历史并不比ADLIB短,但由于早期公司规模很小,所以研发的产品始终只能停留在实验室阶段,无法大规模投放市场。一直到了80年代末、90年代初期,PC机在硬件和软件上的双重技术突破,使得“多媒体电脑”的概念应运而生。CREATIVE抓住这个千载难逢的机遇,将多年来的技术潜力迸发,成功研制并推出了Sound Blaster声卡。使其成为了第一代主流多媒体声卡的代名词,也成为了CREATIVE值得引以为豪的骄傲!第一代Sound Blaster声卡基于ISA总线,具有一个8位的D/A转换器,只支持单声道录放音模式,但在当时看来却是极其振奋人心的新事物,它一次为电脑同时加上了音乐处理和音频信号处理的功能,在当时可谓一枝独秀。此后推出的Sound Blaster Pro则是CREATIVE研发的后续产品,主要加入了对立体声信号的支持。此时多媒体电脑已经深得人心,虽然那时候声卡的价格异常昂贵,但是人们对它的未来充满信心。当时出台了第一代的多媒体电脑技术标准——MPC1,就把Sound Blaster Pro作为声卡设备的标准配置。
3 采样规格上台阶
在传统音频行业已经非常发达的九十年代初,电脑多媒体音频无论在回放品质还是录音能力上和传统的音频设备差距都是很大的,低劣的信号采样规格,使人们对多媒体声卡的音质感到很不满意。为此,经过了一段时间的开发,CREATIVE终于推出了具有16bit、44KHz采样率并支持立体声的Sound Blaster 16系列。它的推出使多媒体声卡的录音和放音第一次在技术规格上达到了CD唱片的品质。在九十年代中期,16bit、44KHz、立体声D/A转换代表了声卡的最高技术水平。
4 波表合成魅力无穷
鉴于一般人群对于电脑多媒体音质的需求不高,因此CREATIVE在改善声卡D/A转换方面的努力到这时暂时告一段落。随着电脑音乐MIDI的流行,CREATIVE找到了新的技术改进目标,全新的Sound Blaster Awe系列开始走红了。Awe与以往的Sound Blaster系列最大的不同在于改进了MIDI合成引擎,弃用了性能较为落后的FM芯片,而将波表合成的理念首次引入多媒体声卡。1995年推出的Awe 32,96、97年陆续问世的Awe 64系列每一款都给MIDI爱好者带来了全新的感受。但是由于波表合成技术需要在板卡上集成内存模块,因此他们的售价往往是异常昂贵的。
5 CREATIVE以外的音频巨头——ESS、YAMAHA和Crystal
当CREATIVE在高、中、低各个层次推出自己产品的时候,随着声卡技术得不断完善,市场接受程度提升迅速,成本也得以逐渐下降,许多厂家便也注意到了颇有前途的多媒体市场,并开始进行音频处理芯片、CODEC芯片、MIDI合成芯片的研发和制造。其中国内用户比较熟悉的有ESS、YAMAHA和Crystal等。在当年CREATIVE产品以自己先进技术、优良品质赢取消费者的年代,他们的兼容级产品往往以良好的性价比占据一定的市场,从而促进了整个多媒体行业的发展与竞争。ESS公司是一家专业的影音通讯半导体研发机构,可以设计出声卡上所有的核心处理单元,其产品以品质优良、兼容性好、价格低廉著称。而YAMAHA则主要着力于MIDI领域的探索,在FM合成引擎流行的时期,他们的OPL-2和OPL-3 FM合成器占据了极大的市场份额,乃至CREATIVE都一度采用YAMAHA制造的MIDI合成芯片。而Crystal公司则与ESS类似,也属于全功能型的音频芯片大厂,具有各类音频DSP处理器、解码器、CODEC芯片的开发设计能力。在多媒体声卡领域Crystal的CS处理芯片拥有一个非常庞大的系列,不少欧美的品牌机上往往就采用Crystal声卡芯片。但平心而论,它在国内市场的号召力,同CREATIVE,甚至YAMAHA和ESS相比还有一定差距。
6 ISA->PCI 声卡革命的到来
