Latest from Tom's Hardware UK in Creative

Creative Sound Blaster Audigy FX Pro 7.1 channel sound card: A decent 2026 upgrade for analog audio

Sarah Jacobsson Purewal — Tue, 19 May 2026 12:59:12 +0000

It's been over a decade since I last bought a discrete internal sound card for my PC — and the only reason I purchased one back then was because I had a set of 5.1 surround sound PC speakers (Logitech Z906) that I wanted to use with a motherboard that only had built-in support for a stereo system. (While there were probably several ways this could have been handled, I opted for the sound card because my speakers were already set up and I didn't spend all that time running wires around my home office for nothing.)

Even back then, discrete sound cards already seemed like they were on their way out, as onboard audio, while not wildly impressive, was already at the point where it was decent enough that many users who were just looking for occasional audio playback from their system were... fine with it. And as onboard audio has continued to improve, and headsets and speakers with built-in audio interfaces, as well as external DACs, have become more popular (and more affordable, at least somewhat), sound cards have become more of a fringe add-on than an absolute necessity. That doesn't mean there's absolutely no market for a discrete internal PCIe sound card such as the Creative Sound Blaster Audigy FX Pro, of course. There is a market, but it's definitely small enough that I think we can call it a niche these days.

Back when sound cards were a necessity, Creative's Sound Blaster line dominated the market. But it's been years since the company's last release — five years, to be specific: Creative launched the Sound Blaster Audigy Fx V2, which featured support for 5.1 surround sound and high-resolution 24-bit / 192 kHz playback in Sept. 2021 (it later launched an add-on daughterboard that added support for 7.1 discrete surround and an optical-out port). But now Creative is back, trying to prove that sound cards and 7.1 surround sound are definitely still a thing with its newest Sound Blaster Audigy FX Pro, which became available in March 2026.

The Creative Sound Blaster Audigy FX Pro is a discrete internal sound card that supports high-resolution playback (up to 32-bit / 384 kHz) and 7.1 surround sound out of the box. It also features a built-in headphone amp with an output impedance of 4.7 ohms, and has a 120 dB SNR (signal-to-noise ratio) for a clean, clear signal. It's a compact add-in card that the company believes the people need, as "audio remains one of the most overlooked upgrades" (I suppose that's not wrong). And it's priced at $79.99, which is fairly affordable — at the very least, it's less than half the price of many of our favorite gaming headsets, so maybe this is the audio upgrade you're looking for.

(Image credit: Tom's Hardware)

The Sound Blaster Audigy FX Pro comes neatly packaged in an anti-static bag inside a small, eco-friendly cardboard box. In the box you'll also find a shorter half-height bracket (3.15 x 0.85" / 80 x 21.6mm) for smaller systems — the card comes with a full-height bracket (4.62 x 0.85" / 117.3 x 21.6mm) already mounted (via two screws, at the top and bottom) — and a quick start guide.

From top to bottom, you'll find five ports: SPDIF out/Side, Center/Sub, Rear, Headset/Front, and Mic/Line In. These are all 3.5mm analog jacks, except the first one, which is a combination Mini-TOSLINK/3.5mm jack. The ports are plastic and fit moderately well within the brackets. Plastic ports are unsurprising given the $80 price point of the card; the cheapest Creative card with metal ports is its Sound Blaster Z SE (which costs just over $100).

The card has a PCIe x1 connector, so it can slot into any free PCIe x1 - x16 slot on your motherboard. It also has an HD audio front panel connector on the underside, for hooking up to your PC's front panel headphone/mic jacks. Installing the card is quick and easy, and it's pretty small, so it shouldn't be too difficult to find space for it in your build. The card measures 4.76 x 4.62 x 0.85 inches (121 x 117.3 x 21.6mm) and weighs 2.12 ounces (60g) with the full-height bracket installed, and measures 4.76 x 3.15 x 0.85 inches (121 x 80 x 21.6mm) and weighs 0.46 ounces (13g) with the half-height bracket installed.

Specs

Recording Resolution	PCM 32-bit / 192 kHz
Playback Resolution	PCM 32-bit / 384 kHz
I/O	1 x ⅛“ Mic in/Line in, 1 x ⅛“ Headset/Headphone out/Front(L/R) out, 1 x ⅛“ Center/Sub out, 1 x ⅛“ Rear(L/R) out, 1 x ⅛“ Side(L/R) out/SPDIF out combo, 1 x HD Audio Front Panel Connector
Headphone Amp	4.7 ohm
Software	Creative Nexus
Supported OS	Windows 10 / 11 64-bit
Interface	PCIe x1
Signal-to-Noise Ratio	120dB
Size	4.76 x 4.62 x 0.85 inches / 121 x 117.3 x 21.6mm

(Image credit: Tom's Hardware)

Creative positions the Sound Blaster Audigy FX Pro as a "clear upgrade over standard onboard audio," but standard onboard audio isn't bad these days. In fact, it's pretty good, especially if you've got a mid-range or higher motherboard. My current motherboard, the MSI MPG Z690 Carbon WiFi, is a few years old (released in late 2021), but it features isolated audio and uses the Realtek ALC4080 codec. The Realtek ALC4080 is very similar to the Realtek ALC4082, which is what the Audigy FX Pro implements — both codecs offer 32-bit / 384 kHz playback and 120dB SNR, and the only real difference between them is that the ALC4082 natively supports the Direct Stream Digital (DSD) audio format, which is a high-resolution format that works differently from the more common pulse-code modulation (PCM) format. Both the ALC4080 and the ALC4082 are often found as onboard audio solutions for high-end motherboards, though, so at least in the codec sense, the Audigy FX Pro isn't going to give you a drastically different experience.

However, it's not just the codec that matters when it comes to PC sound. One of the biggest issues is how audio is implemented on the motherboard — even when the audio components are isolated on the PCB, like they are on my motherboard, onboard audio can still suffer from a noisy signal thanks to electromagnetic interference from other components (such as GPUs), cable issues, ground loops, etc. Of course, you can still get this interference with a discrete sound card, too, but putting the audio components on a separate card does generally allow for a cleaner, clearer overall signal and a better SNR.

Case in point, despite my motherboard's onboard audio being driven by almost the exact same chip, the difference between the audio from my motherboard and the Audigy FX Pro was immediately noticeable over every analog connection. The sound from the Audigy FX Pro was significantly cleaner, and that's not to say the audio from my motherboard is a mess, because it's not. But there's no question that the signal is clearer — I suppose I'd just gotten used to the relatively mild noise from my onboard audio (or, more likely, I don't end up using the onboard sound very often as I'm always testing headsets and speakers with built-in DACs).

Of course, the question is whether the Audigy FX Pro's signal was so much cleaner and clearer than my PC's onboard audio that it warrants the upgrade, and my answer to that is... probably not. It was noticeable, but it was only noticeable by comparison — I didn't have any real issues with the onboard audio prior to testing the sound card, and I still don't have any real issues. And while the Audigy FX Pro's audio signal is very clean, it's not perfect — I went ahead and plugged in a USB DAC/amp (the AudioQuest DragonFly Cobalt), and that signal was cleaner and clearer than the Audigy FX Pro's. So it's hard to say where the Audigy FX Pro ends up falling — it's definitely in between onboard audio and audiophile-grade equipment, but I suspect onboard audio is still fine for most users.

The Sound Blaster Audigy FX Pro is the first product to work with the company's new Creative Nexus app, which is an audio controller featuring a 10-band EQ with a searchable database of game-specific presets, as well as Creative's Acoustic Engine software enhancements. These include surround (virtual surround and upmixing), crystalizer (enhanced dynamic range of compressed audio), bass (bass boost for those with and without subwoofers), smart volume (consistent volume across media, with loud and night modes), and dialog plus (amplifies and cleans up vocal frequencies).

Tom's Hardware

The 10-band EQ also includes bass and treble boosts and gain (preamp) control. If you click the preset dropdown menu, you'll see the top four most common presets — gaming, music, movies, and footsteps enhancer- and you can scroll or search to find more presets for music, movie, and game genres, as well as for specific games such as Apex Legends, Counter-Strike 2, Baldur's Gate 3, League of Legends, etc. There are around 70 presets total, and you can modify any preset and hit the save button to create your own.

The Audigy FX Pro does not have Creative's Super X-Fi (SXFI) technology, which is the company's gamer-oriented spatial audio tech that uses head/ear-mapping to create more realistic virtual surround sound (it also received an AI-enhanced update a couple of years ago). However, the virtual surround from Creative's Acoustic Engine did an excellent job of widening and repositioning the soundstage in the headsets and headphones I tested (through both the front and back ports). The other Acoustic Engine features also offered well-tuned enhancements that didn't sound too over-processed. The crystalizer did a nice job of separating out details and layers of environmental sound in games such as Uncharted 4 and God of War: Ragnarok, while the dialog plus feature was able to boost voices in games and movies without making them sound shrill or out of place.

The app also lets you update the card's firmware and drivers (it did require a firmware update right out of the box, which wasn't too painful aside from needing a restart).

The Bottom Line

The real question is whether you need a dedicated, discrete sound card in 2026. And I'm talking about the literal you — would your setup actually benefit from a sound card? If you're looking for a way to bring your 7.1 discrete surround gaming dreams to life, then yes, you almost certainly need a sound card. But I don't think that's a huge chunk of the market, given that it's pretty difficult to find 7.1 speaker systems (especially if you're looking for the best PC speakers).

If you're just looking for a way to improve your system's overall audio output, the good news is that the Creative Audigy FX Pro will probably give you a cleaner, clearer signal than your onboard audio chip — even if you have a very high-end, gamer-oriented motherboard with isolated audio. But whether it will sound that much better is where it gets debatable. If you're already rocking a high-end motherboard and you want to put your money toward a big audio improvement, you might be better off picking up one of the best gaming headsets (or best wireless gaming headsets), as these bypass your PC's audio altogether unless they're connected via analog (i.e. plugged into the 3.5mm headset jack).

Likewise, the gaming-oriented speakers on our list of best PC speakers have their own built-in audio interfaces and won't use your PC's onboard audio (or a discrete sound card, if you have one). But if you have a more budget-friendly motherboard and/or you're looking for 7.1 (or 5.1) surround support, the Audigy FX Pro is a quick, easy, and relatively affordable installation that will let you connect your speakers to your PC and offer a noticeable bump in audio performance.

Creative updates its Sound Blaster PCIe sound card line after 5 years — new $79.99 Audigy FX Pro 7.1 pitched as ‘clear upgrade over standard onboard audio’

Mark Tyson — Mon, 16 Mar 2026 15:00:00 +0000

Creative has updated its roster of PCIe sound cards for PC desktop DIYers. The new Sound Blaster Audigy FX Pro 7.1, launched today, sits atop the Audigy add-in-card line. The new card’s design and features aim to make it a clear upgrade for builders who feel their motherboard's onboard audio is lackluster, but who don’t want to splurge into audiophile territory. This new product is available today, priced at $79.99.

Creative

Creative Labs

Key features of the Sound Blaster Audigy FX Pro 7.1 include, most obviously, its support for 7.1 surround sound. Current Audigy PCIe stablemates are limited to 5.1 audio. Additionally, PC DIYers will probably appreciate this card’s high-resolution 32-bit / 384 kHz playback, built-in headphone amplification, and “the debut of the all-new Creative Nexus app,” reckons Creative.

The scope for sound shaping and the quality of the new Nexus app, described as a “unified dashboard for PC audio,” can’t be taken for granted. So many component and peripheral makers fall flat with their software offerings. Luckily, we have a Sound Blaster Audigy FX Pro 7.1 in the labs for testing, so please stay tuned for our judgment.

