Sound Cards

A sound card (also known as an audio card) is an internal expansion card that provides input and output of audio signals to and from a computer under the control of computer programs. The term ''sound card'' is also applied to external audio interfaces used for professional audio applications.

Sound functionality can also be integrated onto the motherboard, using components similar to those found on plug-in cards. The integrated sound system is often still referred to as a ''sound card''. Sound processing hardware is also present on modern video cards with HDMI to output sound along with the video using that connector; previously they used a S/PDIF connection to the motherboard or sound card.

Typical uses of sound cards or sound card functionality include providing the audio component for multimedia applications such as music composition, editing video or audio, presentation, education and entertainment (games) and video projection. Sound cards are also used for computer-based communication such as voice over IP and teleconferencing.

General characteristics

Sound cards use a digital-to-analog converter (DAC), which converts recorded or generated digital signal data into an analog format. The output signal is connected to an amplifier, headphones, or external device using standard interconnects, such as a TRS phone connector.

A common external connector is the microphone connector. Input through a microphone connector can be used, for example, by speech recognition or voice over IP applications. Most sound cards have a line in connector for an analog input from a sound source that has higher voltage levels than a microphone. In either case, the sound card uses an analog-to-digital converter to digitize this signal.

Some cards include a sound chip to support the production of synthesized sounds, usually for real-time generation of music and sound effects using minimal data and CPU time.

The card may use direct memory access to transfer the samples to and from main memory, from where a recording and playback software may read and write it to the hard disk for storage, editing, or further processing.

Sound channels and polyphony

An important sound card characteristic is polyphony, which refers to its ability to process and output multiple independent voices or sounds simultaneously. These distinct channels are seen as the number of audio outputs, which may correspond to a speaker configuration such as 2.0 (stereo), 2.1 (stereo and sub woofer), 5.1 (surround), or other configurations. Sometimes, the terms ''voice'' and ''channel'' are used interchangeably to indicate the degree of polyphony, not the output speaker configuration. For example, much older sound chips could accommodate three voices, but only one output audio channel (i.e., a single mono output), requiring all voices to be mixed together. Later cards, such as the AdLib sound card, had a 9-voice polyphony combined in 1 mono output channel.

Early PC sound cards had multiple FM synthesis voices (typically 9 or 16) which were used for MIDI music. The full capabilities of advanced cards are often not fully used; only one (mono) or two (stereo) voice(s) and channel(s) are usually dedicated to playback of digital sound samples, and playing back more than one digital sound sample usually requires a software downmix at a fixed sampling rate. Modern low-cost integrated sound cards (i.e., those built into motherboards) such as audio codecs like those meeting the AC'97 standard and even some lower-cost expansion sound cards still work this way. These devices may provide more than two sound output channels (typically 5.1 or 7.1 surround sound), but they usually have no actual hardware polyphony for either sound effects or MIDI reproduction these tasks are performed entirely in software. This is similar to the way inexpensive softmodems perform modem tasks in software rather than in hardware.

In the early days of wavetable synthesis, some sound card manufacturers advertised polyphony solely on the MIDI capabilities alone. In this case, typically, the card is only capable of two channels of digital sound and the polyphony specification solely applies to the number of MIDI instruments the sound card is capable of producing at once.

Modern sound cards may provide more flexible ''audio accelerator'' capabilities which can be used in support of higher levels of polyphony or other purposes such as hardware acceleration of 3D sound, positional audio and real-time DSP effects.

List of sound card standards

Color codes

Connectors on the sound cards are color-coded as per the PC System Design Guide.PC 99 System Design Guide
, Intel Corporation and Microsoft Corporation, 14 July 1999. Chapter 3: PC 99 basic requirements
PC 99 System Design Guide (Self-extracting .exe archive)
. Requirement 3.18.3: Systems use a color-coding scheme for connectors and ports. Accessed 2012-11-26 They may also have symbols of arrows, holes and soundwaves that are associated with each jack position.

History of sound cards for the IBM PC architecture

Sound cards for IBM PC compatible computers were very uncommon until 1988. For the majority IBM PC users, the internal PC speaker was the only way for early PC software to produce sound and music. The speaker hardware was typically limited to square waves. The resulting sound was generally described as "beeps and boops" which resulted in the common nickname ''beeper''. Several companies, most notably Access Software, developed techniques for digital sound reproduction over the PC speaker like RealSound. The resulting audio, while functional, suffered from the heavily distorted output and low volume, and usually required all other processing to be stopped while sounds were played. Other home computers of the 1980s like the Commodore 64 included hardware support for digital sound playback or music synthesis, leaving the IBM PC at a disadvantage when it came to multimedia applications. Early sound cards for the IBM PC platform were not designed for gaming or multimedia applications, but rather on specific audio applications, such as music composition with the AdLib Personal Music System, IBM Music Feature Card, and Creative Music System, or on speech synthesis like Digispeech ''DS201'', Covox Speech Thing, and Street Electronics ''Echo''.