1997年时的ISA声卡已经做的非常成熟,由于很多SB 16兼容级声卡芯片的普及,也使声卡得以成为国内普通家用电脑的标准配置。在这个时期,MIDI的魅力深深打动了不少音乐爱好者的心,但因为当时波表声卡过于昂贵的价格,所以使大部分用户只能望而却步。软波表虽然拥有类似的功能,但是在CPU稍慢的机器上,发音延迟现象极为严重。如何能够让硬波表普及起来?PCI声卡的设计就被提到议事日程上来了。把多媒体声卡的总线从ISA转移到PCI,本质上是一次宽带的提升,PCI总线133M/s的传输速率远远高于ISA总线的8MB/s,这就使声卡拥有了更大的施展空间,从而实现功能上的革命。一种名为“DLS”的技术得以实现,使PCI声卡可以非常轻松的支持硬波表。而三维音频技术,多声道环绕技术也开始逐渐崭露头角。在当时看来,PCI声卡的出现是必然的,许多兼容芯片开发厂家为了率先抢夺这块市场,联合了一些中小型的板卡生产厂家,合作推出了第一代PCI声卡。可能是由于太过急功近利、并且技术不够成熟,第一代产品存在不少函待解决的问题,最终没有取得市场的认可。直到97年底、98年初,当时美国头号多媒体板卡大厂DIAMOND联合Aureal、ESS两大芯片巨头,先后推出了M80、S70和MX200这三款性能优秀、性价比合理的产品,这才使PCI声卡开始逐渐得到消费者的认同。而声卡市场的传统领头羊CREATIVE则在静静观察整个市场的发展,先期推出了几种带有试验性质的PCI产品,而最终在98年的第三季度推出自己的重磅炸弹——基于PCI总线、采用EMU10K1芯片的SB Live!声卡,而几乎与此同时DIAMOND力推自己的新品MX300,与CREATIVE展开激烈的技术竞争和市场争夺,PCI声卡市场终于被全年打开了。
7 诱人的三维音效和四声道技术
PCI声卡流行以后,在技术上取得最大突破的当属硬件波表合成技术的成本大大下降以及三维音效、多声道环绕声场在电脑上的普及。后者更是得到了广大游戏玩家的普遍认可。在电脑游戏视频三维逐渐趋于主流的时候,三维音效的运用无疑进一步增添了游戏的娱乐性和拟真度。此时一款PCI声卡是否能够拥有强大的音场模拟效果和音频定位能力就显得尤为重要了。而对声卡三维音效处理能力起到关键作用的则是主芯片是否拥有强大的处理能力和声卡所支持的API算法。同时,三维音效还带动了多声道音箱系统的销售。在高档产品中,对四声道的支持早已是诱惑发烧友的一大卖点。而诸多中小厂家在99年也纷纷推出了能够支持四声道输出和三维音频定位的中低档次芯片。YAMAHA YMF-744和C-Media CMI-8738就是这类产品的代表。
8 数码传输初显锋芒
音频传输数码化是由于人们对于电脑内部强烈的电磁干扰造成声卡D/A转换质量欠佳而被提出的。采用数码方式输出PCM音频,把D/A转换工作交由数字式音箱或专业解码器来完成,可以适度提高整套音频系统的性噪比,所以在98年以后推出的一些中高档声卡上出现了同轴SPDIF输出口。这个接口另外一个非常有价值的功能则在于可传输Dobly AC-3信号,这样声卡就可以通过SPDIF OUT口外接AC-3、dts解码设备,从而组成家庭影院系统。此外随着MD的流行,不少发烧友对光纤数字录音技术开始感兴趣,因此带有光纤SPDIF输入输出的相关产品在99年也逐渐发展起来,速捷时公司力推的夜莺系列声卡是这类产品中的佼佼者。
9 用电脑组成家庭影院
当进入2000年之后,国内声卡市场在经历了98、99年的火爆后,逐渐趋于平静,一度出现了新产品脱节的情况。归根结蒂是因为市场缺乏新的技术和消费热点。而FM-801芯片在市场上崛起终于打开了这个僵局。这片早就在港台地区红透半边天的中低档声卡芯片在2000年年中逐渐走进国内市场,虽然没有非常出众的技术指标,但是其别出心裁的六声道模拟输出能力和软件AC-3解码支持,独辟蹊径的走出了一条低价位桌面影院的解决方案,良好的影院定位效果相对其低廉的价格,非但使FM-801芯片迅速出名,带动了相关声卡的销售,也使整个多媒体市场找到了全新的发展方向,模拟5.1输出成为新产品所不可或缺的一个技术标准。在这一年年底CREATIVE发布了SB Live! 5.1,可以说是对软件AC-3解码,模拟六通道技术最好的认可。近期市场上已经开始出现售价低于100元的同类声卡,可见低价位电脑多媒体桌面影院的概念已经深入人心。
