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Sound Blaster AWE32
The Sound Blaster AWE32 is an ISA sound card from Creative Technology. It is an expansion board for PCs and is part of the Sound Blaster family of products. The Sound Blaster AWE32, introduced in March 1994, was a near full-length ISA sound card, measuring 14 inches (356 mm) in length, due to the number of features included. Sound Blaster AWE32 Backward compatibility The AWE32's digital audio section was basically an entire Sound Blaster 16, and as such, was compatible with Creative's earlier Sound Blaster 2.0 (minus the C/MS audio chips.) Its specifications included 16-bit 44.1 kHz AD/ DA conversion with real-time on-board compression / decompression and the Yamaha OPL3 FM synthesizer chip. However, compatibility was not always perfect and there were situations where various bugs could arise in games. Many of the Sound Blaster AWE32 cards had codecs that supported bass, treble, and gain adjustments through Creative's included mixer software. There were many variants ...
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Sound Blaster
Sound Blaster is a family of sound cards designed by Singaporean technology company Creative Technology (known in the US as Creative Labs). Sound Blaster sound cards were the de facto standard for consumer audio on the IBM PC compatible system platform, until the widespread transition to ''Microsoft'' Windows 95, which standardized the programming interface at application level (eliminating the importance of backward compatibility with Sound Blaster), and the evolution in PC design led to onboard audio electronics, which commoditized PC audio functionality. By 1995, Sound Blaster cards had sold over 15 million units worldwide and accounted for seven out of ten sound card sales. Creative Music System and Game Blaster Creative Music System The history of Creative sound cards started with the release of the Creative Music System ("C/MS") CT-1300 board in August 1987. It contained two Philips SAA1099 integrated circuits, which, together, provided 12 channels of square-wave "bee-i ...
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Creative Sound Blaster AWE32 PNP CT3990
Creative may refer to: *Creativity, phenomenon whereby something new and valuable is created * "Creative" (song), a 2008 song by Leon Jackson * Creative class, a proposed socioeconomic class * Creative destruction, an economic term * Creative director, an occupation * Creative industries, exchange of finance for rights in intellectual properties * Creative nonfiction, a literary genre * Creative writing, an original, non-technical writing or composition * Creative Commons, an organization that deals with public copyright issues * Creative Labs, a brand owned by Creative Technology * Creative Technology Creative Technology Ltd. is a Singaporean multinational technology company headquartered with overseas offices in Shanghai, Tokyo, Dublin, and Silicon Valley (where in the US it is known as Creative Labs). The principal activities of the compa ..., Singapore-based manufacturer of computer products See also * Creativity (other) {{disambiguation ...
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Reverberation
Reverberation (also known as reverb), in acoustics, is a persistence of sound, after a sound is produced. Reverberation is created when a sound or signal is reflected causing numerous reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and air. This is most noticeable when the sound source stops but the reflections continue, their amplitude decreasing, until zero is reached. Reverberation is frequency dependent: the length of the decay, or reverberation time, receives special consideration in the architectural design of spaces which need to have specific reverberation times to achieve optimum performance for their intended activity. In comparison to a distinct echo, that is detectable at a minimum of 50 to 100  ms after the previous sound, reverberation is the occurrence of reflections that arrive in a sequence of less than approximately 50 ms. As time passes, the amplitude of t ...
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MT-32
MT3 may refer to: * Melatonin receptor 1C * Metallothionein-3 * Montana Highway 3 Montana Highway 3 (MT 3) is a highway in central Montana extending north from Billings to Great Falls. Route description At its southern end, MT 3 begins at I-90 in Billings and travels northwest to US 12 near Lavina – this ...
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OPL-3
The OPL (FM Operator Type-L) series are a family of sound chips developed by Yamaha. The OPL series are low-cost sound chips providing FM synthesis for use in computing, music and video game applications. Internal operation The internal operation of the chips is completely digital. Each FM-tone is generated by a digital oscillator using a form of direct digital synthesis. A low-frequency oscillator and an envelope generator drive an FM operator to produce floating-point output for the DAC. Decapsulation of the chips shows two look-up tables, one for calculating exponents and one for log-sine. This allows the FM operator to calculate its output without any multipliers, using the formula \exp log \sin[\varphi_2 + \exp [\log \sin [\varphi_1+ A_1">varphi_2_+_\exp_[\log_\sin_[\varphi_1.html" ;"title="log \sin[\varphi_2 + \exp [\log \sin [\varphi_1">log \sin[\varphi_2 + \exp [\log \sin [\varphi_1+ A_1 + A_2] and two 256-entry look-up tables. Both tables are stored as pairs of values r ...