Please note that the minimum system requirements only mention Windows PC drivers, and the Nexus app is Windows only.

As for features, the Nexus app offers fine-tune adjustments to audio, or you can just use Auto EQ for quick sound optimization. Sound Blaster Acoustic Engine enhancements are also on tap to suit different content and listening preferences.

Shifting our focus back to the hardware, and physically, this is a low-profile design card, which includes a half-height bracket in the box. It should fit in most systems with a spare PCIe 1x to 16x slot.

(Image credit: Creative Labs)

Though many of the key audio quality specs you see above line up with the best widely available on-board audio solutions, such as the ALC1220 codec, Creative asserts that its hardware will deliver “clearer playback, more immersive surround, stronger headphone performance, and smarter day-to-day audio control.” Indeed, offloading your sound processing to a dedicated card should at least benefit from improved electrical noise isolation, cleaner dedicated power regulation, higher-quality DACs and op-amps, and more.

Creative notes that “audio remains one of the most overlooked upgrades,” and I’d say that’s true, going by my previous experiences of replacing motherboard audio solutions with affordable PCIe sound cards. Thus, it is going to be interesting to see (hear?) if this is still the case in 2026, when our review goes live. Stay tuned…

Creative Labs revives Sound Blaster brand with modular audio hub — Re:Imagine is a tactile Stream Deck competitor, aimed at creators and audiophiles

editors@tomshardware.com (Kunal Khullar) — Wed, 29 Oct 2025 09:02:00 +0000

Creative Technology is bringing back its iconic Sound Blaster brand with the launch of a new modular audio hub. The Re:Imagine is designed for users who manage multiple audio devices, offering quick source switching and flexible configuration within a single setup. Currently listed on Kickstarter, the Re:Imagine is claimed to be an open, programmable platform that combines the functionality of a sound card and a stream deck, featuring broad audio connectivity and customizable controls.

The hub is powered by an octa-core ARM CPU with a dedicated NPU with up to 6 TOPS of performance, 8GB of LPDDR4 memory, 16GB of onboard EMMC flash storage and a microSD card slot for adding more storage. It features a hi-resolution 32-bit/384 KHz DAC and amp which can power headphones up to 300Ω as well as large desktop speakers. It also offers wide compatibility with devices including PCs, laptops, mobile phones, tablets, gaming consoles, headphones, speakers, mics, and music instruments. The company notes that it can be used as a standalone device as it comes with Linux or can be connected to your PC or laptop using USB to double as a control hub for activating macros on your computer. There’s even support for Wi-Fi 6 and Bluetooth 5.0 meaning that it can connect to wireless audio devices.

Creative Technology

The design is quite interesting as it seems to be inspired by Teenage Engineering, who themselves are inspired by Braun. The company plans to launch two base hubs that differentiate in terms of layout where each unit comes with a set of included modules including a smart screen, a set of four buttons, a knob, and dual sliders. Initially the Horizon Base Unit will be offered featuring a wide layout including a total of five slots where two are used by the Smart Screen and three are open for other modules. The Vertex Base Unit on the other hand offers a taller layout with a total of six slots, although this variant will only be available once the initial Kickstarter campaign funding goal has been met.

As mentioned earlier, users have complete control over its hardware with deep customization options available via the provided SDK and sample source code. This allows users to build their own apps and control connected devices with root-level access. Creative will also allow users to share their creations and benefit from tools and features developed by other users.

Additionally the Re:Imagine includes some built-in apps including a DOS emulator for retro PC gaming, AI-powered versions of Sound Blaster Parrot and Dr. Sbaitso, an AI DJ that creates music based on user-selected themes, and tools for one-tap audio recording and visualizations.

Currently the most affordable pledge tier for the Sound Blaster Re:Imagine starts at $329 where backers receive the core modular audio hub unit, and the above-mentioned four modules. It is important to note that this is a pre-order estimate and shipments are expected to begin in June 2026. If you are looking for similar modular control hubs, make sure to look at the Cooler Master MasterHub and various options from Elgato.

The minimalistic Creative Pebble Pro stereo speakers marked down to just $49

Stewart Bendle — Fri, 03 Jan 2025 18:45:16 +0000

The popular Pebble range of speakers from Creative has been around for a while and is still a popular choice for small computer desktop setups, and with good reason. They are small, stylish, and don't take up much room on your desk but still provide decent audio for the price. You can pick up an original pair of Pebbles for around $18-25; that low price is part of the appeal. The speakers on sale today, though, are the full-fat Pro-version of the Pebble with the same size and style but fully upgraded internals and power with an overall increase in sound quality.

Available at Amazon, the Creative Pebble Pro stereo speakers are reduced to $49. This is a slight discount from the MSRP price of $59. This isn't the lowest-ever price for these speakers - $44 in October 2024's Prime Day sales.

The Pebble Pro also has a higher power output of 10W RMS (20W peak), with the option to boost the power up to 30W RMS (60W peak) by connecting it to a 30W USB-PD power adapter. The original Pebble only had 4.4W RMS power, with the Pebble V2, Pebble V3, and Pebble Plus sporting 8W RMS, so as you can see, the Pebble Pro has stepped up considerably - especially with the adapter.

Creative Pebble Pro Stereo Speakers: now $49 at Amazon (was $59)
The Creative Pebble Pro 2.0 speakers come with RGB lighting, Bluetooth 5.3, and USB Type-C connectivity. There's also a universally compatible 3.5 mm AUX-in port and headphone jack. The speakers are small and aimed at a 45° angle to project the sound to ear level. A new driver and bass reflex design enhance the audio over previous versions of the Pebble.View Deal

We had a chance to test and review the Creative Pebble Pro speakers back in June 2023 and awarded them an Editors Choice mark for their design, improved audio and bass, and optional power output. The added RGB may not be for everyone, and there is no added subwoofer or subwoofer port like the Creative Pebble Plus 2.1 stereo speakers.

Don't forget to look at our Amazon coupon codes for January 2025 and see if you can save on today's deal or other products at Amazon.

Logitech launches MX Creative Console — a Stream Deck alternative with a dial for creatives

editors@tomshardware.com (Jowi Morales) — Tue, 24 Sep 2024 11:56:51 +0000

Logitech is getting into the macro pad game with its new MX Creative Console, facing off against established players like Elgato, Razer, and Cooler Master. The Swiss firm's two-piece device is marketed towards Adobe Creative Cloud users, especially those who spend hours on Photoshop, Premiere Pro, or Lightroom Classic daily. According to Logitech MX General Manager Anatoliy Polyanker (via Business Wire), “The MX Creative Console is designed to help people redefine their workflow, enabling them to work smarter and faster.”

The MX Creative Console has two primary parts — a wired keypad with nine primary LED display keys and two arrow keys for navigating between pages, plus a dial pad that has a massive knob, a jog wheel, and four extra buttons. You can pretty much program all the buttons to suit your particular needs, but the company has worked closely with Adobe so that it will work straight out of the box with apps like Lightroom Classic, Photoshop, and Premiere Pro.

At $200, the MX Creative Console is quite an expensive device, especially as you can get a Stream Deck starting at just $60. There are also other options in that price range, like the Razer Stream Controller or the Elgato Stream Deck Plus. However, Logitech is the only one of these big-name firms to offer the dial pad and keypad combination, which makes it highly suitable for creatives working with Adobe apps. The other competitors are more focused on live streaming and audio production, so you’ll have to spend a lot of time configuring them to make them suitable for visual creative workflows.

The Cooler Master MasterHUB is the nearest competitor to the MX Creative Console, but the complete modular kit costs double at $399 and it’s still in the Kickstarter stage at the time of writing (although we expect shipments to begin this month). Furthermore, since it’s not explicitly made for Adobe app workflows, you may have to spend a good amount of time discovering how to program the shortcuts for each app.

While this MX Creative Console is perfect for Adobe users, you might find it lacking if you prefer other apps. You’ll have to customize the console yourself if you want to use it with non-Adobe programs, like DaVinci Resolve or GIMP. Alternatively, you could download plugins via the Plugin Marketplace in Logitech Options+ app to make the MX Creative Console work more seamlessly with select apps like Spotify, Capture One, and Zoom. However, you’ll have to wait for Logitech to see if and when it will release plugins for popular Adobe alternatives.

Tulip Creative Computer runs MicroPython, targeted at musicians, for only $59 — its open-source nature means you can make your own or just run the software

Christopher Harper — Tue, 06 Aug 2024 15:40:55 +0000

For just $59, musicians now have a new option for a purpose-built musical computer with a touchscreen and music synthesizer— meet the Tulip Creative Computer, a FOSS (Free and Open Source) project available as a pre-made purchase in free software form for existing PCs and Macs, or even fully buildable at home to those with the resources and know-how to get it done.

A simple dual-core powers the Tulip PC, 250 MHz ESP32-S3 with 8.5 MB of RAM and 32 MB of storage connected to a 7-inch, 30 Hz IPS touchscreen running at a 1024 x 600 resolution. These specs are pretty light by modern standards, but they seem sensible for a device tailored purely to making or playing music with attached keyboards, MIDI devices, and speakers.

Per the official page, the primary purpose of the Tulip computer is to make and play music. Still, its support for Python programming also makes it capable of displaying a variety of sprites, PNGs, backgrounds, etc— which means even lightweight games should be makeable or playable on the device. There's no real multimedia or web browsing functionality here besides. However, Tulip also has access to an exclusive BBS Tulip WORLD system for sharing music files and chatting with other users.

The synthesizer at the heart of Tulip is the AMY (Addictive Music synthesizer librarY), another FOSS project made to be integrated across "almost any program, architecture, or microcontroller" and usable as an FM synthesizer, analog-type synthesizer, drum machine, or even a breakpoint synthesizer. AMY is also used by the FOSS mesh synthesizer project Alles (think FOSS wireless speaker mesh solution), which Tulip Creative Computers also supports.

For musicians comfortable with Python or FOSS hardware and software solutions, the Tulip project seems like a nifty piece of purpose-built hardware (or software if you prefer not to buy or build anything), ideal for essential music production or simple coding projects.

When it comes to specialized hardware like this (or retro PC hardware in general), "necessity is the mother of invention" and "limitations foster creativity." It would be interesting to see some rudimentary arcade or DOS game ports on this machine— a dual-core 250 MHz microcontroller may not sound like a lot today, but in the 80s, even 16 MHz was considered cutting-edge.

19 years later, X-Fi is still kicking — Creative announces Super X-Fi Gen4 audio profile, leverages AI for head and ear mapping

Roshan Ashraf Shaikh — Fri, 10 May 2024 15:50:02 +0000

On this date, 19 years ago, Creative introduced the X-Fi brand to the world. Today, the company unleashed its latest Super X-Fi Gen 4 audio profile for its compatible audio headphones, speakers, and wireless audio ecosystem. The new profiles provide better dynamic range, clarity, and spatial awareness. They will be rolled out worldwide in June and will be available via its SXFI app.

Since it requires an app, it will work with its USB audio range, which includes the Creative SXFI Air C and Gamer USB headphones, SXFI Trio USB Earbuds, Sounds Blaster X3 USB DAC and amp, and Outlier Gold wireless earbuds.

The company explains that it can do so by recreating an 'immersive soundstage' and further personalized by using artificial intelligence. However, it doesn't mention if it uses currently available artificial intelligence (AI) or its propriety tech. The company advertises that with this update, users enjoy an expanded dynamic range with richer, improved clarity and more detailed audio reproduction. Though initially designed for headphones, it will also be used in its speakers, earbuds, and premium headphone ranges.

How does this AI engine work?