10 传统大厂纷纷落马
在2000年,整个声卡市场发生了比较大的震动,首先是YAMAHA和S3/DIAMOND两大多媒体行业的巨头先后告别民用声卡领域。前者是著名的MIDI器材大厂,著名的兼容声卡芯片研发厂商,YAMAHA的YMF-724、744芯片以其优良的MIDI合成能力和较高的性价比曾经获取了不小的市场份额,但最终他们宣布YMF-754将使他们最后一款民用多媒体声卡处理芯片,此后他们将放弃这个领域。后者则是名声显赫的“媒体之王”,但自从Aureal公司自主生产成品卡,不再向DIAMOND提供芯片以后,他们在声卡领域和CREATIVE竞争的局面就成为历史了,MX400和S100在销售上的不尽人意,最终也使他们放弃了这块曾经辉煌过的“土地”。但在这一年中最令人惋惜的,还是Aureal最终被CREATIVE收购的消息。这家在PCI声卡崛起初期进入民用领域的专业音频处理器研发机构,凭借着定位能力超强的A3D技术红遍全球。但由于经营决策上的失误以及长期和CREATIVE在三维定位技术上专利权官司,拖累了Aureal的发展,造成亏损,并在2000年年初爆发高层人事变动,从此一蹶不振。到了去年9月份,最终被其往日的对手CREATIVE以3200万美元所收购,其中包括红极一时的A3D技术。经过了这一番重新洗牌,多媒体声卡行业的格局越加趋向CREATIVE的垄断,尤其是在中高档产品领域。但幸好我们还有ESS、Crystal、C-Midea和Fortemedia,他们依然不断以自己的新技术,新产品冲击着这样一个残酷的现实。
Compared with other computer products, the history of sound cards is not very long. However, in the highly competitive hardware industry, the development history of any product is always intriguing. As a symbol of multimedia power, sound cards have certainly undergone one grand transformation after another...
1. The earliest tryers
Although PC sound cards became popular in the 1990s, they made their debut as early as 1984. The ADLIB company in the UK is currently recognized as the "father of sound cards". Although the products they initially developed could only provide simple music effects and could not process audio signals, it was undoubtedly a big breakthrough at that time. Due to immature technology and extremely high cost, these early ADLIB music cards with the nature of experimental products did not gain popularity. Moreover, at that time, the computing speed of computers was not sufficient to handle large-scale multimedia processing, and ordinary users were still in a relatively ignorant period regarding computer music.