In 1988, a panel of computer-game CEOs stated at the Consumer Electronics Show that the PC's limited sound capability prevented it from becoming the leading home computer, that it needed a $49–79 sound card with better capability than current products, and that once such hardware was widely installed, their companies would support it. Sierra On-Line, which had pioneered supporting EGA and VGA video, and 3-1/2" disks, promised that year to support the AdLib, IBM Music Feature, and Roland MT-32 sound cards in its games. A 1989 ''Computer Gaming World'' survey found that 18 of 25 game companies planned to support AdLib, six Roland and Covox, and seven Creative Music System/Game Blaster.

Hardware manufacturers

One of the first manufacturers of sound cards for the IBM PC was AdLib, which produced a card based on the Yamaha YM3812 sound chip, also known as the OPL2. The AdLib had two modes: A 9-voice mode where each voice could be fully programmed, and a less frequently used ''percussion'' mode with 3 regular voices producing 5 independent percussion-only voices for a total of 11.

Creative Labs also marketed a sound card about the same time called the Creative Music System (C/MS). Although the C/MS had twelve voices to AdLib's nine, and was a stereo card while the AdLib was mono, the basic technology behind it was based on the Philips SAA1099 chip which was essentially a square-wave generator. It sounded much like twelve simultaneous PC speakers would have except for each channel having amplitude control, and failed to sell well, even after Creative renamed it the Game Blaster a year later, and marketed it through RadioShack in the US. The Game Blaster retailed for under $100 and was compatible with many popular games, such as Silpheed.

A large change in the IBM PC compatible sound card market happened when Creative Labs introduced the Sound Blaster card. Recommended by Microsoft to developers creating software based on the Multimedia PC standard, the Sound Blaster cloned the AdLib and added a sound coprocessor for recording and playback of digital audio. The card also included a game port for adding a joystick, and the capability to interface to MIDI equipment using the game port and a special cable. With AdLib compatibility and more features at nearly the same price, most buyers chose the Sound Blaster. It eventually outsold the AdLib and dominated the market.

Roland also made sound cards in the late 1980s such as the MT-32 and LAPC-I. Roland cards sold for hundreds of dollars. Many games had music written for their cards, such as Silpheed and Police Quest II. The cards were often poor at sound effects such as laughs, but for music was by far the best sound cards available until the mid-nineties. Some Roland cards, such as the SCC, and later versions of the MT-32 were made to be less expensive.

By 1992, one sound card vendor advertised that its product was "Sound Blaster, AdLib, Disney Sound Source and Covox Speech Thing Compatible!" Responding to readers complaining about an article on sound cards that unfavorably mentioned the Gravis Ultrasound, ''Computer Gaming World'' stated in January 1994 that, "The de facto standard in the gaming world is Sound Blaster compatibility ... It would have been unfair to have recommended anything else." The magazine that year stated that ''Wing Commander II'' was "Probably the game responsible" for making it the standard card. The Sound Blaster line of cards, together with the first inexpensive CD-ROM drives and evolving video technology, ushered in a new era of multimedia computer applications that could play back CD audio, add recorded dialogue to video games, or even reproduce full motion video (albeit at much lower resolutions and quality in early days). The widespread decision to support the Sound Blaster design in multimedia and entertainment titles meant that future sound cards such as Media Vision's Pro Audio Spectrum and the Gravis Ultrasound had to be Sound Blaster compatible if they were to sell well. Until the early 2000s, when the AC'97 audio standard became more widespread and eventually usurped the SoundBlaster as a standard due to its low cost and integration into many motherboards, Sound Blaster compatibility was a standard that many other sound cards supported to maintain compatibility with many games and applications released.

Industry adoption

When game company Sierra On-Line opted to support add-on music hardware in addition to built-in hardware such as the PC speaker and built-in sound capabilities of the IBM PCjr and Tandy 1000, what could be done with sound and music on the IBM PC changed dramatically. Two of the companies Sierra partnered with were Roland and AdLib, opting to produce in-game music for King's Quest 4 that supported the MT-32 and AdLib Music Synthesizer. The MT-32 had superior output quality, due in part to its method of sound synthesis as well as built-in reverb. Since it was the most sophisticated synthesizer they supported, Sierra chose to use most of the MT-32's custom features and unconventional instrument patches, producing background sound effects (e.g., chirping birds, clopping horse hooves, etc.) before the Sound Blaster brought digital audio playback to the PC. Many game companies also supported the MT-32, but supported the Adlib card as an alternative because of the latter's higher market base. The adoption of the MT-32 led the way for the creation of the MPU-401, Roland Sound Canvas and General MIDI standards as the most common means of playing in-game music until the mid-1990s.

