What is a sound card and who needs it? Entries tagged sales partner sound cards Earnings on a sound card

For longtime readers of my blog, this article may come as a surprise. However, I so often have to answer questions about choosing a sound card that I nevertheless decided to touch on this topic. I hope it will not cause resentment on the part of professionals, because we all once started somewhere. By the way, I will be glad to competent additions and interesting questions in the comments.

Immediately make a reservation, the article will not give a universal answer for all occasions. It will also be useless if you are right now standing in front of a store window in the throes of choosing, and the seller frantically urges you to buy "the best and newest model." This article is for:

• Don't pay more and save on unnecessary options.
• Correctly put purpose of acquisition sound card.
• Pick the right one configuration and functionality sound card.
• Exclude software and hardware conflicts with other equipment.
• Learn to recognize and don't fall for advertising gimmicks and cheating manufacturers.

Why you need a sound card

First, let's find out why you are buying a sound card. There are not so many main options, we will analyze each of them in more detail:

• For listening to music at home.
• To organize a budget home recording studio.
• To create arrangements with subsequent work in a professional studio.
• For professional audio work.

Listening to music

Since I mainly deal with professional equipment, I can hardly give detailed recommendations for everyday and multimedia tasks. Moreover, not everything rests on the sound card.

For comfortable listening to music, it is much more important to prepare the room, good acoustic systems and amplification, high-quality sound sources (it’s hardly worth spending a lot to listen to mp3), high-quality switching (not to be confused with “audiophilism”, just good switching without perversions is enough), competent frequency synchronization sampling (if there are digital connections) and so on.

I know of cases where people were able to get high-quality sound using an old SoundBlaster Live! and Yamaha NS-10M speakers with a home amplifier. But it happened otherwise, when huge money was invested in equipment, highly paid "specialists" were invited to install and configure it, and as a result, a terrible sound was obtained due to banal, confusion with channels or incorrect speaker placement.

When buying a sound card for listening to music, approach its choice in a complex way, that is, take into account the entire sound path as a whole. If you are going to buy (or already have) an amplifier with a digital input and good digital-to-analog converters (DAC), then you can take a card without analog outputs.

If there are several sound sources, and at the same time they all give a signal in analog form, then you will have to spend more on a card with several pairs of input channels. Or, if you want to purchase some special ADC (analogue-to-digital converter) for the card, you should give preference to cards without built-in ADC in order to save money.

In all cases, think over in advance the digital protocols by which the ADC, sound card and digital amplifier will be connected in a chain. It is desirable that the connection interfaces match, that is, you need to connect S / PDIF to S / PDIF, ADAT to ADAT, and AES to AES. If you need to convert the signal, you may encounter jitter, which will degrade the sound.

If all connections are planned in analog, pay maximum attention to the quality of ADCs and DACs of the selected sound card model, read reviews from experienced users.

In addition, if the sound card is purchased exclusively for domestic purposes and you are not going to record music with it, its elements such as a microphone preamplifier, microphone input, phantom power, midi interface or direct monitoring will be completely useless for you, they are better refuse, and instead of spending on unnecessary options, direct this budget to upgrade the class of the device. A description of all these functions will be given below, so that you can more accurately determine for yourself how necessary they are.

Sound card for home recording studio

Most often, the tasks of such studios include creating demo recordings for distribution to production centers or offering their songs to artists. In this case, the minimum requirements will be as follows:

• Microphone preamp. If the preamp is not in the sound card, you will have to buy it separately, and it can be expensive. And since in such cases it is not worth the task of obtaining top-quality sound, the built-in preamp will be sufficient for most situations.
• Analog inputs. At least two are needed. You will need one to record a microphone or guitar, and some synth parts require a stereo pair. Of course, if there are more inputs, this is only a plus: in this case, it will be possible, for example, to simultaneously record a voice with accompaniment on a synthesizer or even record a small group of performers.
• Analog outputs. Also, at least two outputs are for connecting (speakers). But not all sound cards have analog outputs. If there are none on the device, you will have to additionally purchase a DAC (digital-to-analog converter), and these are extra costs.
• MIDI interface. It will come in handy if you want keyboard variety. Using the midi interface, you can connect an external midi keyboard or external tone generators. However, a midi-interface can always be purchased as a separate device, but to start it is convenient to have at least one pair of midi-connectors right on the sound card.