2. Bringing sound cards into the mainstream market
The company that truly brought sound cards into the personal computer field should be CREATIVE from Singapore. It is said that CREATIVE's history of researching and developing "multimedia sound cards" is not shorter than that of ADLIB. But due to the small scale of the company in the early days, the products developed always stayed in the laboratory stage and could not be mass-produced and put on the market. It was not until the late 1980s and early 1990s that the dual technological breakthroughs in hardware and software of PC machines made the concept of "multimedia computers" come into being. CREATIVE seized this once-in-a-blue-moon opportunity, unleashed the technological potential accumulated over the years, successfully developed and launched the Sound Blaster sound card. It became the representative of the first-generation mainstream multimedia sound card and also a source of pride for CREATIVE! The first-generation Sound Blaster sound card was based on the ISA bus, had an 8-bit D/A converter, and only supported mono recording and playback modes. But at that time, it was an extremely exciting new thing. It added music processing and audio signal processing functions to the computer at one time, and was unique at that time. The subsequent Sound Blaster Pro launched by CREATIVE is a follow-up product, mainly adding support for stereo signals. At this time, multimedia computers had won the hearts of the people. Although the price of sound cards was extremely expensive at that time, people were full of confidence in their future. The first-generation multimedia computer technology standard - MPC1 was introduced at that time, and Sound Blaster Pro was taken as the standard configuration of sound card equipment.
3. Stepping up in sampling specifications
In the early 1990s when the traditional audio industry was already very developed, there was a big gap between computer multimedia audio in terms of playback quality and recording ability and traditional audio equipment. The poor signal sampling specifications made people very dissatisfied with the sound quality of multimedia sound cards. To this end, after a period of development, CREATIVE finally launched the Sound Blaster 16 series with 16-bit, 44KHz sampling rate and supporting stereo. Its launch made the recording and playback of multimedia sound cards reach the quality of CD records for the first time in terms of technical specifications. In the mid-1990s, 16-bit, 44KHz, and stereo D/A conversion represented the highest technical level of sound cards.
4. The charm of wavetable synthesis is infinite
In view of the low demand for computer multimedia sound quality by the general public, CREATIVE's efforts to improve the D/A conversion of sound cards came to a temporary end at this time. With the popularity of computer music MIDI, CREATIVE found a new target for technological improvement, and the brand-new Sound Blaster Awe series began to become popular. The biggest difference between Awe and the previous Sound Blaster series is that it improved the MIDI synthesis engine, abandoned the relatively backward FM chip, and introduced the concept of wavetable synthesis into multimedia sound cards for the first time. The Awe 32 launched in 1995, and the Awe 64 series launched in 1996 and 1997 brought a brand-new feeling to MIDI enthusiasts. But because the wavetable synthesis technology requires integrating memory modules on the board, their prices are often extremely expensive.
5. Audio giants other than CREATIVE - ESS, YAMAHA, and Crystal
When CREATIVE launched its products at high, medium, and low levels, with the continuous improvement of sound card technology, the market acceptance rate increased rapidly, and the cost gradually decreased. Many manufacturers also noticed the promising multimedia market and began to research and develop and manufacture audio processing chips, CODEC chips, and MIDI synthesis chips. Among them, ESS, YAMAHA, and Crystal are relatively familiar to domestic users. In the era when CREATIVE products won consumers with their advanced technology and excellent quality, their compatible products often occupied a certain market with good cost-effectiveness, thus promoting the development and competition of the entire multimedia industry. ESS is a professional R & D institution for audio-visual communication semiconductors, which can design all core processing units on sound cards. Its products are famous for their excellent quality, good compatibility, and low price. YAMAHA mainly focuses on the exploration of the MIDI field. In the period when FM synthesis engines were popular, their OPL-2 and OPL-3 FM synthesizers occupied a large market share, and even CREATIVE once adopted YAMAHA's manufactured MIDI synthesis chips. Crystal Company is similar to ESS, and also belongs to a full-function audio chip giant, with the development and design capabilities of various audio DSP processors, decoders, and CODEC chips. In the multimedia sound card field, Crystal's CS processing chips have a very large series, and many European and American brand computers often use Crystal sound card chips. But to be fair, its appeal in the domestic market is still somewhat behind that of CREATIVE, and even YAMAHA and ESS.