As multiple companies constantly use AI as a new buzzword, anyone will be curious about this process. AI technology drives interest and sales for many hardware systems, provided it uses components that work with existing LLM engines and apps. Creative Technology mentions that it uses a sophisticated head and ear mapping process. While it doesn't mention the mapping process, it does say it uses hundreds of anthropometric parameters extracted from the features of the head by using real-time image detection and analysis.

However, this isn't the first time Creative had something similar for its USB audio devices. The Creative SXFI Air Gamer we reviewed a few years ago had a similar app that scanned the user's ear with the help of a smartphone. The earlier system created a different and noticeable sound stage, though it is clear the perception of this difference would vary among other users. While it may not be a feature that would encourage people to buy its Super X-Fi Gen 4 range of products, one would still be tempted to try to see if it brings an improvement.

Any improvement, whether it uses an AI engine or simply an optimized version, is good. But using such words when it doesn't have any LLM technology does make it sound gimmicky. We'll only know for sure once the app is updated next month. There's also the part where this optimization might be discernible with its earbuds and headphone lineups over speakers. Audio experience is subjective depending on the user, the device, and the settings they use.

Creative Pebble Pro Review: Small and Mighty

Sarah Jacobsson Purewal — Tue, 13 Jun 2023 15:33:58 +0000

Creative’s Pebble desktop speakers have been a hit since they launched — because what’s not to like? They’re small and stylish and they pack a pretty impressive audible punch for just $25. So it’s not too surprising that Creative has released several variations on the original Pebbles, including the most recent launch: the Pebble Pro.

Priced at $59.99, the Pebble Pro is the most expensive Pebble so far — it’s $10 more than the Pebble Plus, which includes a subwoofer (the Pebble Pro does not include a subwoofer). The Pebble Pro is a 2.0 dual channel desktop speaker system with USB-C and Bluetooth 5.3 connectivity and built-in customizable RGB lighting.

It looks very similar to the other speakers in the Pebble line — compact, minimalist balls with elevated drivers that sit tilted up at a 45-degree angle. But the Pebble Pro is also packing some internal upgrades that give it the edge over its siblings — it has larger, re-engineered 2.25-inch drivers, and features Creative’s “BassFlex” technology and Clear Dialog audio processing.

The Pebble Pro also has a higher power output — 10W RMS (20W peak), with the option to kick it up to 30W RMS (60W peak) by plugging it into a 30W USB-PD power brick. For reference, the original Pebble had a 4.4W RMS, and subsequent iterations (Pebble V2, Pebble V3, Pebble Plus), 8W RMS.

The Pebble V3, which has the same 2.25-inch drivers (albeit, un-re-engineered) as the Pebble Pro, as well as Clear Dialog audio processing and USB-C and Bluetooth 5.0 connectivity, is currently on sale for $35 — nearly half the price. The Pebble Pro’s added RGB lighting isn’t really worth twice the price, but the BassFlex technology and the power upgrades just might be.

Design of the Pebble Pro

The Pebble Pro speakers are roughly the same size and shape as the rest of the Pebble lineup. Each pebble-shaped speaker measures 4.8 x 4.8 x 4.6 inches (123 x 123 x 118mm) and is housed in a plastic chassis.

The speakers are well-built and stylish-looking, though the chassis does attract fingerprints and was surprisingly difficult to smoothly wipe down (as you can see from my pictures). The Pebble Pro comes in one colorway — a dark, military-esque green (dubbed “Audio Green”) with dark gray faceplates and gold accents.

(Image credit: Tom's Hardware)

I’m not sure why Creative decided on this color as its sole option for the Pebble Pro, but I don’t... love it. I don’t have a problem with the color on its own — I like that it’s different from ever-present black or white while still being semi-neutral — but one of the Pebble Pro’s unique features is its built-in RGB lighting.

And I don’t think flashy, spectrum-cycling RGB really works with this shade of green (okay, or with the overall minimalist aesthetic of the Pebble line). I also don’t think there’s a single lighting color (other than white, which isn’t an option) that really works well with this shade of green, but maybe I’m overthinking this.

Tom's Hardware

Both the left and right channels feature elevated drivers that are tilted upward at a 45-degree angle on the front and passive radiators on the back. The left speaker has Creative’s logo printed in gold along the bottom of its dark gray faceplate, while the right speaker has a volume knob and two buttons for connectivity and lighting. There’s an indicator light next to the volume knob that changes color to indicate input type (USB-C, Bluetooth, or AUX).

Tom's Hardware

Both speakers are the same size and shape, and are connected via a hardwired 6-foot (1.8m) cable. The right speaker has three additional ports on its back: USB-C, USB-C PD (Power Delivery), and 3.5mm AUX-in. It also has two 3.5mm jacks on its right side for a headset and a microphone.

(Image credit: Tom's Hardware)

The bottom of each speaker is lined with rubbery anti-slip material, which wasn’t quite enough to stop the speakers from slipping on a wooden desktop — the cable that connects the two speakers is somewhat stiff out of the box, so it may need some training to get the speakers to sit where you want them. The speakers are relatively lightweight: the left speaker weighs 13.44oz (381g) and the right speaker weighs 14.88oz (422g). An RGB lighting strip circles the base of each speaker.

(Image credit: Tom's Hardware)

The Pebble Pro comes with three cables: a 5-foot (1.5m) USB-C to USB-C cable, a 5-foot (1.5m) USB-C to USB-A cable, and a 4-foot (1.2m) 3.5mm AUX cable. The system does not come with a power adapter, but Creative is currently including its 30W PD adapter as a free add-on if you buy the Pebble Pro directly from its website. The Pebble Pro is capable of 10W RMS output when connected to a regular USB port, and is capable of 30W RMS using the 30W PD adapter. This makes it a little more portable than most desktop speakers, as it doesn’t require power from a separate outlet.

Specs

Speaker Type	2.0 stereo
Driver Type	2x 2.25" full-range
	2x passive radiators
Frequency Response	80 Hz - 20,000 Hz
Signal-to-Noise Ratio (SNR)	≥75dB
Inputs	USB-C, USB-C PD, Bluetooth 5.3, 3.5mm AUX, 4-pole headset, 3-pole mic
Cables	6ft / 1.8m (right to left speaker cable)
	5ft / 1.5m USB-C to USB-C
	5ft / 1.5m USB-C to USB A
	4ft / 1.2m 3.5mm AUX
Size	4.8 x 4.8 x 4.6 inches / 123 x 123 x 118mm (each)
Weight	13.44oz / 381g (left)
	14.88oz / 422g (right)
	1.77lbs / 803g (total)
Lighting	RGB (1 zone)
Software	Creative App
MSRP / Price at Time of Review	$59.99 / $59.99
Release Date	Nov. 16, 2022

Performance of the Pebble Pro

The Pebble Pro is a 2.0 dual-channel system with a left speaker and a right speaker. Each speaker has a 2.25-inch full-range driver on the front and a passive radiator on the back. The drivers are tilted up at a 45-degree angle, so the speakers can sit on your desktop and point at your ears. This angle isn’t adjustable and these speakers don’t seem particularly easy to fit into a generic stand, so keep this in mind if you’re looking for speakers that will sit somewhere other than your desktop.

(Image credit: Tom's Hardware)

The Pebble Pro has a frequency response range of 80 Hz - 20,000 Hz and sounds very good for its price point. It delivers plenty of volume, even when it’s connected to a regular USB port (drawing up to 10W RMS), though you’ll get a noticeable boost by plugging in the 30W PD adapter. The Pebble Pro managed to hit a maximum of 69.4dBA (A-weighted decibels) at 50% volume, measured via a handheld sound level meter at 3.3 feet (1m), and a maximum of 88.2dBA at 100% volume. More importantly, the speakers still sounded decent at higher volumes — distortion didn’t start to become unbearably apparent until around 78% volume.

The Pebble Pro doesn’t have a separate subwoofer (nor does it have a port for one), but it managed to do a decent job of reproducing the pounding bass in Kaskade’s POW POW POW. However, songs with deeper, layered bass, such as Hans Zimmer’s Time, sounded compressed on the low end, and most of the nuance in the bass drum at the beginning of Lorde’s Royals was lost. It’s not a perfect system for bassheads, but you’ll get enough movement on the lower end for a dorm room party.

The Pebble Pro features Creative’s “Clear Dialog” audio processing, which is designed to enhance vocals over ambient sound effects in movies, shows, and games. I wouldn’t say vocals sounded particularly enhanced, but voices from all sources sounded very good on the Pebble Pro — clear, crisp, and full, even at lower volumes.

Features and Software of the Pebble Pro

The Pebble Pro has built-in RGB lighting around the base of each speaker. This lighting is configurable (-ish), but there’s no lighting-specific software — all configuration is performed on the speakers using the lighting button and volume knob on the right speaker. There are three lighting effects (four if you count “off”): “cycle,” “pulsate,” and “solo.” “Cycle” cycles through the spectrum of colors and has no additional settings; “pulsate” is a single color breathing effect; and “solo” is a solid single color.

(Image credit: Tom's Hardware)

Pressing the lighting button once switches to the next lighting effect (cycle > pulsate > solo > off). In “pulsate” and “solo” modes, pressing and holding the lighting button for two seconds lets you enter color selection mode (the indicator light will turn cyan when you’re in color selection mode). You can then pick your desired color by rotating the volume knob. Once you’ve found a color you like, pressing the lighting button once more will exit color selection mode.

(Image credit: Tom's Hardware)

The Pebble Pro is also compatible with Creative’s SmartComms Kit, which is part of the Creative App (the Creative App isn’t useful for much else aside from updating the Pebble Pro’s firmware). If you plug a microphone into the Pebble Pro’s 3.5mm mic port, you can use the SmartComms Kit for some microphone processing — i.e. automatically muting/un-muting your mic during a call and cleaning up background noise such as PC fans or distant traffic.

Bottom Line

The Pebble Pro is definitely a step-up from the Pebble line-up with its re-designed drivers, added BassFlex and Clear Audio processing technology, and optional extra power input. I wasn’t particularly wooed by the RGB lighting, but at least it’s customizable and I’m sure many will appreciate the fun flashiness. This is a great compact desktop speaker setup that’s actually pretty portable — it can be powered solely by a standard USB port on a laptop, or it can be plugged into a 30W PD adapter for an extra kick in both audio quality and volume.

The Pebble Pro is an excellent budget desktop PC speaker option with great-sounding audio, clear vocals, and weighty bass. My only small complaint: there’s no subwoofer port (and there are a lot of ports) for those who want the option for even better bass.

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MSI Debuts Range of Powerful Portable Workstations

Ian Evenden — Mon, 07 Jun 2021 11:47:07 +0000

MSI, more usually known for its gaming laptops and RGB-tastic motherboards, has released details of a new line of Nvidia Studio verified mobile workstations for creative professionals with demanding creative workflows.

MSI

The beefy laptops come in a variety of models (WS76, WS66, WE76, WF76 and WF66) and and sport 11th-gen Intel Core processors (i9s, mainly) and Nvidia RTX A-series GPUs featuring either 6 or 16GB of memory. The A-series are Ampere cards that have been built for designers, engineers, and artists rather than gamers. There are two models available here, the A3000 based on the GA104 GPU seen in the RTX 3070 but with 256 more cores, and the A5000 which is rather similar to an RTX 3080 laptop GPU.

Elsewhere, there’s a maximum of 64GB DDR4-3200 RAM, two NVME slots (one Gen 4, the other Gen 3), Thunderbolt 4, and a scattering of USB and video ports. Ethernet goes up to 2.5GbE, and there’s Wi-Fi 6E and Bluetooth 5.2 on board.

