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Value card, a typical (circa 2000) sound card. Connects to via one of: • • • • • • • (rare) • interfaces (, ) Line in or out: via one of: • Analogue -, or • Digital - RCA, or Microphone via one of: • Phone connector • PIN connector Common manufacturers (and subsidiary ) A sound card (also known as an audio card) is an internal that provides input and output of to and from a under control of. The term sound card is also applied to external audio interfaces used for applications. Typical uses of sound cards 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 functionality can also be integrated onto the, 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 with to output sound along with the video using that connector; previously they used a SPDIF connection to the motherboard or sound card.
Close-up of a sound card, showing, and, and a two-channel Most sound cards use a (DAC), which converts recorded or generated data into an format. The output signal is connected to an amplifier, headphones, or external device using standard interconnects, such as a or an. If the number and size of connectors is too large for the space on the backplate, the connectors will be off-board, typically using a breakout box, an auxiliary backplate, or a panel mounted at the front.
More advanced cards usually include more than one to support higher data rates and multiple simultaneous functionality, for example digital production of sounds, usually for real-time generation of music and sound effects using minimal data and CPU time. Most sound cards have a connector for an input from a or other sound source that has higher voltage levels than a microphone.
The sound card digitizes this signal. The transfers the samples to the main memory, from where a recording software may write it to the for storage, editing, or further processing. Another common external connector is the microphone connector, for signals from a or other low-level input device. Input through a microphone jack can be used, for example, by or applications.
Sound channels and polyphony [ ]. 8-channel DAC CS4382 placed on Fatal1ty An important sound card characteristic is, 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 configuration. Sometimes, the terms voice and channel are used interchangeably to indicate the degree of polyphony, not the output speaker configuration.
For example, many older could accommodate three voices, but only one (i.e., a single mono output) for output, requiring all voices to be mixed together. Later cards, such as the sound card, had a 9-voice polyphony combined in 1 mono output channel.
For some years, most PC sound cards have had multiple FM synthesis voices (typically 9 or 16) which were usually used for MIDI music. The full capabilities of advanced cards are often not fully used; only one (mono) or two () 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 at a fixed sampling rate. Modern low-cost integrated soundcards (i.e., those built into motherboards) such as like those meeting the 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 ), 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 perform modem tasks in software rather than in hardware. Also, in the early days of ', some sound card manufacturers advertised polyphony solely on the MIDI capabilities alone. In this case, the card's output channel is irrelevant; typically, the card is only capable of two channels of digital sound. Instead, the polyphony measurement solely applies to the number of MIDI instruments the sound card is capable of producing at one given time. Today, a sound card providing actual hardware polyphony, regardless of the number of output channels, is typically referred to as a 'hardware audio accelerator', although actual voice polyphony is not the sole (or even a necessary) prerequisite, with other aspects such as hardware acceleration of 3D sound, and real-time DSP effects being more important.
Since digital sound playback has become available and single and provided better performance than synthesis, modern soundcards with hardware polyphony do not actually use DACs with as many channels as voices; instead, they perform voice mixing and effects processing in hardware, eventually performing digital filtering and conversions to and from the frequency domain for applying certain effects, inside a dedicated DSP. The final playback stage is performed by an external (in reference to the DSP chip(s)) DAC with significantly fewer channels than voices (e.g., 8 channels for 7.1 audio, which can be divided among 32, 64 or even 128 voices). List of sound card standards [ ] Sound card standards Name Year Channels 1981 6 bit 1 1984 16 volume settings 122 Hz to 125 kHz 3 tone; 1 1984 1986 8 bit 1 1987 64 volume settings ~49.716 kHz 6-voice, 5 percussion instruments 1987 16 bit 32 kHz 8 melodic channels; 1 rhythm channel 1989 8 bit 22 kHz 1 DAC; 11-voice FM synthesizer 1991 16 bit 32 kHz 24 voices 1992 16 bit 16 stereo channels 1997 20 bit 96 kHz 6 independent output channels 2001 8 simultaneous 3D voices 2004 32 bit 192 kHz up to 15 independent output channels Color codes [ ] Connectors on the sound cards are color-coded as per the. A Envy sound card for PC, 5.1 channel for slot Sound cards for computers were very uncommon until 1988. For the majority IBM PC users, the internal was the only way for early PC software to produce sound and music. The speaker hardware was typically limited to.