With this basic functional set, you will already be able to work on creating music. Often, manufacturers stuff devices with a bunch of unnecessary options, which then justify the high price. Various digital interfaces (digital inputs and outputs), extra analog inputs and outputs, heaped built-in software mixers, additional music software - all this can be a nice bonus, but can also lead to a significant overpayment.

There is one more nuance. Almost guaranteed after some time you will find many flaws in the chosen model and decide to change it for something more expensive. And you will have to sell the old one at a significant discount. Therefore, for starters, take what solves your problems for the lowest price.

The main thing you should pay attention to, in addition to the desired set of functions, is device stability(scroll Internet search engines for the selected model, read user reviews, see if this card often conflicts with computer motherboards or other equipment, drivers “fly off”, programs “fall”). It is also desirable to verify the mechanical reliability of the device - turn the knobs, press the buttons. It is clear that you cannot expect high build quality from a cheap device, but it is better to avoid obvious defects and problems.

Working with arrangements

If you do not plan to carry out the entire cycle of work at home, but still want to study at home, it makes sense to adjust the previous recommendations by first answering the questions:

• What tone generators and processing devices will you use?
• Are you ready for periodic computer upgrades?
• Are you ready for digital switching or do you prefer analog connections?
• Are you prepared to do most of your work in MIDI, or are you going to always record the parts to your computer as audio files?

If you plan to record iron synthesizers, then you need to increase the number of analog inputs (of course, you can write instruments one by one, but this is far from always convenient). The same can be said about the outboard (): you will have to configure not only returns from them, but also sends, that is, the number of analog outputs will also have to be increased. I recommend additionally reading about if the words “send” and “return” turned out to be unfamiliar.

If you work with virtual instruments, then a powerful computer will be no less important than a sound card. Also, be prepared that with the release of new versions of software and libraries, you may need to upgrade the memory or other computer components. Here, of course, the reliability of the interaction between computer hardware and a sound card will come to the fore, so make sure that the selected models are not noticed in hardware conflicts. In particular, when choosing a card that works via FireWire, many experts recommend making sure that the IEEE1394 (FireWire) controller in the computer is based on a chip Texas Instruments(or if not Texas, then at least not Via, because this chip proved to be very bad).

Sometimes people choose something in between these two options - working with plug-ins based on DSP systems such as Creamware (Sonic Core), UAD or EC PowerCore. Here you need to remember that this is not a “pure” DSP, sound input / output remains under the control of the central processor, and additional power only partially unloads it. From the point of view of saving space in the room, this can be justified, but most often this entails the problem of saturated digital switching, and after it all sorts of jitters and other joys. To control such systems, you will have to delve deeply into digital switching, synchronization, and so on, but it is not always possible to reach the stability of operation and sound quality at the level of professional hardware and software systems. However, if you have, in addition to musical skills, also good engineering knowledge, this may be a good option.

The disadvantages of such DSP systems include the fact that from time to time manufacturers refuse to support earlier versions of programs or stop servicing their products altogether. Such a fate befell the once-popular TC PowerCore system, and as far as I know, Creamware also had similar nasty facts in their history. This usually leads to the fact that part of the software on the computer begins to require more recent operating systems and new computer hardware, while the other part is simply not able to work with the modern environment. As a result, in order to retain the ability to use the usual DSP plug-ins, the musician is forced to either abandon the latest developments, or buy an additional computer and synchronize the hosts with each other (which means an increase in costs, additional space for computers, not to mention the risks of getting jitter).

And a few more words about working in MIDI. Regardless of which tone generators you choose - iron, virtual or DSP - it is most competent in terms of the final sound to do all the work in MIDI, without translating the parts into audio. A whole paragraph of my book The Musicmaker Academy is devoted to this, and, most likely, after some time it will be published on the blog (so as not to miss it - do not forget to subscribe). But I will still give some basic theses here.