Interestingly, you also get a choice of screen sizes, with the WS76 offering 17.3in 4K MiniLED HDR1000-certified display, the WS66 sporting a 15.6in 4K or a useful 1080p touchscreen, and the WE76 tempting with a decadent 17.3in 120Hz IPS panel. You also get a very decent battery, at 99.9Whr, but how long it will last driving that CPU/GPU combo at full tilt will have to wait until we get our hands on one for benchmarking.

At the time of writing, the new laptops were not yet available for sale from MSI’s website.

TeamGroup Rolls Out T-Create Memory For Creative Professionals

Zhiye Liu — Wed, 23 Sep 2020 09:36:28 +0000

T-Create Classic 10L (Image credit: TeamGroup)

T-Create, TeamGroup's new sub-brand oriented at professionals, has launched the Classic 10L lineup. The new memory kits are forged with frequencies up to DDR4-3600 and capacities up to 64GB.

With the Classic 10L, TeamGroup is targeting the professional market so the brand kept the memory module's aesthetics to a simple and low-profile design. The sticks are 32mm in height and shouldn't cause any problems with big CPU air coolers. In terms of ingredients, the Classic 10L memory modules are fabricated with a 10-layer black PCB and cooled with an aluminum heat spreader that lacks tacky RGB lighting.

T-Create Classic 10L Specifications

Frequency	Capacity	Timings	Operating Voltage (V)
DDR4-3200	2 x 8GB, 2 x 16GB, 2 x 32GB	22-22-22-52	1.20
DDR4-2666	2 x 8GB, 2 x 16GB, 2 x 32GB	19-19-19-43	1.20

Currently, T-Create offers the Classic 10L in dual-channel capacities of 16GB, 32GB and 64GB. Unfortunately, there aren't many options to pick from in terms of frequency. The Classic 10L is only available in DDR4-2666 and DDR4-3200. Both frequencies are held back by really loose timings.

The DDR4-3200 variant has its timings set at 22-22-22-52, while the DDR4-2666 version comes with 19-19-19-43 timings. In any case, the DRAM voltage is 1.2V there should be some headroom for improving the timings.

As expected, T-Create backs the Classic 10L with a limited lifetime warranty. The DDR4-2666 16GB, 32GB and 64GB kits are selling on Amazon for $56.99, $104.99 and $204.99, respectively. The DDR4-3200 kits with the same frequencies retail for $62.99, $109.99 and $216.99, respectively.

Adobe Will Stay in Venezuela After All

Nathaniel Mott — Mon, 28 Oct 2019 16:16:46 +0000

Adobe said earlier this month that U.S. sanctions would force it to suspend its Creative Cloud service in Venezuela. Its customers in Venezuela got some good news today, however, because the company announced it's received permission from the U.S. government to continue offering its service in the country, despite the restrictions.

(Image credit: Sharaf Maksumov/Shutterstock)

Adobe originally said it had to deactivate accounts in Venezuela because of Executive Order 13884. The vendor told users in Venezuela that they'd have until October 28 to download files managed via Creative Cloud, Lightroom, Document Cloud or Adobe Spark; otherwise the documents would be deleted.

A week later, Adobe said that it would be able to offer refunds, provided the subscription was purchased directly from its website. It also told us that it was "working with our partners on the same" arrangement. Adobe would continue to operate Behance, a social platform for creative professionals, in Venezuela as well.

Now it's published a blog post about its ability to stay in Venezuela.

"After discussions with the U.S. government, we’ve been granted a license to provide all of our Digital Media products and services in Venezuela. With this update, we’re sharing that users can continue to access the Creative Cloud and Document Cloud portfolio, and all of their content, as they did before. If you lost access to premium services, they will be restored within a week," it says.

Adobe also updated its FAQ article regarding accounts in Venezuela. The company said subscribers who received refunds will be given free access to the same services for 90 days and that it "will contact you mid-November with any steps you need to take to renew your subscription." There shouldn't be any interruption to its services, and Adobe didn't put an end date on its agreement with the U.S. government.

MSI Preps Snowy White 5K2K Ultrawide Monitor for Creatives (Update)

Scharon Harding — Tue, 10 Sep 2019 14:13:00 +0000

MSI Prestige PS341WU ( (Image credit: Tom's Hardware))

Update 9/10/2019: MSI today released the PS341WU monitor for pre-order today at B&H exclusively. It's listed for $1,199.99, which is $100 cheaper than MSI expected the monitor to cost when we checked it out in May. The retailer is also giving out a $200 B&H gift card with each
PS341WU monitor purchased until September 29.

MSI also announced that P100 desktop will be available in October.

Original article 5/26/19:

MSI is putting the final touches on its Prestige PS341WU monitor, a 5120 x 2160 resolution, 34-inch display targeting creatives with its crisp white design and premium color capabilities. The vendor showed off the display ahead of Computex 2019 in Taipei, Taiwan this week and confirmed a Q3 release date.

(Image credit: MSI)

This monitor is one that's sure to catch the attention of someone walking past your workstation with its bright white plastic build, thin bezels and rectangular base, not to mention the subtle gold accents in its base, stand (which offers plenty of vertical movement, as well as swivel and tilt) and MSI badge on the back.

First unveiled at the CES tech show in January, the ultrawide has a 21:9 ratio (true 5K resolution is 5120 x 2880), which MSI noted offers creatives 33% extra work area when working on 16:9 content in 4K resolution. The display carries a standard 60 Hz refresh rate and 5 ms response time.

(Image credit: Tom's Hardware)

Appealing to professionals working on video and movies, it covers 98% of the DCI-P3 color gamut and 100% sRGB, while also boasting DisplayHDR 600 certification, which promises 600 nits max brightness and high-contrast HDR content delivery. The monitor's contrast ratio is pegged at 1,200:1, and its color count is a whopping 1.07 billion.

Speaking of colors, Prestige PS341WU is working with an anti-glare Nano IPS screen, which is basically a form of IPS that promises brighter and more saturated colors.

An interesting touch is the monitor’s ability to synchronize with desktops and laptops in MSI’s Prestige creative line to match preferences for the user’s preferred content creation applications.

(Image credit: Tom's Hardware)

Ports are aplenty with two HDMI 2.0 and one each of DisplayPort 1, USB 3.1 Gen1 Type A, USB 3.1 Gen1 Type B, 3.5mm headphone jack, mic in and an audio jack combo for connecting your PC to the monitor.

You can expect MSI’s Prestige PS341WU to often be used alongside the matching white Prestige P100 Series desktop, also detailed at Computex this week.

Nvidia RTX Expands to New Creative Laptops and Software

Nathaniel Mott — Mon, 29 Jul 2019 16:18:02 +0000

Dell Precision 7740 mobile workstation goes up to a Quadro RTX 5000. (Image credit: Dell)

Nvidia announced 10 new RTX Studio laptops from Dell, HP, Lenovo and Boxx today at the SIGGRAPH 2019 computer graphics and immersive tech conference today. The company also highlighted seven new pieces of creative software with Nvidia RTX support.

RTX Studio devices "meet the hardware and software requirements needed to receive the new RTX Studio badge," Nvidia said, "allowing creators to easily identify the right systems to power their creative workflows." Receiving that badge requires a given product to combine "RTX GPUs with the NVIDIA Studio Stack of specialized SDKs and dedicated Studio Drivers" that are meant to improve performance in popular creative apps.

The 10 devices Nvidia announced today bring the number of RTX Studio laptops to 27. Counting some of the devices separately feels a bit like stacking the deck--several of the laptops are differentiated primarily by their display size--but that's not a particularly uncommon practice. Continued support for the admittedly niche product category from some of the world's largest PC manufacturers bodes well for the RTX Studio line no matter how we tally.

Here's what Nvidia said about the new RTX Studio laptops:

Lenovo Legion Y740 Laptop Studio Edition: RTX 2080 GPUs within 17- and 15-inch laptops, available later this fall.
Lenovo ThinkPad P53 and P73: Up to Nvidia Quadro RTX 5000 GPUs within 17- and 15-inch systems. The ThinkPad P53 is available now. The ThinkPad P73 will be available starting August.
Dell Precision 7540 and Dell Precision 7740: Up to Quadro RTX 5000 GPU. Available today.
HP ZBook 15 and 17: Quadro RTX GPUs, with the 17-inch model configurable with up to a Quadro RTX 5000.
BOXX GoBOXX SLM: Quadro RTX 3000 GPU in the 15-inch system and either Quadro RTX 4000 or 3000 in the 17-inch system.

RTX Creative Software

Nvidia also announced new creative apps from ISVs that support RTX: Adobe Substance Painter, Autodesk Flame, Blender Cycles, Dimension 5 D5 Fusion, Daz 3D Daz Studio, Foundry MODO and Luxion KeyShot.

That brings the number of creative apps taking advatange of RTX technology to 40. Some use RTX to improve performance, others have enabled real-time ray tracing and still others are introducing new features based on artificial intelligence. The list of developers reads like a who's-who of the creative industry, with everyone from Adobe and Blackmagic to Pixar and Siemens at least dabbling with RTX technology in their apps.

Support for Nvidia RTX is only expected to grow from here. "Every major 3D design application in the world has committed to supporting RTX by year’s end," Nvidia said in its announcement. "The entire gaming industry is on board with a robust ecosystem that includes support in industry-standard APIs, such as DirectX 12 and Vulkan, as well leading game engines like Unity and Unreal Engine." Not bad for technology introduced just one year ago.

Creative SXFI Air Headset Review: Versatile but Bulky

Andy Hartup — Thu, 06 Jun 2019 10:59:00 +0000

Update: Unfortunately right now, Creative still isn't selling these anywhere outside of its own store, either in the US or the UK. You can pick them up here for about $160 or for £120 in the UK (although this is the C model).

Creative has been a player in the PC audio space for decades, and was responsible for the sound cards of many a beige tower back in the ‘90s. Its audio smarts continue here, with the SXFI Air, a mid-range wireless headset aimed squarely at gamers who want to make use of their headphones for Game of Thrones and Gaslight Anthem as much as God of War.

The main sell here (or gimmick, depending on your perspective) is the inclusion of Super X-Fi technology, which maps the shape of your head and ears to deliver personalized, "holographic audio," intended to optimize the experience for each individual user. Those are big ambitions, then, for a headset currently retailing around the $160 / £150 mark. But the company largely succeeds at almost all its aims.

Design and Comfort

The first thing you notice when you slip the headphones onto your ears is that this unit is large. The adjustable headband, which suits listeners with larger head-sizes, is well padded and attaches snugly to the oval ear cushions at the side. While these ear pieces are matte plastic and rather chunky, they’re well made and can withstand a reasonable amount of pulling and bumping, as occurs with everyday use. But the price you pay for this kind of build quality here, is size. The cans poke out further than most gaming headsets and rival headphones, like the Sennheiser Momentums and Bose QuietComforts.

When you slip the SXFI Air on it really is snug and comfy. The breathable fabric ear cushions are large enough to encompass all ear sizes and shapes, and they’ve got memory foam cores, so they squish nicely against your head. There’s enough give in the headband to avoid pinching your head during prolonged sessions of use, and a small amount of vertical movement in the ear cups to allow a little adjustment. If you want, you can swap out the ear cushions for fresh pairs, or you can even upgrade to leatherette cups, although we didn’t have the opportunity to test these.

Overall, the headset is delightfully comfortable, even after several hours of continual use. They were snug on my head during testing, but not too tight, and the only discomfort came from a slight pressure on the top of my head from the headband which, while padded, isn’t as generously cushioned as the ear pieces. And while not heavy (weighing in at 11.9oz / 338g), the Creative SXFI Air are a large device, so doesn’t offer as stylish a solution as many traditional headphones. As gaming headsets go, though, they're reasonably handsome.