The resulting sound was generally described as 'beeps and boops' which resulted in the common nickname 'beeper'. Several companies, most notably, developed techniques for digital sound reproduction over the PC speaker like.
The resulting audio, while functional, suffered from 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 included hardware support for digital sound playback and/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,, and, or on speech synthesis like Digispeech DS201,, and Street Electronics Echo. In 1988, a panel of computer-game CEOs stated at the 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., which had pioneered supporting and video, and 3 1/2' disks, promised that year to support the AdLib, IBM Music Feature, and 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 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. (The percussion mode was considered inflexible by most developers; it was used mostly by AdLib's own composition software.) also marketed a sound card about the same time called the Creative Music System. 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 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 a year later, and marketed it through in the US.
The Game Blaster retailed for under $100 and was compatible with many popular games, such as. A large change in the IBM PC compatible sound card market happened when Creative Labs introduced the card. Recommended by Microsoft to developers creating software based on the standard, the Sound Blaster cloned the AdLib and added a sound coprocessor for recording and play back of digital audio (likely to have been an microcontroller relabeled by Creative). It was incorrectly called a 'DSP' (to suggest it was a ), a for adding a, and capability to interface to MIDI equipment (using the game port and a special cable). With more features at nearly the same price, and compatibility as well, most buyers chose the Sound Blaster.
It eventually outsold the AdLib and dominated the market. Roland also made sound cards in the late 1980s, most of them being high quality 'prosumer' cards, such as the MT-32 and LAPC-I.
Roland cards often sold for hundreds of dollars, and sometimes over a thousand. 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 were 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, but their quality was usually drastically poorer than the other Roland cards.
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, 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 was 'Probably the game responsible' for making it the standard card. The Sound Blaster line of cards, together with the first inexpensive drives and evolving video technology, ushered in a new era of computer applications that could play back CD audio, add recorded dialogue to, or even reproduce (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 's and the Gravis Ultrasound had to be Sound Blaster if they were to sell well. Until the early 2000s (by which 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 is a standard that many other sound cards still support to maintain compatibility with many games and applications released.
Industry adoption [ ]. Three early ISA (16-bit) PC sound cards showing the progression toward integrated chipsets When game company opted to support add-on music hardware in addition to built-in hardware such as the and built-in sound capabilities of the and, 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 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 playing real audio clips to the PC entertainment world. 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 / and standards as the most common means of playing in-game music until the mid-1990s. Feature evolution [ ] Early bus soundcards were, meaning they couldn't record and play digitized sound simultaneously, mostly due to inferior card hardware (e.g., ). Later, ISA cards like the SoundBlaster AWE series and Plug-and-play Soundblaster clones eventually became full-duplex and supported simultaneous recording and playback, but at the expense of using up two IRQ and DMA channels instead of one, making them no different from having two half-duplex sound cards in terms of configuration. Towards the end of the ISA bus' life, ISA soundcards started taking advantage of IRQ sharing, thus reducing the IRQs needed to one, but still needed two DMA channels. Many bus cards do not have these limitations and are mostly full-duplex.
It should also be noted that many modern PCI bus cards also do not require free DMA channels to operate. [ ] Also, throughout the years, soundcards have evolved in terms of digital audio sampling rate (starting from 8-bit 11025 Hz, to 32-bit, 192 kHz that the latest solutions support). Along the way, some cards started offering ', which provides superior synthesis quality relative to the earlier -based solutions, which uses.
Also, some higher end cards started having their own RAM and processor for user-definable sound samples and MIDI instruments as well as to offload audio processing from the CPU. For years, soundcards had only one or two channels of digital sound (most notably the series and their compatibles) with the exception of the card family, the Gravis GF-1 and AMD Interwave, which had hardware support for up to 32 independent channels of digital audio. Early games and -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, with a sensible difference in price from 'software based' products.
Also, in the early era of ', soundcard companies would also sometimes boast about the card's polyphony capabilities in terms of MIDI synthesis. In this case polyphony solely refers to the count of MIDI notes the card is capable of synthesizing simultaneously at one given time and not the count of digital audio streams the card is capable of handling. In regards to physical sound output, the number of physical sound channels has also increased. The first soundcard solutions were mono. Stereo sound was introduced in the early 1980s, and came in 1989. This was shortly followed by channel audio. The latest soundcards support up to 8 physical audio channels in the speaker setup.