• When working with MIDI, you always have the option change any sound at any stage - from minor interventions in the settings to a radical change in tone.
• At any time you can change one note by pitch or duration, and even move the entire part to another octave or key without losing sound quality.
• Doesn't happen straight sound digitization(this is especially important when working with iron).
• Store and transfer projects in MIDI much easier, because midi files weigh several kilobytes.

Of course, this method has certain limitations:

• To play the file in other conditions, you will need exactly the same tone generator and a saved preset for it.
• For diverse and rich arrangements, while when working with audio digitization, the sounds of the same instrument can be layered many times.

Depending on whether you are ready to work in MIDI, you will need to select the final configuration of the sound card and computer. When working in midi with plug-ins, you will need a very powerful computer that can handle many soft instruments at the same time, and in the case of hardware, you will need a sound card with a decent number of audio inputs.

Professional sound card for sound recording

Choosing a professional audio card to work with sound - a holistic question. Everyone knows about the existence of two "opposing" camps, desperately proving their case to each other without the prospect of a truce. Why is a truce impossible? Yes, because as soon as a supporter of one camp changes his mind, the former "comrades-in-arms" immediately recognize him as either a "sectarian" or "deaf".

Therefore, I will not argue with anyone, I will just tell only about my own experience. For a long time I worked exclusively with multimedia audio equipment and native recording programs. During this time, I went through a number of cards from different manufacturers - M-Audio, E-Mu, Echo, Creamware, RME and, of course, everyone's favorite on the threshold of the 2000s Creative. I had to regularly encounter problems: crashing drivers, blue screen, sudden cessation of programs, loss of host communication with the sound card, brakes, freezes, lack of RAM or processor power, the appearance of soapiness, clicks and other unpleasant artifacts in the sound.

Then, by chance and on the recommendation of more experienced colleagues, I tried a resource-independent system and was pleasantly surprised not only by the absence of all the listed technical problems, but also by a completely different level of control over the sound. Naturally, the choice turned out to be obvious for me, and in 10 years of work I have never been disappointed in it.

Of course, since then a lot of water has flowed under the bridge, software manufacturers and developers have learned, if not to completely eliminate some problems, then at least to minimize the damage from them. For example, in the past, in the event of a sudden crash of some Nuendo, it was possible to say goodbye to an unsaved project and start working from scratch. Now all sorts of autosaves or crash files have been invented that allow you to restore the project with virtually no loss. Processor capacities and memory sizes on computers have also become much more significant.

However, the resource dependence of such systems still thrills the nerves of musicians. Even the best computers and expensive sound cards can freeze at the most inopportune moment., and the "soapy" sound in projects with a large number of tracks leads to a loss of readability, the difficulty of building a balance, a deterioration in the depth of the mix and the clarity of the panorama, and loss of surround sound.

To deal with such sound troubles, musicians are forced to resort to crutches - numerous and on almost every track. Helping to solve some problem locally, these tricks additionally increase the load on the processor, exacerbating the situation as a whole..

I will not hide it, many argue that all this is fiction, and that “numerous tests have proven that all DAWs sound the same”, and for denying this postulate on some “profile” music forums they even get banned. But let's be objective:

• Testing in real working conditions was always carried out by "acquaintances of acquaintances", and not by the assertors themselves.
• Most of the time, the tests were simple summation even without considering intermediate values panoramas and balance settings, not to mention more subtle interventions.
• Even if ten people do not hear something, but one hears, this one should not be considered an inventor. It is very likely that just his ear is the most trained and clear.

But the continuation of conversations on this topic will inevitably lead to butting and conflicts, so I kindly ask you to refrain from holivars in the comments. If I have the strength in the foreseeable future, I will nevertheless publish a serious test of various recording systems that I have done personally with a detailed analysis of the results. In order not to miss this material, you can subscribe to the blog.

So, many professionals prefer resource-independent systems that operate on their own DSP-capacities and are not affected by the native operating system or the central processor. Of course, such hardware and software systems are much more expensive, but you can always find a reasonable compromise by buying older versions of systems for little money in the secondary market.

You can read something about working in resource independent systems in other articles of my blog - and.

Sound card device

Now let's take a closer look at the nodes and functions of sound cards.