Specifications

Driver type	50mm Neodymium
Impedance	32ohms
Frequency response	20Hx-20KHz
Design style	Close back
Microphone type	Detachable Nanoboom mic
Connectivity	Bluetooth 4.2, 3.5mm line in, USB to USB-C
Weight	11.9oz / 338g
Cord length	1m
Battery life	Up to 8 hours
Lighting and software	SFXI App

Audio Performance

Where audio performance is concerned, the Creative SXFI Air does a great job in almost all use cases. We tested it primarily for gaming in this instance, but also thoroughly examined its potential for movies, TV, music, and voice chat or phone calls. Hooked up to the back of a motherboard with both the 3.5mm or USB cables, the Air delivers fantastically consistent audio across most ranges. During a lengthy session of Assassin’s Creed Odyssey, this headset was noticeably excellent at maintaining a full, rich sound through dialogue exchanges and incidental spoken audio.

One drawback of traditional gaming headsets, which tend to focus on bass for explosions, and surround sound for online play, is that they produce echo during dialogue and empty sounding speech, like you’re talking to other characters inside a cargo container. The SXFI Air, however, manages the range of voices admirably, while still delivering satisfying bass during combat and competent surround sound during open-world exploration. It manages the mix of action sounds with the game’s swelling score too, with neither losing any distinction or potency even during busy fight scenes. For single-player adventures, it’s highly recommended.

One area where this headset lags a little behind its top-end gaming gaming competitors, like the Sennheiser GSP series and the Turtle Beach Elite Pro 2, is in the way it delivers surround and imaging. It isn’t as fine-tuned and specialized here, so when tested with Fortnite and Apex Legends, it was slightly harder to place enemies within the world, or to hear the approach of footsteps among the pings and blasts of combat. The SXFI is by no means poor here, but lacks the kind of tuning that gives you a true edge online.

The headset works perfectly with VR too, adjusting well to movement of the head, always passing the audio around as you look at different objects within the world. We tested with Rez Infinite and PlayStation Worlds, and the Creative kept good pace with even quicker games like London Heist as well.

Moving on to movies and TV, again, the SXFI Air delivered clear and rich audio for more dialogue-heavy pieces. We tested with several Netflix shows, like Money Heist and The Punisher Season 2, and there was no need to adjust settings to get a great experience during louder fight scenes or quieter talking moments. Again, the surround sound delivered is clear and distinct, although busier action moments involving shoot-outs didn’t quite perform as well as more specialist, higher-end headsets. Considering this is a mid-priced unit, however, the SXFI punches well above its weight for gaming, TV, and movies.

For many, this headset will be used for music too. We’ll discuss the efficiency of the touted ‘holography’ features in the next section, which impacts most clearly on the headset’s presentation of music. Here, we'll say that even if you’re ignoring all the Super X-Fi tech, you still get a decent experience with music. The Air is most comfortable in the mid-range, and singer songwriter tracks by the likes of Ed Sheeran and Chris Cornell benefit the most. The headset’s 50mm drivers are more than capable of delivering above-average sound for rock and metal, while more bass-heavy types are well served, but will sound clearer and richer via more specialist audio cans. The SXFI Air is very much an all-rounder, so any music that demands more extremes of frequency tends to be less accomplished here.

Finally, for calls and spoken word, the SXFI Air performs just fine. You lose a little of the richness of a good narrator during audio-books, but there’s none of the emptiness that plagues cheaper headphones. Speaking via video conferences and on the phone, we found the audio clear as long as the stream or connection itself held up, so there are no problems on the headset side.

Features and Software

So, let’s extend our discussion of music and call audio by discussing the headset’s most famous feature -- it’s Super X-Fi tech, which uses what the company calls headphone holography to simulate both a full soundstage and realistic multi-audio voice chat. At least, that’s what Creative claims. Setting it up via the mobile phone app (simply called SXFI App - on Android and iPhone) is quite fiddly in terms of process, even though there are plenty of ease-of-use features like cabled connection and Bluetooth transfer between phone and headset.

The theory here is that the SXFI tech will adjust audio according to the shape of your head, so the set-up requires you (or a friend) to physically take pictures of your head via a phone camera and for the app to build you a personalized experience based on this. It’s by no means a flawless system, but does a good job of substituting for a multi-thousand-dollar studio set-up.

We tested the system with several users, creating multiple profiles and swapping between them to create a sort of "Pepsi challenge" of "which one sounds best?: While they were rather similar, and it was often harder to tell which profile was your own, the profiles did adjust the audio slightly. What’s more, having the Super X-Fi enabled via the headset did have a significant impact on how things sounded. As boasted by the manufacturer, the effect was moving the sound from the center of your head, to placing it at the front, like a soundstage. At first, we worried that it lost the fullness provided by the bass, but after a few hours of further listening, it made sense as the SXFI tech picks up far more of the subtleties of music by letting all the frequencies breathe. It's not quite studio-level audio, no, but significantly improved on other mid-range headphones.

The impact of Super X-Fi was less apparent during movies, TV, and gaming, but it did improve things a little. When tested with several MCU movies like Black Panther and Avengers Infinity War (on Blu-ray), the tech added a little more depth to the surround sound noises, and incidental sounds. So, sure, it’s a bit of a gimmick, but the SXFI tech does enhance the capabilities of the headset, even if the holography element isn’t quite as revolutionary as it might claim to be.

In terms of other features, there are plenty here. There’s a micro SD card slot on the headset itself, so you can listen to music without an input device at all, and you can toggle the SXFI on or off via a button on the headset. That button is given too much prominence on the earcup itself, however, as it’s easy to press while you’re attempting to find some of the other controls. The Air comes with touch control on the left earcup, which works more often than not via a simple swipe of the finger, allowing you to skip tracks and pause music, etc.

Having the NanoBoom mic as a detachable feature is a neat touch, as this allows you to substitute for a 3.5mm gaming mic if you so desire. The supplied mic is subtle enough for everyday wear, and picks up voice audio well. It excludes most background noises admirably, although is sensitive enough to pick up other voices in a busy office environment.

One issue we did experience was stuttering and artifacting when using Bluetooth, while connected to both mobile phones and tablets, especially in crowded places like train stations. If the SXFI has one tech weakness, it’s the quality of the Bluetooth, although it performs flawlessly outside of busier arenas. Battery life is great too. While the manufacturer claims ten hours per charge, we found it closer to eight while using Super X-Fi. Not stellar, but the headset charges quickly thanks to the USB-C connection, and it lasts longer than most traditional gaming headsets.

Bottom Line

In the world of gaming headsets, $160 / £150 is a fair chunk to pay, placing the Creative SXFI Air at (or at least near) the top of the scale. In terms of everyday headphones though, it’s mid-range. However, because it straddles both worlds so admirably, it justifies that price well, so you’re getting a decent amount of headphone tech and quality for your money.

The Air stacks up well against similarly priced rivals in both traditional and gaming markets, although we’d probably recommend it highest for anyone looking for a gaming headset that also handles other media well, rather than the more casual PC or PS4 player. Overall, it’s an impressive piece of kit that delivers better, more versatile audio than the pricetag suggests. No, it won’t win any design awards, and the troubled Bluetooth is perhaps its Achilles heal, but if you’re looking for a pair of cans that wears well and adapts to the diverse demands of modern life, this is a great option.

Image Credits: Creative/Tom's Hardware

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Creative Sound BlasterX H5 Gaming Headset Review

Igor Wallossek — Mon, 29 Jan 2018 16:00:00 +0000

What is a manufacturer supposed to do when it wants to distinguish a new product from its existing portfolio without sacrificing the cachet of a well-established brand? Add an X to the name, of course. Sound Blaster consequently turns into Sound BlasterX, and you're made to think that its H5 may be a higher-end, more extreme gaming headset.

But what's really at the heart of Creative's naming games? On the surface, it's looking to sell a more expensive piece of hardware that does away with the perception of value pricing and average performance.

The H5's packaging reinforces this message. In addition to the headset itself, Creative's bundle includes a detachable microphone and an extension cable that splits the combined connector into two separate 3.5mm jacks. Those are then plugged in to your mic input and headphone output ports.

Specifications

The headset has been on the market for some time now. Still, a $130 list price is temporarily marked down to $80 as of this writing.

Look & Feel

The patented ear piece and frame suspension is this headset's real highlight. As far as we know, only a few companies use this patent, which probably has something to do with the IP's owner. In return, lightweight and neutral headphones are converted into a true gaming headset.

An increased focus on quality is also evident in the material mix. Sturdy aluminum parts combine with more durable plastics to yield a better looking and feeling step up from lower-cost alternatives. We tried twisting and bending the headset with quite a bit of force, but couldn't deform it. Though the H5 wasn't built to last forever, you can at least be sure it won't fall apart on you in a few weeks or months (Creative guarantees the H5 for one year).

Comfort

No matter how large your head is, once you get the H5 adjusted, it'll fit perfectly. Of the headsets we tested, this was one of the highest scorers in the comfort department. It's neither too tight nor too loose, even though it's an over-ear solution that seals off the auricle completely.

The ear pads made from faux leather are extremely soft, and the foam used inside molds to accommodate your anatomy. Unfortunately, we cannot estimate how long the polyurethane will hold its shape or resist cracking.

Slightly tilted drivers are meant to better support the human head. By adjusting the source of generated sound waves to line up better with your ear canal, Creative claims its "tilt driver implementation" optimizes that chamber between its driver and your ear. We couldn't tell if this actually helped reduce annoying resonance, though, since we couldn't perceive any to begin with.

The idea to adjust fitment via joints on the frame works well. In fact, this is similar to the implementation of various Beyerdynamic products. Similarities continue on the inside of the headband, and it's no coincidence that headsets like the Qpad QH-90 are in some ways indistinguishable.

A good fit is only one part of the comfort equation. The rest can be achieved by this headset's light weight. And it's worth mentioning Creative's very soft padding integrated into the frame. Because the H5 is so light, though, you don't find yourself relying on it to lessen the fatigue of long gaming sessions.

Creative unquestionably brings refreshing design and good workmanship together with its H5. This is less common in the ~$100 category than you might think, even if competing headsets occasionally score points for high quality and new ideas as well. The H5 simply one-ups them all, though.

Functionality & Interface

A control unit built into the cable houses the volume dial and microphone switch. It's located close enough to the headset for easy reach without taking you away from your game. And because Creative didn't implement a USB-based interface, instead opting for a conventional 3.5mm jack, it avoids any well-meant but ultimately detrimental effects on quality caused by sound engineering.

If you have one, it's worth connecting the headset to a good headphone amplifier. That will almost always yield better sound quality than on-board solutions, along with higher volume levels with less distortion. Level stability, in particular, is what makes many integrated audio controllers a limiting factor, while actual DACs have matured to the point of being quite useful.

Microphone

The omnidirectional microphone has a large pop filter, and can be plugged in or removed at will. This allows you to quickly switch the H5 from a communications device to an ultra-light, comfortable set of headphones instantly.

The low cut at ~100 Hz performs admirably. Thus, you won't have to worry about the rumble of wind noises or jarring blow-out sounds. The pop filter takes care of everything else. Noise suppression works reasonably well, and without amplification, audible clipping only occurs at high peaks. Speech intelligibility is great, which is helped by a flexible gooseneck for optimal positioning.

Measurements & Sound-Check

To read about our test methodology in depth, please check out How We Test Gaming Headsets, particularly page 6 where we detail the measurements we take.