Crippling of features [ ]. Main article: Most new soundcards the audio loopback device commonly called 'Stereo Mix'/'Wave out mix'/'Mono Mix'/'What U Hear' that was once very prevalent and that allows users to digitally record speaker output to the microphone input. And other manufacturers fail to implement the chipset feature in hardware, while other manufacturers disable the from supporting it.
In some cases loopback can be reinstated with driver updates (as in the case of some Dell computers ); alternatively software ( or 'Virtual Audio Cable') can be purchased to enable the functionality. According to Microsoft, the functionality was hidden by default in Windows Vista (to reduce user confusion), but is still available, as long as the underlying sound card drivers and hardware support it. Ultimately, the user can connect the line out directly to the line in (). Professional soundcards (audio interfaces) [ ]. An professional sound card with its Professional soundcards are special soundcards optimized for low-latency multichannel sound recording and playback, including studio-grade fidelity. Their drivers usually follow the protocol for use with professional sound engineering and music software, although ASIO drivers are also available for a range of consumer-grade soundcards.
Professional soundcards are usually described as 'audio interfaces', and sometimes have the form of external rack-mountable units using,, 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 soundcard. In that respect, their role and intended purpose is more similar to a specialized multi-channel data recorder and real-time audio mixer and processor, roles which are possible only to a limited degree with typical consumer soundcards. On the other hand, certain features of consumer soundcards such as support for (EAX), optimization for hardware acceleration in, or real-time ambience effects are secondary, nonexistent or even undesirable in professional soundcards, and as such audio interfaces are not recommended for the typical home user. The typical 'consumer-grade' soundcard 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 response to this, (the creators of audio recording and sequencing software, and ) developed a protocol that specified the handling of multiple audio inputs and outputs.
In general, consumer grade soundcards impose several restrictions and inconveniences that would be unacceptable to an audio professional. One of a modern soundcard's purposes is to provide an AD/DA converter (/digital to analog). However, in professional applications, there is usually a need for enhanced recording (analog to digital) conversion capabilities. One of the limitations of consumer soundcards is their comparatively large sampling latency; this is the time it takes for the AD Converter to complete conversion of a sound sample and transfer it to the computer's main memory. Consumer soundcards are also limited in the effective sampling rates and bit depths they can actually manage (compare ) and have lower numbers of less flexible input channels: professional studio recording use typically requires more than the two channels that consumer soundcards provide, and more accessible connectors, unlike the variable mixture of internal—and sometimes virtual—and external connectors found in consumer-grade soundcards.
Sound devices other than expansion cards [ ] Integrated sound hardware on PC motherboards [ ]. A spinoff of the classic IBM SN76489 by Squareinator In 1984, the first had a rudimentary 3-voice sound synthesis chip (the ) which was capable of generating three square-wave tones with variable, and a pseudo- channel that could generate primitive percussion sounds. The Tandy 1000, initially a clone of the PCjr, duplicated this functionality, with the Tandy 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 graphics', or 'TGA') also supported PCjr/Tandy 1000 audio. In the late 1990s many computer manufacturers began to replace plug-in soundcards with a ' chip (actually a combined audio /-converter) integrated into the. Many of these used 's specification. Others used inexpensive slot accessory cards. From around 2001 many motherboards incorporated integrated 'real' (non-codec) soundcards, usually in the form of a custom chipset providing something akin to full compatibility, providing relatively high-quality sound.
However, these features were dropped when AC'97 was superseded by Intel's 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 a 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 like the (1982) and (1985), 's and, 's and, the, 's, and from manufacturers like, have had their own motherboard integrated sound devices. In some cases, most notably in those of the Amiga, C64, PC-88, PC-98, MSX, FM-7, and FM towns, they provide very advanced capabilities (as of the time of manufacture), in others they are only minimal capabilities. Some of these platforms have also had sound cards designed for their architectures that cannot be used in a standard PC. Several Japanese computer platforms, including the PC-88, PC-98, MSX, and FM-7, featured built-in sound from by the mid-1980s. By 1989, the FM Towns computer platform featured built-in sound and supported the format. The custom sound chip on, named Paula, had four digital sound channels (2 for the left speaker and 2 for the right) with 8-bit resolution (although with patches, 14/15-bit was accomplishable at the cost of high CPU usage) for each channel and a 6-bit volume control per channel. Sound playback on Amiga was done by reading directly from the chip-RAM without using the main CPU.