6. The arrival of the ISA->PCI sound card revolution
In 1997, ISA sound cards had become very mature. Due to the popularization of many SB 16 compatible sound card chips, sound cards also became the standard configuration of ordinary home computers in China. During this period, the charm of MIDI deeply touched the hearts of many music enthusiasts. But because the wavetable sound cards were too expensive at that time, most users could only look on with envy. Soft wavetable had similar functions, but on machines with slightly slower CPUs, the sound delay phenomenon was extremely serious. How to popularize hard wavetable? The design of PCI sound cards was put on the agenda. Transferring the bus of multimedia sound cards from ISA to PCI is essentially a broadband upgrade. The transmission rate of the PCI bus at 133M/s is far higher than 8MB/s of the ISA bus, which gives sound cards greater room for development and thus achieves a revolution in functions. A technology called "DLS" was realized, enabling PCI sound cards to easily support hard wavetable. And three-dimensional audio technology and multi-channel surround technology also began to emerge gradually. At that time, the appearance of PCI sound cards was inevitable. Many compatible chip development manufacturers, in order to seize this market first, joined hands with some small and medium-sized board card manufacturers to jointly launch the first-generation PCI sound cards. Maybe due to being too eager for quick success and profit and insufficiently mature technology, the first-generation products had many problems to be solved, and finally did not gain market recognition. It was not until the end of 1997 and the beginning of 1998 that DIAMOND, the number one multimedia board card manufacturer in the United States at that time, joined forces with Aureal and ESS, two major chip giants, and successively launched three products with excellent performance and reasonable cost-effectiveness: M80, S70, and MX200, which made PCI sound cards gradually gain the recognition of consumers. The traditional leader in the sound card market, CREATIVE, was quietly observing the development of the entire market. It first launched several experimental PCI products, and finally launched its blockbuster product - the SB Live! sound card based on the PCI bus and using the EMU10K1 chip in the third quarter of 1998. Almost at the same time, DIAMOND promoted its new product MX300, engaging in fierce technological competition and market competition with CREATIVE. The PCI sound card market was finally fully opened throughout the year.
7. Attractive three-dimensional sound effect and four-channel technology
After PCI sound cards became popular, the biggest technological breakthrough was the great decrease in the cost of hardware wavetable synthesis technology and the popularization of three-dimensional sound effects and multi-channel surround sound fields on computers. The latter was even more generally recognized by game players. When computer game videos gradually became mainstream in three dimensions, the application of three-dimensional sound effects undoubtedly further added to the entertainment and realism of games. At this time, whether a PCI sound card can have a powerful sound field simulation effect and audio positioning ability is particularly important. And the key to the three-dimensional sound effect processing ability of sound cards is whether the main chip has powerful processing ability and the API algorithm supported by the sound card. At the same time, three-dimensional sound effects also drove the sales of multi-channel speaker systems. In high-end products, support for four channels has long been a big selling point to tempt audiophiles. And many small and medium-sized manufacturers also successively launched mid-to-low-grade chips that can support four-channel output and three-dimensional audio positioning in 1999. YAMAHA YMF-744 and C-Media CMI-8738 are representatives of such products.
8. Digital transmission shows its edge
The digitalization of audio transmission was proposed due to the poor D/A conversion quality of sound cards caused by the strong electromagnetic interference inside the computer. Using the digital method to output PCM audio and leaving the D/A conversion work to digital speakers or professional decoders can moderately improve the signal-to-noise ratio of the entire audio system. Therefore, coaxial SPDIF output ports appeared on some mid-to-high-grade sound cards launched after 1998. Another very valuable function of this interface is that it can transmit Dobly AC-3 signals. In this way, the sound card can connect an AC-3, dts decoding device through the SPDIF OUT port to form a home theater system. In addition, with the popularity of MD, many audiophiles became interested in optical fiber digital recording technology. Therefore, related products with optical fiber SPDIF input and output gradually developed in 1999. The Nightingale series sound cards strongly promoted by Shuttle are the outstanding representatives of such products.