Creative hopes to compete with products like the Qpad QH-90 and HyperX Cloud II. The fact that both headsets are made by Guangdong Takstar Electronic Co. Ltd. and are, in fact, modified stereo headphones is no coincidence. Obviously, the manufacturer came to realize that good stereo headphones are capable of much more believable spatial sound reproduction than any attempt at 5.1-channel surround could hope to achieve, including those ridiculous attempts at sound engineering that have no true benefit beyond marketing.

A slight deterioration of the bass curve starting at 200 Hz is likely due to our test setup. Creative's ear pieces produce lower contact pressure as a result of the small artificial head we use (its circumference is only 56cm). This reading doesn't trouble us though, as our subjective impression was more satisfying. If you do like your sound a bit heavier and don't want to sacrifice the H5's light fit, raising the 64 Hz control brings back whatever bass you desire. This works so well because Creative's H5 offers some of the best level stability we've seen.

We only have good things to say about these results. The progression is completely linear, with only slight variations of +/- 3dB from 200 Hz to beyond 20 KHz, resulting in neutral sound. We also observe expertly differentiated reproduction of voices, instruments, and broadband gaming noises.

A comparison of the H5 to Beyerdynamic's Custom One Pro and DT 990 Pro places Creative's Sound BlasterX in the middle. The Custom One Pro's predominant bass affects its finish, as does the DT 990 Pro's highly intrusive trebles. Meanwhile, with an equalizer and optimized settings, the H5 plays smoothly down to the subcontra octave as it maintains soft, warm, and balanced sound reproduction. Its transient response is definitely acceptable for this price range.

Whereas the DT 990 Pro's high frequencies often need to dialed back on the equalizer, the H5 is much more neutral. Its acoustic impression is almost equally good across all frequency ranges, and the highly differentiated reproduction is certain to make even gamers take notice. Certain sounds will be experienced differently on the H5, and in some cases it might seem like you're hearing them for the first time. If you're used to common "gaming headsets" with exaggerated lows and highs, Creative's Sound BlasterX is going to be a breath of fresh air.

It is possible to enjoy both music and gaming equally through the H5s, and love both interpretations with a little help from the bass control. These more or less half-open headphones don't cut you off from the environment completely, but they do have a pleasant sound cover to mute the outside world. For many musical genres, and even gaming, we prefer the H5 to the Custom One Pro, since the H5 offers higher level stability.

Conclusion

What happens when an almost neutral headset with great level stability meets a discerning gamer whose ears haven't been ruined by the booming bass so prevalent in competing products? We think the gamer will happily buy that headset and enjoy it immensely. Listening pleasure really can be as simple as a good stereo headset with a detachable microphone.

Marketing departments are good at over-promising with flowery adjectives and features that do more harm than good. In the end, though, truth always reigns supreme. In this case, it does so in the form of pristine, neutral sound that relentlessly reveals details that weren't audible before.

Our final verdict is entirely positive, and an explicit purchase recommendation is the only logical conclusion. If you prefer a neutral sound and would rather manually adjust the resulting acoustics through an equalizer, try Creative's Sound BlasterX H5 out for yourself.

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Creative Sound Blaster Inferno Gaming Headset Review

Igor Wallossek — Mon, 22 Jan 2018 14:00:00 +0000

Pretentious labels are very much in vogue for gaming products, and the Sound Blaster Inferno is no exception. It joins the ranks of similar products marketed first and foremost to young consumers. Creative arms the Inferno with a price tag to turn heads in its target group, too. At ~$65, you're looking at a week's worth of fast food lunches. Our task now is to determine whether the Inferno is as satisfying as a stack of burgers.

Don't expect much of an accessory bundle for such a low price. You get one Y-adapter, which combines the headphone and microphone jacks as a single connector for smartphones, and that's about it.

Specifications

The headset has been on the market for some time now. Consequently, its price has stabilized.

Look And Feel

The Inferno is pleasantly humble-looking for a gaming headset. While it uses plastic on all of its outside parts, the material feels better in-hand than you might expect. For the Inferno's price, its mix of materials and workmanship is acceptable.

The textile covering the nice, wide ear pieces adds a pleasant color contrast, and it's definitely more functional than the sweat-inducing faux leather found on some of the competing headsets.

Comfort

At this point, opinions may differ. Everyone's idea of comfort is going to vary based on the size and shape of their head, so it's important to try these devices on before taking one home. If your head is larger than most, Creative's Sound Blaster Inferno probably won't feel great. It stays pretty tight, applying quite a bit of pressure. Folks with smaller heads will probably be more satisfied with the snug fit.

Joints allow the headset to be adjusted on both the horizontal and vertical axes. Everything else has to be compensated for by pulling the band to the appropriate size. Even though the headband is relatively long, and thus can be opened wide, the resulting pressure may still be too much for anyone wearing glasses.

This is an on-ear headset for most people, simply because the earpieces aren't large enough to cover big ears entirely. And again, their contact pressure is relatively high. Before making your buying decision, conduct a nice, long test to determine how the Inferno feels after an extended session.

On the bright side, at least you won't sweat much. Creative doesn't make it a point to try creating a seal around your ear. Moreover, padding built into the band is completely adequate to cover contact points.

Functionality And Interface

A control unit is embedded into the cable. It includes both volume adjustments and microphone switch. However, the control's positioning is not optimal, especially for anyone taller than ~1.80m with a longer neck. While the cable itself is long enough to reach a smartphone in your back pocket just as easily as a PC under a table, placing the controls too far up results in fumbling around blindly any time the knob or slider needs to be manipulated.

Conveniently, the ear shells themselves rotate vertically and can even be folded by 90 degrees. This means the ~5cm-high headset fits into almost any flat bag.

Microphone

The omnidirectional microphone is detachable, which makes it easy to transport whenever space is an issue. The plug connection is secure and easy to find thanks to its tactile properties.

A low cut at ~100 Hz works quite well. Wind and blowing noises are hardly noticeable, while the intelligibility of voices is good. However, a high cut at 8 to 10 kHz would have had additional advantages, since the frequency range above that threshold isn't needed for vocal reproduction. Noise from the electret solution is kept under control, but still certainly present.

Measurements And Sound-Check

To read about our test methodology in depth, please check out How We Test Gaming Headsets, particularly page 6 where we detail the measurements we take.

Here's where the Inferno does exactly what its name suggests: the acoustic manipulation is quite brutal. Bass and upper-bass, specifically, are extremely overemphasized independent of desirability, personal preference, or necessity.

The curve shows an enormous peak around 80 to 90 Hz, where the sound level is elevated by about 12 dB. Even the subcontra octave is affected by this bump, as we most certainly heard. The lowest bass range is quite audible, which is probably intentional. But overemphasis of the upper-bass range counteracts this advantage in the end. We recommend using an equalizer to soften the range around 64 and 125 Hz. The bass will immediately sound clearer and more differentiated. As a side effect, level stability increases enormously!

The same applies to the lower mid-range and mid-range itself, where at 250 Hz, for example, the dreaded cardboard sound is produced (that cheap party speaker in a basement effect). As a result, female vocals in particular come out sounding horrible. So do the fundamental ranges of many smaller instruments. Thus, once again, experimenting with the equalizer at 250 and 500 Hz works wonders.

In return, the range between 2 and 3.5 kHz, which is so important to gamers, suffers as the sound level drops without sense or reason. To compensate, the controls at 2 kHz should carefully be raised by a just pinch. It's clearly audible that the sum of these changes increases both spatial location and resolution. The headset isn't particularly accurate in terms of reproduction, but at least our tweaks make it a little bit better.

There's a second peak at ~10 kHz, which is a bit too aggressive. The overemphasis of sibilants, air noises, and (especially in gaming) explosions/gunfire noises is over-the-top and downright annoying. Reducing the 8 kHz level a bit is sure to spare ears and nerves.

The sound engineering is exaggerated, and the amazingly low-playing 40mm drivers are consequently robbed of their (otherwise not too bad) performance by raising the resonance peak to 87 Hz unnecessarily. Without equalizer intervention, this headset booms and hums, rather than playing clean and differentiated bass. Even for gaming, it's too much. We recommend smoothing out peaks up to approximately 1 kHz by means of an equalizer. For anyone entranced by treble, by all means enjoy. Everyone else should dial it back for a more pleasant experience.

Conclusion

For ~$65, this headset is certainly not a bad purchase, even if its thin cable might break sooner or later. Everything else appears to be constructed reasonably well, though the low price sets certain limits on material quality. Fans of extreme bass and treble should be happy right out of the box. Everyone else can work around the Inferno's acoustic engineering by looking at our measurement curve and making equalizer adjustments to compensate. The tweaks are worthwhile for most folks.

This is and will always be a low-cost gaming headset. It's no more and no less. With a little bit of manual intervention, it might be suitable for listening to music on. That ratio between price and performance is more than acceptable, at the end of the day.

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Creative Sound Blaster Tactic3D Rage Wireless v2.0 Gaming Headset Review

Igor Wallossek — Thu, 11 Jan 2018 15:00:00 +0000

You have to love a five-part name. The most important part of Creative's bulky identifier shows up toward the end: Wireless. Not mentioned in the name, but still notable are the Sound Blaster Tactic3D Rage Wireless v2.0's lighting effects and complementary software suite, which adds emulated surround sound support. Thanks to an included dongle, this headset is plug-and-play. So long as it's charged up, no additional downloads are necessary to get it working.

A $90 list price gets you the headset itself, a removable microphone, a USB charging cable, and the aforementioned USB-based transmitter as an interface to your PC.

Specifications

The headset has been on the market for some time now. Consequently, its price has stabilized in the regions Creative targeted.

Look And Feel

Although the Sound Blaster Tactic3D Rage Wireless v2.0 has an integrated, long-lasting battery and electronics to go with it, the headset isn't particularly heavy, even if it is physically large. The silky matte-black plastic surfaces resist fingerprints well, making a positive first impression. Instead of a textile covering over the ear pads and frame, Creative instead uses artificial leather made from polyurethane, which may cause you to sweat during longer gaming sessions.

Black and deep red colors dominate Creative's design. However, the Sound Blaster Tactic3D Rage Wireless v2.0 can also be accentuated differently by means of LED effects on the ear pieces.

But what initially appears to be solid build quality doesn't feel particularly well put-together over time. Almost every part of the thin-walled plastic pieces are glued in place. And there's very little metal adding structural integrity, except for the frame.

There's little else to say about the design. It's so simple and inconspicuous that the Sound Blaster Tactic3D Rage Wireless v2.0 almost stands out more as a result. We consider this to be positive, since the most tricked-out headsets often die early deaths when they fall apart. Then again, questionable workmanship gives us little hope that this headset will fare any better over time.

Comfort

Large heads weren't taken into consideration when this piece of hardware was designed and manufactured. For anyone with a head circumference of 60cm or more, don't even bother taking the Sound Blaster Tactic3D Rage Wireless v2.0 for a trial run. The pressure you'll experience is too much to bear over extended periods.

The problem is not with the headband; it's entirely possible to adjust that as-needed. Rather, even after adjustment, it still squeezes too tight. And although you can rotate the ear pieces vertically, it's impossible to adjust them on the horizontal axis. In other words, you're able to fold them sideways, but they don't move up or down.

Functionality And Interface

Because this is a wireless headset that works on the 2.4 GHz band, the housing contains a lot of technology not found on wired competitors. These electronics are located inside the left shell. Naturally, then, you'll also find the volume control and on/off switch there as well. Both are easy to reach and intuitive to use. Additionally, when the headset is active, the on/off button is illuminated.

The microphone is on the left side too, along with the mute button. It's placed perfectly so that your finger never misses the button when you reach for it.