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MPU-401
The MPU-401, where ''MPU'' stands for MIDI Processing Unit, is an important but now obsolete interface for connecting MIDI-equipped electronic music hardware to personal computers. It was designed by Roland Corporation, which also co-authored the MIDI standard. Design Released around 1984, the original MPU-401 was an external breakout box providing MIDI IN/MIDI OUT/MIDI THRU/TAPE IN/TAPE OUT/MIDI SYNC connectors, for use with a separately-sold interface card/cartridge ("MPU-401 interface kit") inserted into a computer system. For this setup, the following "interface kits" were made: * MIF-APL: For the Apple II. * MIF-C64: For the Commodore 64. * MIF-FM7: For the Fujitsu FM7. * MIF-IPC: For the IBM PC/IBM XT. It turned out not to work reliably with 286 and faster processors. Early versions of the actual PCB had IF-MIDI/IBM as a silk screen. * MIF-IPC-A: For the IBM AT, works with PC and XT as well. * Xanadu MUSICOM IFM-PC: For the IBM PC / IBM XT / IBM AT. This was a third party ...
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Flanging
Flanging is an audio effect produced by mixing two identical signals together, one signal delayed by a small and (usually) gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resulting frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit that creates this effect. Part of the output signal is usually fed back to the input (a "re-circulating delay line"), producing a resonance effect which further enhances the intensity of the peaks and troughs. The phase of the fed-back signal is sometimes inverted, producing another variation on the flanger sound. Origin As an audio effect, a listener hears a "drainpipe" or "swoosh" or "jet plane" sweeping effect as shifting sum-and-difference harmonics are created analogous to use of a variable notch filter. The term "flang ...
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Analog Delay Line
An analog delay line is a network of electrical components connected in cascade, where each individual element creates a time difference between its input and output. It operates on analog signals whose amplitude varies continuously. In the case of a periodic signal, the time difference can be described in terms of a change in the phase of the signal. One example of an analog delay line is a bucket-brigade device. Other types of delay line include acoustic (usually ultrasonic), magnetostrictive, and surface acoustic wave devices. A series of resistor–capacitor circuits (RC circuits) can be cascaded to form a delay. A long transmission line can also provide a delay element. The delay time of an analog delay line may be only a few nanoseconds or several milliseconds, limited by the practical size of the physical medium used to delay the signal and the propagation speed of impulses in the medium. Analog delay lines are applied in many types of signal processing circuits; for ex ...
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Physical Modelling Synthesis
Physical modelling synthesis refers to sound synthesis methods in which the waveform of the sound to be generated is computed using a mathematical model, a set of equations and algorithms to simulate a physical source of sound, usually a musical instrument. General methodology Modelling attempts to replicate laws of physics that govern sound production, and will typically have several parameters, some of which are constants that describe the physical materials and dimensions of the instrument, while others are time-dependent functions describing the player's interaction with the instrument, such as plucking a string, or covering toneholes. For example, to model the sound of a drum, there would be a mathematical model of how striking the drumhead injects energy into a two-dimensional membrane. Incorporating this, a larger model would simulate the properties of the membrane (mass density, stiffness, etc.), its coupling with the resonance of the cylindrical body of the drum, and ...
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Digital Waveguide Synthesis
Digital waveguide synthesis is the synthesis of audio using a digital waveguide. Digital waveguides are efficient computational models for physical media through which acoustic waves propagate. For this reason, digital waveguides constitute a major part of most modern physical modeling synthesizers. A lossless digital waveguide realizes the discrete form of d'Alembert's solution of the one-dimensional wave equation as the superposition of a right-going wave and a left-going wave, :y(m,n) = y^(m-n) + y^(m+n) where y^ is the right-going wave and y^ is the left-going wave. It can be seen from this representation that sampling the function y at a given point m and time n merely involves summing two delayed copies of its traveling waves. These traveling waves will reflect at boundaries such as the suspension points of vibrating strings or the open or closed ends of tubes. Hence the waves travel along closed loops. Digital waveguide models therefore comprise digital delay lines ...
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Ensoniq AudioPCI
The Ensoniq AudioPCI is a PCI-based sound card released in 1997. It was Ensoniq's last sound card product before they were acquired by Creative Technology. The card represented a shift in Ensoniq's market positioning. Whereas the Soundscape line had been made up primarily of low-volume high-end products full of features, the AudioPCI was designed to be a very simple, low-cost product to appeal to system OEMs and thus hopefully sell in mass quantities. Low cost Towards the end of the 1990s, Ensoniq was struggling financially. Their cards were very popular with PC OEMs, but their costs were too high and their musical instrument division was fading in revenue. Pressure from intense competition, especially with the dominant Creative Labs, was forcing audio card makers to try to keep their prices low. The AudioPCI, released in July 1997, was designed primarily to be cheap. In comparison to the wide variety of chips on and sheer size of the older Soundscape boards, the highly integ ...
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