Analog interfaces– analog inputs and outputs of the sound card. They can be on jacks - balanced ( TRS) or unbalanced ( TS), on "cannons" ( XLR) or "tulips" ( RCA). The presence of RCA connectors most often indicates that you have a low-class card in front of you. Expensive sound cards have at least one pair of XLR outputs and jack or XLR inputs. The sound card input connectors lead to the ADC ( analog to digital converter, ADC), and the signal gets to the outputs after the DAC ( digital-to-analogue converter, DAC).

Microphone input– sensitive input channel for microphone recording, it is usually on XLR. The presence of a microphone input indicates the presence of a microphone preamplifier.

phantom power– the power supply required for the operation of condenser microphones (usually + 48V). It is transmitted directly through the microphone cable to the microphone, and to turn it on, you just need to press the appropriate button. If there is no phantom power on the sound card, then only dynamic microphones can be recorded into it, and an additional phantom power source is required to record condenser ones.

line input– input for receiving a signal from any sources and instruments, except for microphones. These inputs can be connected to the outputs of synthesizers, drum machines, mixing consoles, tape recorders, guitar and universal preamps, and so on. Most often, line inputs are represented by TS or TRS connectors, but there are other options.

Instrument input- sometimes sound cards are equipped with such a connector. These inputs typically have a higher impedance than line inputs (high-impedance input) and are therefore better matched to guitar and bass pickups, allowing instruments to be recorded in line. They are usually made on jacks. By the way, often instrumental (or line) and microphone inputs are presented on sound cards universal XLR/Jack connector, and a button is provided on the panel to switch the mode.

Headphone output– an optional connector with a special amplification for connecting headphones. If headphones are inserted into a regular line output, the signal will be quiet. However, if for some reason you want to output the audio signal from the audio card to other devices, you should not use the headphone output for this, most often the sound from such an output is louder, but lower in quality.

preamplifier(preamp) of a sound card - a node necessary to amplify a weak microphone signal. In the absence of a built-in preamplifier for recording a microphone, you will have to purchase a separate external one. But if you don’t plan to write a microphone, it’s better to save money on this, especially since the built-in preamps usually do not shine with quality.

Volume and sensitivity knobs are controls that allow you to adjust the amplitude of the input and output signal. In some cases, it may seem that adjusting the volume and sensitivity gives the same result, but this is not the case. Sensitivity allows you to adjust the level of signal reception from a microphone or other devices, this is a preamp option. For sensitive microphones and loud voices, the sensitivity ( Gain) will need to be turned down to avoid distortion, otherwise it may need to be turned up to record the signal at a sufficient level. And on the sound card, it allows you to change the formal volume of the output signal - when transferring it to an amplifier or active speakers.

Digital interfaces– connectors for switching a sound card with other devices using digital protocols (S/PDIF, AES, AES/EBU, ADAT, MADI, and so on). Using digital interfaces, you can expand the functionality of the card (for example, by connecting additional analog inputs or outputs or connecting two cards for synchronous operation) or transmit/receive a digital signal from other devices.

It happens that there are no analog interfaces on the card at all, only digital ones. This is done in order not to impose unnecessary unnecessary options on the user. Professionals usually prefer to assemble systems in a modular way, rather than buying all-in-one at once. In some cases, specialists generally work without analog connections, and the sound goes to analog only after a digital amplifier directly to the speakers. It is logical that in such a situation, the overpayment for the built-in analog inputs and outputs will be superfluous.

clock (word clock, superclock) is a special connector for synchronizing audio streams. If digital connections are used in the work, then incorrect synchronization can lead to audio losses.

MIDI interface– allows you to connect synthesizers, midi keyboards or sound modules via MIDI to the card. Most often represented by at least two connectors (ports) - MIDI IN and MIDI OUT(possible also "through" pore MIDI THRU). But for serious work, more ports are still required, in these cases it is more reasonable to purchase an external midi interface.

Indication– colored diodes showing the presence or level of the incoming or outgoing signal to control the volume and prevent overload. On cheap cards, there may be no indication at all, or it may be represented by a single diode, indicating the presence of a signal or overload.