Communication between the headset and PC works through a USB-attached dongle with transmitter functionality. Audio is sent uncompressed and mostly without delay. Connecting the Sound Blaster Tactic3D Rage Wireless v2.0 is quick and easy. With the dongle attached to a rear USB port, we did lose several meters worth of wandering range, so plug in to the front of your PC if possible. Or use an extension cable to get the dongle onto your desktop.

Again, the ear pieces can be rotated vertically and turned at an angle of up to 90 degrees. The headset is naturally less bulky in that position, so it takes up less space during transport.

Downloadable software not only allows you to adjust the headset's acoustic effects, but also change the LED illumination. Tastes will vary when it comes to simulated surround, so we'll let you draw your own conclusions about Creative's efforts there.

It takes less than 90 minutes to fully charge the Sound Blaster Tactic3D Rage Wireless v2.0. We also like that the bundled USB cable is long enough for continued use while the headset charges. Given anywhere from eight to 16 hours of battery life, depending on volume, the wireless option is a great differentiator!

Microphone

The omnidirectional microphone is detachable, which makes it easy to transport whenever space is an issue. The plug connection is secure and easy to find thanks to its tactile properties. An additional pop filter reduces wind noises and the acoustic/electrical consequences of a, shall we say, too-moist pronunciation.

A low cut at ~100 Hz does its job well. However, the frequency range with an upper limit of 6.5 kHz is a bit too narrow. Cutting off at 8 kHz would have been better. Creative's noise reduction functionality does work. But unfortunately, at higher levels, the clipping happens too soon. Speech intelligibility is quite acceptable, even if the quality doesn't match up to dedicated microphones.

Measurements And Sound-Check

To read about our test methodology in depth, please check out How We Test Gaming Headsets, particularly page 6 where we detail the measurements we take.

This is what we're talking about when we throw around the term bathtub. If it wasn't for the dent at 1 kHz, which starts at ~200 Hz and ends at 2.2 kHz after a steep increase, the response might even be somewhat satisfying.

Bass and upper bass are similarly accentuated, which not only sounds good, but also avoids the sloppy rumble of cheap gaming headsets. So, depending on your point of view, this is either a mid-range dip or an amplification of bass and treble.

The low bass is good, audibly present, and somehow free of annoying resonance. From bass to the lower mid-range, performance remains fair. But that's where the acoustic fall-off happens. Its trough sits almost exactly at 1 kHz, where sound characteristics are changed in a not-so-enjoyable way.

Since the mid-range is so severely cut, spacial location suffers most. The consequence is a narrow sound stage in music playback and difficulty placing sources in games. Creative's sound engineering, well-intentioned though it might be, nullifies almost everything that a competitive gamer would need in terms of acoustic feedback.

Spatial reproduction isn't the only characteristic that suffers by heavy-handed meddling. Playback of voices, instruments, and broad-band noises, all of which are typically found in games, are affected as well. While the fundamental sound ranges of vocals (and many instruments) are still pleasant, tonal character and timbre/tone color in the mid-range lack more than we can simply ignore. In addition, there is a slight overemphasis of sibilants and the high/super-high tone.

None of that is to say Creative's potent 50mm drivers are junk. We do, however, recommend using an equalizer to increase the range around 500 Hz a little bit and at 1 kHz quite a bit more. Of course, the inverse is also feasible: you could lower the bass and treble more broadly to compensate for that dip. But we prefer light touches whenever possible, so increasing those two points and reducing the overall levels a bit is the better option.

All of this can be achieved through Windows, yielding much better sound in no time at all. The downside is that it depends on installing more software and your manual intervention.

Conclusion

Given a reasonable price tag around $90, Creative's Sound Blaster Tactic3D Rage Wireless v2.0 is worth auditioning, unless you already know a larger head circumference will cause problems with long-term comfort. In that case, the frame's excessive bending resistance, together with a lack of options for adjusting the ear pieces horizontally, will most likely compel you to go another route entirely.

Creative's rather aggressive sound engineering is a matter of taste. But it can be improved or even neutralized in a few easy steps. Only with those modifications in place does the Sound Blaster Tactic3D Rage Wireless v2.0's spatial positioning in games and balanced music reproduction approach ratings of satisfactory. The 3D surround effect is based on listening experience, and is thus a product of imagination.

Functionality-wise, this headset is fine. Its respectable battery life of 12 hours at normal volume covers even the longest gaming sessions easily. If you like your beats a bit louder, you'll simply have to recharge sooner. And a maximum range of about eight meters with the USB dongle positioned optimally is plenty for any gamer.

This is by no means a premium product. The good news is that you won't have to pay a premium price, either. We're calling Creative's Sound Blaster Tactic3D Rage Wireless v2.0 distinctly mid-range, with no particular strengths or explicit weaknesses.

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Three Historical 'Total War' Games In The Works

Rexly Peñaflorida — Wed, 01 Nov 2017 18:45:00 +0000

After the recent release of Total War: Warhammer II, Creative Assembly is already hard at work on the next installments in the franchise. Unlike the past two titles, the studio is returning to the real world for inspiration for its next three games, and it revealed more on each project in an interview published on the Total War blog.

Each of the upcoming “history projects” has a director. Maya Georgieva is currently in charge of a team that will add a new campaign expansion to one of the existing historical titles in the franchise. She said that her team worked on it for about a year, and it’s currently in the testing stage, with a majority of the content already included in the latest build.

Georgieva didn’t specify which Total War game will the expansion treatment, but she did say that “There’s a lot of people still playing this particular game.” It also seems that in addition to the new campaign, which is paid content, the base game will get a free update. Georgieva said that the expansion is the next major announcement from Creative Assembly, so more details are coming in the near future.

In July, the studio unveiled a new project called Total War Saga with Jack Lusted as its director. Unlike other entries in the series, Total War Saga focuses on specific points in history rather than providing gameplay throughout an entire era. Lusted said that it will launch sometime after Georgieva’s team releases its content, and it features a campaign map similar in scale to the one used in Total War: Shogun 2. He further hinted at the game’s setting with the phrase “beware the crow.”

Those who want another major Total War historical game will have to wait a bit longer. Janos Gaspar’s team is working on a game that takes place in a new era previously unexplored in the series. According to Gaspar, this new era allows the developers to create new concepts, visuals, and experiences while still maintaining the essence of a Total War game.

Gaspar said that the number of people working on the project grew in the past few months. As a result, he said that “things are moving steadily with daily visible progress.” One example he gave was that historical city layouts are finally implemented in the latest build. In addition, the team is working on motion capture scenes in a nearby studio, which should add more realism to unit movements.

The fact that Creative Assembly is working on three different historical titles should make fans excited for the future. Total War: Attila, the last real-world-based entry in the series, came out in 2015. Since then, the studio has released two titles based in the Warhammer universe. We’ll see continued updates for Total War: Warhammer II in the coming months, but these upcoming projects show that the studio hasn’t forgotten its historical roots.

Creative Assembly Returns To Its Historical Roots With 'Total War Saga'

Rexly Peñaflorida — Wed, 05 Jul 2017 18:45:00 +0000

Creative Assembly’s recent installments in the Total War franchise were based more in fantasy than in history. Prior to the release of Total War: Warhammer, however, the studio’s main strategy titles were based on multiple eras in ancient history such as the Roman Empire and Feudal Japan. In conjunction with the ongoing development of Total War: Warhammer II, the studio is also working on a new historical game under the umbrella title of Total War Saga.

Unlike previous historical titles in the franchise, Total War Saga focuses more on specific points in history than on an entire era, but it will still provide the same mix of turn-based and real-time gameplay. Furthermore, the games in this new series are based on the studio's past historical titles, so you can expect installments to be set during the same time asTotal War: Rome II, Empire: Total War, or even Medieval: Total War.

As it turns out, Creative Assembly already released a title akin to the Total War Saga installment in the form of the Fall of the Samurai standalone expansion, which was based on Total War: Shogun 2. The game focused on a specific point in Feudal Japan, which was mainly on the final years of the Tokugawa shogunate and the incoming influence from Western cultures, specifically with firearms.

According to Jack Lusted, the game director for the first Total War Saga title, these small snippets of history will let the development team create a more detailed and accurate backdrop. But don't worry--you can still defy history to create a new outcome for your chosen clan or army.

“They’re what I like to call table-flip moments in history, where events are in the balance and could go any number of interesting and unique ways,” he said. “This makes them a perfect fit for Total War games, where we give players the freedom to depart from the actual historical events and explore what might have happened had things gone differently. When you think of the possibilities in and around those moments, some of those really classic and inspiring moments of history, there’s vast potential. Civil wars, great conquests, rebellions and uprisings, religious movements. As with Total War traditionally, there’s an almost endless list of possibilities of time periods and settings for future Total War Saga games.”

Even with this latest announcement, Creative Assembly will juggle three massive projects at the same time. In addition to Total War: Warhammer II and the new Total War Saga titles, Lusted mentioned that another portion of the Creative Assembly team is working on a new history-based title. Details are slim at this point, but we do know that it will feature a new historical era, which Lusted said is “a huge title for [Creative Assembly].”

Adobe Premier Pro Getting VR Video Editing Tools

Kevin Carbotte — Fri, 15 Apr 2016 13:30:00 +0000

Adobe revealed a host of new features that will soon be added to the Creative Cloud suite of applications that should make the lives of content creators a little bit easier, including new color enhancement tools and audio production tools. The feature that caught our eye, though is the virtual reality preview pane.

The new version of Creative Cloud will include an updated version of Premiere CC that features tools for working with VR (spherical) video files. You’ll be able to preview videos the way they would appear in a VR HMD right from your desktop monitor using “field of view” mode.

In terms of other features, you’ll have even easier access to the Adobe Stock asset library. Creative Cloud applications will have integrated access to not only use the content found in Adobe Stock, but you’ll have easier access to share your own assets in the market place. Adobe said that Lightroom and Adobe Bridge users will be able to contribute to the asset library directly from within the applications.

The upcoming version of Creative Cloud will also include the ability to start editing while importing video and audio files in the background. Adobe added enhanced Lumetri color tools that let you enhance the color setting of your video files. You can easily adjust the color of specific features in the video frames. The company demonstrated changing the color of a jacket in the following video.

Audition CC will soon include the Essential Sound panel that will let you adjust audio levels, including easily normalizing your volume levels across clips. Adobe said this will help you mix audio properly without the need for an audio engineer.

Adobe built a new video and audio preview engine for the next update of Creative Cloud. Adobe said the result is “superior playback of cached frames,” which should allow for smoother previews of your content. The company also redesigned the Character Animator to simplify puppet animation.

The upcoming release will also include new proxy workflows that will make it easier to work with high bandwidth content such as 8K, HDR and HFR media files. Adobe said you’ll be able to switch between proxy and native workflows on the fly.

“There’s rapid change happening in the digital landscape with video now the fastest growing media type across social media platforms and OTT (over-the-top content) shaking up broadcast and film,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe.

Adobe released a series of videos, which you can find here, that have more information on the features that it will be adding to the Creative Cloud suite this summer.

Creative Cloud is available through a monthly subscription of $49.99. The updates will automatically be released to active subscribers.

Follow Kevin Carbotte @pumcypuhoy. Follow us on Facebook, Google+, RSS, Twitter and YouTube.

Creative Releases SB Inferno Gaming Headset

Kevin Parrish — Thu, 17 Jul 2014 17:50:00 +0000

Creative Technology released on Wednesday the Creative SB Inferno, a gaming headset that seems perfect for the PC, Mac, mobile devices and the PlayStation 4. This headset will be made available for a mere $49.99 USD on July 18 at Creative’s online store, and other participating brick-and-mortar dealers.