Feature evolution

Early ISA bus sound cards were half-duplex, meaning they couldn't record and play digitized sound simultaneously. Later, ISA cards like the SoundBlaster AWE series and Plug-and-play Soundblaster clones supported simultaneous recording and playback, but at the expense of using up two IRQ and DMA channels instead of one. Conventional PCI bus cards generally do not have these limitations and are mostly full-duplex.

Sound cards have evolved in terms of digital audio sampling rate (starting from 8-bit , to 32-bit, that the latest solutions support). Along the way, some cards started offering wavetable synthesis, which provides superior MIDI synthesis quality relative to the earlier Yamaha OPL based solutions, which uses FM-synthesis. Some higher-end cards introduced their own RAM and processor for user-definable sound samples and MIDI instruments as well as to offload audio processing from the CPU.

With some exceptions, for years, sound cards, most notably the Sound Blaster series and their compatibles, had only one or two channels of digital sound. Early games and MOD-players needing more channels than a card could support had to resort to mixing multiple channels in software. Even today, the tendency is still to mix multiple sound streams in software, except in products specifically intended for gamers or professional musicians.

Outputs

The number of physical sound channels has also increased. The first sound card solutions were mono. Stereo sound was introduced in the early 1980s, and quadraphonic sound came in 1989. This was shortly followed by 5.1 channel audio. The latest sound cards support up to 8 audio channels for the 7.1 speaker setup.

A few early sound cards had sufficient power to drive unpowered speakers directlyfor example, two watts per channel. With the popularity of amplified speakers, sound cards no longer have a power stage, though in many cases they can adequately drive headphones.

Professional sound cards

Professional sound cards are sound cards optimized for high-fidelity, low-latency multichannel sound recording and playback. Their drivers usually follow the Audio Stream Input/Output protocol for use with professional sound engineering and music software.

Professional sound cards are usually described as ''audio interfaces'', and sometimes have the form of external rack-mountable units using USB, FireWire, or an optical interface, to offer sufficient data rates. The emphasis in these products is, in general, on multiple input and output connectors, direct hardware support for multiple input and output sound channels, as well as higher sampling rates and fidelity as compared to the usual consumer sound card.

On the other hand, certain features of consumer sound cards such as support for 3D audio, hardware acceleration in video games, or real-time ambiance effects are secondary, nonexistent or even undesirable in professional audio interfaces, and as such audio interfaces are not recommended for the typical home user.

The typical consumer-grade sound card is intended for generic home, office, and entertainment purposes with an emphasis on playback and casual use, rather than catering to the needs of audio professionals. In general, consumer-grade sound cards impose several restrictions and inconveniences that would be unacceptable to an audio professional. Consumer sound cards are also limited in the ''effective'' sampling rates and bit depths they can actually manage and have lower numbers of less flexible input channels. Professional studio recording use typically requires more than the two channels that consumer sound cards provide, and more accessible connectors, unlike the variable mixture of internal—and sometimes virtual—and external connectors found in consumer-grade sound cards.

Sound devices other than expansion cards

Integrated sound hardware on PC motherboards

In 1984, the first IBM PCjr had a rudimentary 3-voice sound synthesis chip (the SN76489) which was capable of generating three square-wave tones with variable amplitude, and a pseudo- white noise channel that could generate primitive percussion sounds. The Tandy 1000, initially a clone of the PCjr, duplicated this functionality, with the Tandy 1000 TL/SL/RL models adding digital sound recording and playback capabilities. Many games during the 1980s that supported the PCjr's video standard (described as ''Tandy-compatible'', ''Tandy graphics'', or ''TGA'') also supported PCjr/Tandy 1000 audio.

In the late 1990s, many computer manufacturers began to replace plug-in sound cards with an audio codec chip (a combined audio AD/ DA-converter) integrated into the motherboard. Many of these used Intel's AC'97 specification. Others used inexpensive ACR slot accessory cards.

From around 2001, many motherboards incorporated full-featured sound cards, usually in the form of a custom chipset, providing something akin to full Sound Blaster compatibility and relatively high-quality sound. However, these features were dropped when AC'97 was superseded by Intel's HD Audio standard, which was released in 2004, again specified the use of a codec chip, and slowly gained acceptance. As of 2011, most motherboards have returned to using a codec chip, albeit an HD Audio compatible one, and the requirement for Sound Blaster compatibility relegated to history.

Integrated sound on other platforms

Various non-IBM PC compatible computers, such as early home computers like the Commodore 64 (1982) (and by extension Commodore 128 in 1985) and Amiga (1985), NEC's