Computer connection protocol- an interface with which you connect a sound card to a computer. If this is an internal card, then it is inserted directly into the slot on the motherboard (PCI, PCI Express, etc.), and if it is external, it can be connected to the computer via USB, FireWire, Thunderbolt, and so on. Notebook cards are usually inserted into a slot in the PCMCIA. It is very important to understand in advance how the sound card will be connected, and based on this, plan the entire configuration, especially if you are purchasing older models.

Drivers– utility programs necessary for the interaction between the computer and the sound card. Most often, multimedia sound cards operate on a standard ASIO Universal Audio Driver. In some cases, manufacturers offer additional drivers.

Software Routing– a virtual mixer with which you can programmatically adjust signal levels and other sound card settings. Sometimes manufacturers make very complex and sophisticated software mixers, in other cases you have to be content with more primitive solutions. One way or another, you will not be left without virtual control of your sound card sufficient for normal operation.

These are all the main nodes and modules that are mainly found in sound cards. Sometimes other elements may come across - connectors for connecting special extensions and so on. But when it comes to these things, the musician is already experienced and is able to understand and understand the options himself.

Sound card specifications

Sampling rate and bit depth

Theoretically, if you do not take into account other factors, then the higher these parameters for a sound card, the better quality it should provide. However, unfortunately, not everything is so simple. Many modern cards (as well as stand-alone converters) operating at 192/24 lose sound to older devices with “worse” performance. I recently published an article that I recommend that you read so as not to fall for the advertising tricks of sellers and manufacturers.

Delay

Unfortunately, any processes associated with digital recording or sound processing are subject to delay (Latency). The minimum delay can be one sample (1/41100 second at 41.1 kHz sample rate). The delay can be observed when playing the MIDI keyboard with the sounds of virtual synthesizers, or during “program” monitoring during the recording process (when the signal reaches the recording program, and then returns to the headphones or speakers, that is, without turning on the direct monitoring mode). If during the recording process you also process the signal with software processing, the delay increases additionally.

In some cases, the delay makes work uncomfortable and sometimes even impossible. But the better the sound card, the less latency it has. Modern sound cards have made significant strides towards reducing latency, however, as I said, it is impossible to completely eliminate it. Many modern programs produce delay compensation after recording, so that in some cases its existence may not be known at all.

The delay can be reduced in the settings, but if you set it at a level that goes beyond the values ​​​​recommended for this card, then clicks will begin to appear in the sound.

Full duplex mode

Mode full duplex(full duplex) allows simultaneous recording and playback of signals, that is, to hear the tracks recorded earlier, in the process of recording the next take. For modern sound cards, this is a functional norm, but if you come across an older copy, check the availability of this mode in the specifications.

Also, problems can be encountered when working with cards using older versions of the USB protocol. This may be due to insufficient bus bandwidth when operating at high sampling rates.

If the card does not have a full duplex mode, then working with it can be similar to talking on a walkie-talkie instead of a regular phone: you either hear the interlocutor or speak yourself.

Noise level

Inexpensive sound cards sometimes noticeably make noise, which, of course, affects the quality of work. To compare different cards on this basis, pay attention to the signal-to-noise ratio indicator in the specifications ( SNR, Signal-to-Noise Ratio), measured in decibels. 60-75db is quite bad, 75-90db is decent quality, and over 90db is very good quality.

Sometimes, instead of the SNR parameter, simply "noise level" is indicated. In this case, the signal itself is equated to 0 dB, and the noise is shown on the negative vector. For example, if the card specifications say "noise level: -100 dB", then the SNR will be 100 dB.

Keep in mind that noise in the path accumulates, so select all the elements of the sound system in coordination with each other. By the way, it is also worth distinguishing from the usual analog: the first affects the sound much more critically.

And yet, the declared characteristics are not always true, so if you are really serious about choosing, then be sure to pay attention to the reviews of real users.

Frequency range and frequency response

The wider frequency range of the selected card, the better all the nuances of the sound palette will be “worked out”. However frequency response(frequency response) should not only be wide in frequency coverage, but also flat! In the specifications, pay attention to the allowable deviations when measuring the frequency response of the card.