9. Using computers to form a home theater
After entering 2000, the domestic sound card market gradually became calm after the boom in 1998 and 1999, and there was once a situation of new product disconnection. In the final analysis, it was because the market lacked new technologies and consumption hotspots. The rise of the FM-801 chip in the market finally broke this deadlock. This mid-to-low-grade sound card chip that had been very popular in Hong Kong, Macao, and Taiwan gradually entered the domestic market in the middle of 2000. Although it did not have very outstanding technical indicators, its ingenious six-channel analog output ability and software AC-3 decoding support opened up a solution for low-cost desktop theaters in a unique way. The good theater positioning effect relative to its low price not only made the FM-801 chip quickly famous and promoted the sales of related sound cards but also made the entire multimedia market find a new development direction. Simulated 5.1 output has become an indispensable technical standard for new products. At the end of this year, CREATIVE released SB Live! 5.1, which can be said to be the best recognition of software AC-3 decoding and analog six-channel technology. Recently, sound cards of the same type with a price lower than 100 yuan have appeared in the market, indicating that the concept of low-cost computer multimedia desktop theaters has taken root in people's hearts.
10. Traditional big manufacturers fall one after another
In 2000, the entire sound card market experienced a relatively big shock. First, YAMAHA and S3/DIAMOND, two major giants in the multimedia industry, successively bid farewell to the consumer sound card field. The former is a famous MIDI equipment manufacturer and a famous compatible sound card chip R & D manufacturer. The YAMAHA YMF-724 and 744 chips once gained a不小 market share with their excellent MIDI synthesis ability and relatively high cost-effectiveness, but finally they announced that YMF-754 would be their last consumer multimedia sound card processing chip, and then they would abandon this field. The latter is the famous "king of media", but since Aureal company independently produced finished cards and no longer provided chips to DIAMOND, the situation where they competed with CREATIVE in the sound card field became history. The unsatisfactory sales of MX400 and S100 finally made them give up this once glorious "land". But the most regrettable thing in this year was the news that Aureal was finally acquired by CREATIVE. This professional audio processor R & D institution that entered the consumer field at the initial stage of the rise of PCI sound cards became popular all over the world with the extremely powerful A3D technology. But due to wrong management decisions and long-term patent lawsuits with CREATIVE in three-dimensional positioning technology, it dragged down Aureal's development, caused losses, and in the early 2000s, there was a high-level personnel change, and it has been in decline ever since. In September of last year, it was finally acquired by its former opponent CREATIVE for 32 million US dollars, including the once-popular A3D technology. After this reshuffle, the pattern of the multimedia sound card industry has become more and more inclined to CREATIVE's monopoly, especially in the mid-to-high-grade product field. But fortunately, we still have ESS, Crystal, C-Midea, and Fortemedia, which are still constantly impacting such a cruel reality with their new technologies and new products.
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MSN:tiqit2@hotmail.com
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2003-7-12 00:00 |
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wchong
银牌会员
    
积分 1186
发帖 510
注册 2004-7-30
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『第 2 楼』:
使用 LLM 解释/回答一下
真长知识——谢谢版主!
Really learned a lot - thanks moderator!
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2004-8-4 00:00 |
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Windows叛逆
初级用户
  菜菜菜菜菜鸟
积分 176
发帖 27
注册 2004-8-9
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2004-8-10 00:00 |
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dark_duck
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『第 4 楼』:
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楼主和我同姓,是一家人顶!!
The owner of the post shares the same surname with me, we are family, great!
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2004-8-15 00:00 |
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wchong
银牌会员
    
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『第 5 楼』:
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论坛里要排家谱啦!!!
It's time to sort out the family tree in the forum!!!
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2004-8-16 00:00 |
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fdsiuha
高级用户
    闷
积分 587
发帖 302
注册 2005-7-25
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『第 6 楼』:
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回想当年那PC喇叭都能模拟说E文的时代(人有多大胆地有多大产),感慨SB16 AWE32一代ISA枭雄,无奈CREATIVE就此做大,PC声卡霸主地位无人能撼。而后就是昙花一现的PCI声卡繁荣景象,帝盟S90。列强纷纷转向圈占集成市场,CREATIVE却坚守高端独立显卡,因为都说至差不过板载AC97,可是真正听到声卡真正声音的人有几个?10几20的耳机杜比XX,300、500的音响n.n环绕?