Most arcade games have integrated sound chips, the most popular being the Yamaha OPL chip for BGM coupled with a variety of DACs for sampled audio and sound effects. Sound cards on other platforms [ ]. Turbo Sound board manufactured by NedoPC, revision A The earliest known soundcard used by computers was the, a music device for, and is widely hailed as the precursor to sound cards and MIDI. It was invented in 1972. Certain early arcade machines made use of sound cards to achieve playback of complex audio waveforms and digital music, despite being already equipped with onboard audio.
An example of a sound card used in arcade machines is the card, used in games from. For example, on the Midway T Unit hardware. The T-Unit hardware already has an onboard OPL chip coupled with an OKI 6295 DAC, but said game uses an added on DCS card instead.
The card is also used in the arcade version of Midway and 's for complex looping BGM and speech playback (Revolution X used fully sampled songs from the band's album that transparently looped- an impressive feature at the time the game was released). Computers, while equipped with built-in sound capabilities, also relied on sound cards to produce better quality audio. The card, known as, uses a sound chip. Prior to the Moonsound, there were also soundcards called MSX Music and MSX Audio, which uses and chipsets, for the system. The series of computers, which did not have sound capabilities beyond a beep until the, could use. The first, in 1978, was, with 3 voices; two or three cards could be used to create 6 or 9 voices in stereo.
Later ALF created the, a 9-voice model. The most widely supported card, however, was the. Sweet Micro Systems sold the Mockingboard in various models.
Early Mockingboard models ranged from 3 voices in mono, while some later designs had 6 voices in stereo. Some software supported use of two Mockingboard cards, which allowed 12-voice music and sound. A 12-voice, single card clone of the Mockingboard called the was made by Applied Engineering.
In late 2005 a company called ReactiveMicro.com produced a 6-voice clone called the Mockingboard v1 and also had plans to clone the Phasor and produce a hybrid card user-selectable between Mockingboard and Phasor modes plus support both the SC-01 or SC-02 [ ]. The that initially only had a beeper had some sound cards made for it. One example is the TurboSound.
Other examples are the Fuller Box, Melodik for the Didaktik Gamma, AY-Magic et.c. The Zon X-81 for the ZX81 was also possible to use on the ZX Spectrum using an adapter. External sound devices [ ] Devices such as the could be attached to the parallel port of an IBM PC and feed 6- or 8-bit PCM sample data to produce audio. Also, many types of professional soundcards (audio interfaces) have the form of an external FireWire or USB unit, usually for convenience and improved fidelity. Sound cards using the interface were available before laptop and notebook computers routinely had onboard sound. Cardbus audio may still be used if onboard sound quality is poor. When Cardbus interfaces were superseded by on computers since about 2005, manufacturers followed.
Most of these units are designed for mobile, providing separate outputs to allow both playback and monitoring from one system, however some also target mobile gamers, providing high-end sound to gaming laptops who are usually well-equipped when it comes to graphics and processing power, but tend to have audio codecs that are no better than the ones found on regular laptops. USB sound cards [ ]. USB sound card USB sound 'cards' are external devices that plug into the computer via.
They are often used in studios and on stage by including performers and. DJs who use typically use sound cards integrated into or specialized DJ sound cards. DJ sound cards sometimes have inputs with phono to allow to be connected to the computer to control the software's playback of music files with.
The USB specification defines a standard interface, the USB audio device class, allowing a single driver to work with the various USB sound devices and interfaces on the market. Mac OS X, Windows, and Linux support this standard. However, many USB sound cards do not conform to the standard and require proprietary drivers from the manufacturer.
Even cards meeting the older, slow, specification are capable of high quality sound with a limited number of channels, or limited sampling frequency or bit depth, but or later is more capable. A USB audio interface may also describe a device allowing a computer which has a sound-card, yet lacks a standard audio socket, to be connected to an external device which requires such a socket, via its USB socket.
Uses [ ] The main function of a sound card is to play audio, usually music, with varying formats (monophonic, stereophonic, various multiple speaker setups) and degrees of control. The source may be a CD or DVD, a file, streamed audio, or any external source connected to a sound card input. Audio may be recorded. Sometimes sound card hardware and drivers do not support recording a source that is being played. A card can also be used, in conjunction with software, to generate arbitrary waveforms, acting as an audio-frequency. Free and commercial software is available for this purpose; there are also online services that generate audio files for any desired waveforms, playable through a sound card. A card can be used, again in conjunction with free or commercial software, to analyse input waveforms.