By convention, if the range is specified as 15-25000 Hz with a tolerance of 3 dB, it would be better to prefer the range of 20-20 kHz with a tolerance of 1-2 dB. Of course, it is not a fact that the first option will be worse, because the strongest deviations can only be from 15 to 20 Hz and from 20 to 25 kHz, but honest manufacturers always strive to make measurements with minimal tolerances, showing the frequency response honestly. Those who pursue the goal of selling by any means always try to divert the attention of an inexperienced buyer from the most important aspects.

Frequency response and frequency range are usually specified for each type of sound card inputs and outputs.

Dynamic Range

Dynamic Range is the difference between the quietest and loudest sound that can be recorded or played back by a sound card or converter. The wider the dynamic range, the better. For systems operating at 16 bits, the maximum dynamic range is 96 dB. For 24-bit systems - 144 dB. However, this does not mean that you need to demand a range of 144 dB from your sound card. Even 105-108 dB is already a very good indicator.

How manufacturers cheat us

• Demonstration of high sample rate and bit depth performance (e.g. 192kHz/24bit) no reference to filter quality used in converters (many older 18-20 bit devices work much better).
• Claimed wide frequency range unadjusted for tolerance when measuring (an honest range of 20-18000 Hz is better than a wider range with deviations of 3-5 dB).
• Not all DSP systems are truly resource independent. If I/O is controlled by the CPU computer, such a system remains native even despite the presence of specialized processors (DSP) for calculating the operation of plug-ins.
• If you know that the older version of the hardware-software complex runs on its own hardware, then don't expect the same sound when running the same program on cheap sound cards. For example, ProTools running on M-Audio is completely different from ProTools running on its own TDM hardware.
• If you see a $1,000 card in the description that it uses the highest quality mic preamps (or "class A" preamps) or top-of-the-line converters (ADC/DAC converters), remember that $1,000 can't buy a real « class A» preamplifier, neither really top converter. Even on one channel.
• Prefixes PRO or STUDIO in the names of sound cards is just a set of letters, and not a guarantee of "professional" or "studio" quality.

Life hack for the most patient

Well, now you know much more about what you are going to buy. Perhaps, of course, you were waiting for specific recommendations - “take this or that” ... I have to disappoint. I am not an advertising agent and it is not my task to sell you any product. I am sure that after carefully studying all of the above, you will easily choose the best sound card for yourself, depending on your tasks, needs and budget.

There are a lot of sound cards on the market for any pocket - from several thousand to tens, and sometimes hundreds of thousands of rubles. Remember that a brand that is not always promoted guarantees you an increase in quality proportional to the price. Often a card for 5-10 thousand rubles solves almost all the same tasks that its analog for 1000 dollars solves.

Make your choice thoughtfully and consciously, do not freeze with your mouth open at the sight of advertising posters, PR articles in music magazines and enticing slogans on websites.

And finally - life hack, which will allow you not to spend money on a sound card at all. To date, even regular sound cards of computers and laptops allow you to record without any problems and even with an acceptable level of quality. Yes, built-in audio cards often have poor functionality, noticeable latency and primitive interfaces on minijacks (1/8” TS or TRS), but if you are full of creativity, start working right now, don’t justify your inaction by the lack of an opportunity to buy an expensive sound card!

If you still have questions - ask them in the comments here or in my

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How to choose the right sound card. The main function of a sound card in a computer is to process the incoming signal and transmit it, for example, to a subwoofer.Today, almost all motherboards sold are equipped with an integrated sound card, which in most cases supports a 7.1 or 5.1 system.Why is a sound card separate from the motherboard needed? Of course, connoisseurs of high-quality sound characteristics need a separate sound card.

When buying a sound card, you should pay attention to some details. The most optimal sound quality is obtained only in conjunction with an acoustic system with an optical or digital interface. Support for Dolby Digital noise reduction or analogues is also welcome. But it is always necessary to take into account that a qualitatively clear sound will be obtained only when a normal source is used, i.e. it makes no sense to buy a super-quality sound card when you have simple stereo speakers.

When choosing a sound card, pay attention to the presence of Dolby Digital and DTS Digital Surround functions in it, which will allow you to feel the effect of presence when watching licensed discs.