SB16在役,足矣。
Recall the era when even the PC speaker could simulate speaking English (where there's great ambition, there are great results), and sigh over the SB16 AWE32, a generation of ISA overlords. It's helpless that CREATIVE grew big like this, and no one could shake its dominant position as the PC sound card king. Then came the short-lived prosperity of PCI sound cards, with Diamond S90. The powers all turned to occupy the integrated market, but CREATIVE stuck to high-end discrete graphics cards. Because they all said that at worst it's just on-board AC97, but how many people really heard the true sound of a sound card? With 10 or 20 yuan headphones with Dolby XX, and 300, 500 yuan speakers with n.n surround?
SB16 is still in service, enough.
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欢迎造访DOS的小屋!
http://risky.ik8.com |
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2005-8-12 22:14 |
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xiaojian1987
新手上路

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『第 7 楼』:
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如何在DOS下驱动声卡呀
How to drive the sound card under DOS?
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2005-11-25 15:17 |
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159
新手上路

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『第 8 楼』:
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谢谢了!在此一游让我见识不少啊
Thanks! Having been here has let me see a lot of things
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2005-12-9 18:49 |
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chengzheng111
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『第 9 楼』:
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awe64 Gold,确实是好卡................................
awe64 Gold, really a great card................................
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2006-4-22 10:57 |
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freeants001
中级用户
  
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『第 10 楼』:
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又长了不少知识……thank you.
I've learned a lot more... thank you.
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2006-4-25 14:44 |
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GOTOmsdos
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『第 11 楼』:
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“创新首次引入波表合成? 或 创新生产了第一块波表声卡(AWE32)?”
是这样吗?
其实创新的强项不在MIDI,AWE32/64主要是想在MIDI方面不落人后, 建立自己的General MIDI(MPU-401)规范,但是,我用AWE64 GOLD (带4MB 波表)以AWE32 MIDI 模式听MIDI 仍然不如用其他声卡(2MB)以 MPU-401模式 来听的效果好(尤其是鼓声和清丽的高音)
感觉 AWE32/64 比不上 Gravis Ultrasound 。。。
AWE GENERAL MIDI 标准仍然比不上ROLAND GENERAL MIDI标准(MPU-401,)Sound Canvas
SB16就更不要谈了,听MIDI更难听,其芯片是OPL-3的FM(FM有时能有古雅的风格,这不是本帖的主题), 没有波表的,一般是发出叮叮咚咚之类的声音,尤其是几乎没有鼓声模拟
Last edited by GOTOmsdos on 2007-2-11 at 12:46 PM ]
"Did Creative first introduce wave table synthesis? Or did Creative produce the first wave table sound card (AWE32)?"
Is that the case?
In fact, Creative's strength is not in MIDI. The AWE32/64 mainly wanted to keep up in MIDI and establish its own General MIDI (MPU-401) specification. However, when I listen to MIDI in AWE32 MIDI mode with AWE64 GOLD (with 4MB wave table), the effect is still not as good as listening with other sound cards (2MB) in MPU-401 mode (especially for drum sounds and clear high notes).
It feels that AWE32/64 is not as good as Gravis Ultrasound...
The AWE GENERAL MIDI standard is still not as good as the ROLAND GENERAL MIDI standard (MPU-401, Sound Canvas).
Don't even talk about SB16. Listening to MIDI is even worse. Its chip is OPL-3 FM (FM can sometimes have an antique style, which is not the theme of this post). It has no wave table. It generally makes ding-dong-like sounds, especially with almost no drum simulation.