For example, a very-low-distortion sinewave oscillator can be used as input to equipment under test; the output is sent to a sound card's line input and run through software to find the amplitude of each harmonic of the added distortion. Alternatively, a less pure signal source may be used, with circuitry to subtract the input from the output, attenuated and phase-corrected; the result is distortion and noise only, which can be analysed. There are programs which allow a sound card to be used as an audio-frequency oscilloscope. For all measurement purposes a sound card must be chosen with good audio properties.
It must itself contribute as little distortion and noise as possible, and attention must be paid to bandwidth and sampling. A typical integrated sound card, the Realtek ALC887, according to its data sheet has distortion of about 80 dB below the fundamental; cards are available with distortion better than -100 dB. Sound cards with a sampling rate of 192 kHz can be used to synchronize the clock of the computer with a time signal transmitter working on frequencies below 96 kHz like with a special software and a coil at the entrance of the soundcard, working as antenna,. Driver architecture [ ] To use a sound card, the (OS) typically requires a specific, a that handles the data connections between the physical hardware and the operating system. Some operating systems include the drivers for many cards; for cards not so supported, drivers are supplied with the card, or available for download.
• programs for the IBM PC often had to use universal driver libraries (such as the, the (AIL), the etc.) which had drivers for most common sound cards, since DOS itself had no real concept of a sound card. Some card manufacturers provided (sometimes inefficient) middleware -based drivers for their products. Often the driver is a Sound Blaster and AdLib emulator designed to allow their products to emulate a Sound Blaster and AdLib, and to allow games that could only use SoundBlaster or AdLib sound to work with the card. Finally, some programs simply had driver/middleware source code incorporated into the program itself for the sound cards that were supported.
• uses drivers generally written by the sound card manufacturers. Many device manufacturers supply the drivers on their own discs or to Microsoft for inclusion on Windows installation disc. Sometimes drivers are also supplied by the individual vendors for download and installation. Bug fixes and other improvements are likely to be available faster via downloading, since CDs cannot be updated as frequently as a web or FTP site. USB audio device class support is present from Windows 98 SE onwards. Since Microsoft's (UAA) initiative which supports the HD Audio, FireWire and standards, a universal class driver by Microsoft can be used. The driver is included with.
For, or, the driver can be obtained by contacting Microsoft support. Download Datastation Drivers. Almost all manufacturer-supplied drivers for such devices also include this class driver. • A number of versions of make use of the portable (OSS).
Drivers are seldom produced by the card manufacturer. • Most present day make use of the (ALSA). Up until 2.4, OSS was the standard sound architecture for Linux, although ALSA can be downloaded, compiled and installed separately for kernels 2.2 or higher. But from kernel 2.5 onwards, ALSA was integrated into the kernel and the OSS native drivers were deprecated. Backwards compatibility with OSS-based software is maintained, however, by the use of the ALSA-OSS compatibility API and the OSS-emulation kernel modules. • Mockingboard support on the Apple II is usually incorporated into the programs itself as many programs for the Apple II boot directly from disk. However a TSR is shipped on a disk that adds instructions to Apple Basic so users can create programs that use the card, provided that the TSR is loaded first.
List of sound card manufacturers [ ]. •, Intel Corporation and Microsoft Corporation, 14 July 1999.
Chapter 3: PC 99 basic requirements (. Requirement 3.18.3: Systems use a color-coding scheme for connectors and ports. Accessed 2012-11-26 • ^ Latimer, Joey. Archived from (PDF) on September 6, 2014. Computer Gaming World. Retrieved November 3, 2013. Computer Gaming World.
September 1989. Retrieved November 4, 2013. • English, David (June 1992).. Retrieved November 11, 2013. Computer Gaming World (advertisement).
Retrieved July 3, 2014. Letters from Paradise. Computer Gaming World.
January 1994. Evan (May 1994).. Computer Gaming World. Retrieved September 7, 2017. • Installing an LG driver on many Dells with Sigmatel 92xx chip, including the Inspiron 6400 and other models can add support for stereo mix. Reference dates from 2007 and covers Windows XP and Vista •. Retrieved September 7, 2017.
• ^ John Szczepaniak.. Hardcore Gaming 101. Retrieved 2011-03-29. Reprinted from (67), 2009 • • • • • • • •, including suitable cards and software • • Retrieved September 7, 2017. External links [ ] Wikimedia Commons has media related to. Soundcards Museum. How Stuff Works.