The highest quality sound and its spaciousness will allow you to feel cards with the EAX ADVANCED HD or EAX function. Also, this feature will allow you to experience modern effects in the latest games.

In order to make the right choice of a sound card, you need to decide on the purposes for which you purchase it - for watching movies, listening to music, for recording, processing personal compositions, or for playing computer games.

Today, sound cards are divided into two types - internal and external. The internal type is inserted into a dedicated motherboard (PCI) slot. Its advantage is that there are no extra wires and this type does not take up extra space. External type is a separate device of small dimensions. The internal type of the card may be affected by electromagnetic interference, which will adversely affect the quality of the reproduced sound. Whereas the outer type will not have such problems.

Also, its advantage is the unlimited size and number of built-in connectors, which make it possible to expand functions. In addition, an external type of sound card is the only way to improve the sound quality on a portable computer and connect an audio system to it.

Before purchasing a particular sound card, be sure to study its features, socket types, number of channels to be able to connect all the necessary musical instruments. Most of them require specialized 6.3 mm jack connectors.

Today, replacing a sound device is an effective opportunity to improve and modernize a computer. A new, improved, more optimized sound card that supports the latest modern standards will open up new possibilities of sound.

The Creative SB X-Fi Surround 5.1 Pro sound card is usually recommended as the most optimal for home use.

Good day, dear friends, today I would like to touch on the topic of choosing a sound card for beginners, namely, what are the typical mistakes when choosing, which lead to the fact that you obviously overpay for the functionality that you simply do not need. Or he returns the goods to the store due to the fact that the card simply cannot be connected.

1 error: you should not buy an internal sound card such as PCI Express and the like if you plan to use the board bundled with a laptop or with such a device where there is simply no PCI slot. Even if you are the owner of a home PC, make sure you have a slot for your favorite sound card. Such information can be found in the manual for the motherboard or find such information on the Internet.

The same can be said about external cards - check if your computer has FireWire or USB. And after you are already sure that the card can be physically connected, proceed to the choice.

2 error: don't buy a multi-channel sound card if you don't need multiple inputs and outputs! At the moment, the choice of audio interfaces is different and diverse. First of all, you need to understand what the map is for.

If you are interested in high-quality wiretapping, look for a sound system with a minimum number of inputs and outputs, but with a high-quality digital-to-analog converter. These can be any two-channel sound cards with DACs from Cirus Logic or Texas Instruments.

If you need to record a number of instruments (tracks) at the same time, count them and use this number when choosing a multi-channel sound card.

3 error: do not buy a sound card without phantom power for the microphone if you are going to record vocals or instruments with a studio condenser microphone. Remember, any condenser microphone needs phantom power to function. Pay attention to this moment when choosing!

4 error: do not buy a sound card for high-ohm special headphones. At present, any modern sound card contains a built-in headphone amplifier capable of driving headphones charged up to 300 ohms. However, if you are going to use multi-ohm studio headphones with a built-in PCI sound card, make sure they can play with this card - again, the manual or the Internet will help.

5 error: don't buy a USB 1.1 sound card without implementing direct monitoring (hardware input to output, no digitizing) if you're going to record vocals and listen to what you're writing at the same time. Usually only sound cards equipped with a high-speed USB 2.0 USB 3.0 or FireWire port are capable of transmitting an audio stream without noticeable delays during recording and monitoring. The implementation of direct monitoring in the latter will also reduce the load on the CPU and will mean more stable operation of the device.

Approximately the same logic when choosing a sound card for a live performance or for DJing - speed rules.

6 error: don't match a sound card with your microphone or vice versa. This technique is a myth invented and inflated on the Internet. To put it simply, the higher the quality of each component, the better the result you will get at the output.

7 error: don't buy a multi-channel live sound card without a built-in software router. Such a card will not be able to control the signal of each track online, which will make it very difficult to use the latter for performances.

8 error: don't choose a sound card with the most expensive built-in mic preamps if you're going to use a good external mic preamp. We remind you that the microphone is recorded using an external pre. through the line (as when recording an instrument), if the input is combined, then the gain of the card should be at zero.

We will be glad if our advice will help you when choosing a sound card. Also, if you have any questions about the choice, please ask them in online consultations or by phones.