Last edited by GOTOmsdos on 2007-2-11 at 12:46 PM ]
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2007-2-10 14:13 |
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GOTOmsdos
铂金会员
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『第 12 楼』:
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下面是XP的DOS虚拟机的声卡配置说明(AUTOEXEC。NT):
REM A specifies the sound blaster's base I/O port
REM I specifies the interrupt request line
REM D specifies the 8-bit DMA channel
REM P specifies the MPU-401 base I/O port
REM T specifies the type of sound blaster card
REM 1 - Sound Blaster 1.5
REM 2 - Sound Blaster Pro I
REM 3 - Sound Blaster 2.0
REM 4 - Sound Blaster Pro II
REM 6 - SOund Blaster 16/AWE 32/32/64
REM
REM The default value is A220 I5 D1 T3 and P330. If any of the switches is
REM left unspecified, the default value will be used. (NOTE, since all the
REM ports are virtualized, the information provided here does not have to
REM match the real hardware setting.) NTVDM supports Sound Blaster 2.0 only.
REM The T switch must be set to 3, if specified.
SET BLASTER=A220 I5 D1 P330 T3
两个问题:
1
为什么没有 T5?
2
有没有 Sound Blaster 1.0?
那它算 T几?
Here is the translation:
Below is the sound card configuration instructions for the XP DOS virtual machine (AUTOEXEC.NT):
REM A specifies the sound blaster's base I/O port
REM I specifies the interrupt request line
REM D specifies the 8-bit DMA channel
REM P specifies the MPU-401 base I/O port
REM T specifies the type of sound blaster card
REM 1 - Sound Blaster 1.5
REM 2 - Sound Blaster Pro I
REM 3 - Sound Blaster 2.0
REM 4 - Sound Blaster Pro II
REM 6 - SOund Blaster 16/AWE 32/32/64
REM
REM The default value is A220 I5 D1 T3 and P330. If any of the switches is
REM left unspecified, the default value will be used. (NOTE, since all the
REM ports are virtualized, the information provided here does not have to
REM match the real hardware setting.) NTVDM supports Sound Blaster 2.0 only.
REM The T switch must be set to 3, if specified.
SET BLASTER=A220 I5 D1 P330 T3
Two questions:
1
Why is there no T5?
2
Is there Sound Blaster 1.0? Then which T does it count as?
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2007-2-11 02:31 |
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GOTOmsdos
铂金会员
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『第 13 楼』:
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补充一下我的看法:
刚又用AWE64 GOLD 玩了金庸群侠,其鼓声感觉虽然没有MPU-401的GENERAL MIDI那样厚重有立体感,但是高低音的层次还是更清晰,而且现场感更强,也就是更逼真.
总体感觉:
MPU-401的GENERAL MIDI 现代电子音乐味较浓,比如JAZZ,SAXOPHONE,SUPER BASS...
而AWE32/64 GENERAL MIDI 的古典音乐,室内乐味较浓(这包括中国民乐),比如,小提琴,大提琴,小号,单簧管,钢琴...
那么,如果玩老外的DOS游戏(比如war2,doom,quake,duke3d,rise of triad,theme hospital),比较适合用MPU-401的GENERAL MIDI 的方式
而,如果玩中国的DOS游戏(比如,DOS仙剑,金庸群侠..),比较适合用AWE32/64 以创新自己的AWE32/64 的GENERAL MIDI方式.
Supplement my view:
Just now I played Jin Yong Heroes again with AWE64 GOLD. Although the drum sound doesn't have the thick and three-dimensional feeling of MPU-401's GENERAL MIDI, the level of high and low frequencies is clearer, and the sense of presence is stronger, that is, more realistic.
Overall feeling:
MPU-401's GENERAL MIDI has a stronger modern electronic music flavor, such as JAZZ, SAXOPHONE, SUPER BASS...
While AWE32/64 GENERAL MIDI has a stronger classical music, chamber music flavor (this includes Chinese folk music), such as violin, cello, trumpet, clarinet, piano...
Then, if playing foreign DOS games (such as war2, doom, quake, duke3d, rise of triad, theme hospital), it is more suitable to use the MPU-401's GENERAL MIDI method
And, if playing Chinese DOS games (such as DOS Xianjian, Jin Yong Heroes...), it is more suitable to use AWE32/64 in the way of Creative's own AWE32/64 GENERAL MIDI.
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2007-2-12 11:12 |
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