Low Long Chye, General Manager of Audio at Creative, said on Wednesday that the Sound Blaster engineering team worked directly with top gamers from professional eSports teams to define the core elements of a gaming headset for team-based gaming. The Creative SB Inferno is the result of that collaboration.

"Enter the SB Inferno, a comfortable gaming-tuned headset with 115 dB/mW sensitivity – very powerful for its class – designed to perform with various audio playback devices as well as to provide stellar voice communication, at a great price," Chye added.

The headphones have large 40 mm Neodymium magnet audio drivers, a frequency response of 20 Hz – 20,000 Hz, an impedance of 32 ohms, and a sensitivity of 115dB/mW. The microphone can be detached when needed, and is comprised of a noise cancelling condenser, a frequency response of 100Hz~15kHz, and Impedance of <2.2k ohms, and a sensitivity level of -40dBV/Pa.

"Weight and comfort are always at the top of the list in gamers' minds when it comes to seeking out a headset," the company said in a press release. "The SB Inferno uses lightweight yet durable cloth-cushioned plastic ear cups and headband to provide superb comfort, even for long extended gaming sessions."

The SB Inferno is designed with analog connectivity, and is equipped with a 4-pole analog jack that can be connected to smartphones and tablets. There’s also a bundled splitter cable to use on regular PCs, Macs, USB, PCIe sound cards or motherboard host audio.

By comparison, Razer has a $59.99 headset called the Razer Kraken. This peripheral includes 40 mm Neodymium magnets, a frequency response of 20 - 20,000 Hz, an impedance of 32 ohms at 1 kHz, and a sensitivity (@1kHz, 1V/Pa) of 110 ± 4dB at 1 kHz Max. The connector is an analog 3.5 mm headphone jack.

Mad Catz currently has its Tritton Kunai on sale for $59.99. This headset is similar in that it’s ideal for the consoles, PC, Mac and mobile devices. This peripheral has 40 mm Neodymium magnetic drivers, a frequency response of 20 Hz – 20,000 Hz, a resistance of 16 ohms, and a total harmonic distortion of <1 percent.

For more information about Creative’s solution, head here.

Follow Kevin Parrish @exfileme. Follow us @tomshardware, on Facebook and on Google+.

Everything You Need to Know About Creative Cloud 2014

Jon K. Carroll — Fri, 20 Jun 2014 23:02:00 +0000

This week, Adobe announced the 2014 update to their Creative Cloud suite and its expanded mobile offerings. With the 2014 version of their Creative Cloud, Adobe has updated the applications therein -- 14 of them -- to varying degrees. Some applications get more updates than others, while many of the applications receive features that were formerly the province of their other apps.

Photoshop CC has added new Blur Gallery filters that allow you to give a sense of motion to 2D images. The interface for handling 3D objects once loaded into Photoshop has been streamlined to make it easier for users to interact with, place, light and texture the objects within Photoshop. New 3D capabilities allow users to convert 2D objects into actual 3D objects and then export them for printing -- even directly uploading them to Shapeways and selecting your materials within the Photoshop interface. Smart Objects have been improved, allowing imbedded objects to be updated externally and the changes to be carried across multiple projects. The Focus Mask allows you to mask objects based on the depth of field. That is, object in focus and out of focus will be masked separately. Layer Comps have been improved, allowing you to take changes made to one layer and cascade them across other layers in the document. Live font preview has been added to Photoshop, so instead of applying each font selection and waiting to see how it looks, you can instead see them in your document as you select them. The Photoshop interface has been improved on Windows 8 touch devices, allowing pinch-based zooming and smoother strokes on these devices. Smart Guides have been improved and made more consistent with how they work in Illustrator, making layer alignments fast and easy. Photoshop CC also makes more extensive use of GPU acceleration in UI operations like zooming. Adobe simply says it has "enhanced Mercury Graphics Engine performance."

Illustrator CC 2014 has new Live Shapes, allowing rectangles to be quickly transformed into complex shapes (and back) with a few clicks. Also new to Illustrator CC 2014 is GPU acceleration of vector graphics rendering "on Windows with an Adobe-certified NVIDIA graphics card," which can be understood to mean it is using CUDA. Pen tool use is now previewed live in the window. Users can now sync Typekit fonts back to their desktop, making them available for other applications.

InDesign CC 2014 spotlights new features for dragging and dropping rows and columns within tables for easy rearrangement, support for export to a fixed-layout EPUB so that graphically rich ebooks can be seen as designed, and seamless updates allowing your custom settings to be automatically imported when the application is updated.

Muse CC 2014 has been rebuilt with 64-bit native support. The interface has been revised with a new Dark UI reminiscent of the other CC applications. Extensive reworking under the hood allows in-application previews of the various desktop and mobile versions of your page design without leaving the application, and design changes to the UI to make it look, feel and work more like other CC applications. It even allows for a certain amount of in-browser editing, allowing clients to make changes to their sites without having to push things back to the designer. The new release is rounded out with Creative Cloud add-ons like UI widgets, menus and navigation scripts that can be imported and personalized for your project, and HiDPI support for both Windows and OS X. Upon seeing Muse CC 2014 demonstrated at the Adobe presentation video, many designers were exclaiming that Muse CC 2014 is "finally ready for prime time."

Premiere Pro CC 2014 has Live Text templates making titling faster and easier, and features in-app access to Masking and Tracking features that were formerly exclusively the province of After Effects. With Master Clip Effects, an adjustment made to the Master Clip in your timeline -- for instance, color correction -- ripples down to every part of that clip in your sequence. Mercury Playback Engine performance has been improved, specifically its OpenCL performance, and Adobe has added a GPU-based debayering for RED media. It adds support for new camera formats as well as improving support for some other formats. Integration between Premiere and Speedgrade is improved, making working between the two faster and easier.

After Effects CC 2014 has the other portion of Live Templates: the ability to create a template for Premiere Pro, within After Effects. This means that a title, lower third, or another graphic containing text can be created in After Effects and exported as a Live Text template. The template can then be used in Premiere and the text can be changed without editing the rest of the template. Masks made in Premiere Pro can be shared with After Effects and dynamically linked to later work. Animation with a mask will be picked up by Premiere, which means you can use After Effects to refine a rough mask made in Premiere and have that mask update within the Premiere project. Additional filters added to this version will allow better keying of less-than-ideal footage, especially highly compressed footage like h.264. Kuler and Typekit have also been integrated into After Effects, like they are in other Adobe applications. After Effects CC 2014 also adds Mercury Transmit, allowing you to use a connection from your graphics card (an HDMI port, usually) for external playback of previews without additional hardware.

Improvements to Adobe's web authoring tools include the ability to look at and mark up a document within Quick View in Dreamweaver CC 2014 without having to flip in and out of Quick View, SVG export in Flash Pro CC, and native HTML5 video support in Edge Animate CC.

Adobe also announced a new Creative SDK that allows access to files in the Creative cloud, and also includes within its library methods for accessing element within PSDs. It also allows the use of cloud image editing services like the aforementioned Content-aware Fill within your app. The Adobe Creative SDK was used to build Photoshop Mix, a new application for image compositing and masking on the iPad, and is currently targeted for iOS development. IT is being tested by select iOS developers and is expected to enter into a comprehensive beta shortly.

The Adobe Creative Cloud 2014 releases are available now. Pricing varies by plan, and includes a new Creative Cloud Photography Plan for $9.99 a month that gives you Photoshop and Lightroom -- a good idea considering those are their most popular apps. $120/yr for Photoshop isn't bad at all.

Creative Sound Blaster E Series is an External Sound 'Card'

Kevin Parrish — Thu, 15 May 2014 00:46:00 +0000

Sound Blaster E1

On Wednesday, Creative Technology launched the Sound Blaster E Series, which includes the Sound Blaster E3 and the Sound Blaster E1. Both are external solutions that can be used with PCs, Macs, smartphones and tablets.

"With the Sound Blaster E Series, we are not only able to enhance the PC audio experience, but have gone beyond it. These devices capitalize on our high-end audio expertise, and give smartphone and tablet users the opportunity to experience uncompressed audio quality while on the go," said Long Chye Low, general manager for Sound Blaster Audio at Creative.

According to the company, the Sound Blaster E3 is a USB-based external sound card solution that packs Sound Blaster audio processing in a small form factor device. Customers merely plug the device into a USB port and then download the Control Panel software, which includes SBX Pro Studio audio enhancement technologies.

Sound Blaster E3

This device includes Bluetooth connectivity, allowing customers to pair it with a smartphone or tablet for up to eight hours of audio playback. The device can also serve as a USB-based Digital-to-Analog Converter (DAC) for uncompressed digital audio streaming from select smartphones or tablets. Two headphone jacks allow the user to share audio with another listener.

As for the Sound Blaster E1, this version is similar in specs, although it doesn't feature Bluetooth, and it's a bit more compact. This version also has a max recording quality of 16-bit / 44.1 kHz whereas the E3 model has a max recording quality of 24-bit / 48 kHz. However, its battery promises up to 25 hours of play on a single charge.

The cheaper model has a Signal-to-Noise Ratio of 106 dB while the Sound Blaster E3 has an SNR of 110 dB. However, both models sport a headphone amp capable of up to 600 Ohms, are compatible with Windows Vista and newer, and Mac OS X v10.6.8. and newer. Both support Audio Stream Input/Output (ASIO) for high fidelity and low latency playback.

For more information about these two new products, head here. The E3 model will be made available in July for $129 USD, and the E1 is available now for $49 USD.

What Does It Take To Turn The PC Into A Hi-Fi Audio Platform?

Filippo L. Scognamiglio Pasini — Tue, 25 Feb 2014 09:00:00 +0000

Turning The PC Into A True Hi-Fi Audio Platform

Hi-fi stands for high-fidelity. Specifically, the high fidelity of a reproduced audio signal compared to its original source. Recording and reproducing sound introduces artifacts, and your listening environment has an effect as well. So, playing back recorded audio never sounds exactly the same as the original. You can get pretty close, though.

McIntosh MC275 50th Anniversary: A $6500 amplifier with no DAC capabilities

Hi-fi often is often associated with exotic (and expensive) equipment. Tube amplifiers. Silver cables. Gold-plated interconnects.

Yet, unless you own a dozen shelves of 180-gram vinyl records, most of your hi-fi audio is probably stored in an affordable digital format, either on optical media (like CDs, DVDs, SACDs, and LaserDiscs) or magnetic storage, in the form of files on your hard drive.

In order to play back that content, you need a few different components. You need something to access the information (a CD reader, perhaps). You need to convert the digital signal back into an analog one using something called a Digital to Analog Converter, or DAC. You need an amplifier. And finally, you need something to create sound pressure waves in the air around you at the right frequencies set by the signal (speakers or headphones).

As long as the content arrives to the DAC in a bit-perfect state, the source really doesn't matter. A quality CD-player or a PC playing a bit-perfect stream over USB should sound the same.

The challenge for us as PC enthusiasts is that uncompressed audio takes up a lot of disk space. A CD-quality stereo stream uses two (channels) x 16 (bits per sample) x 44,100 (samples per second) = 1411.2 Kb/s A 60-minute CD, uncompressed, ties up 635 MB of storage. That was a ton back in the days of gigabyte drives, 1 Mb/s Internet connections, and slow Wi-Fi. The solution was lossy compression in the form of MP3 (first) and AAC (later), which addressed the capacity issue with a quality compromise deemed acceptable by most consumers. But audiophiles balked at the idea.

Creative Labs' Sound Blaster 2.0 from 1991, the first PC audio card capable of 44.1 kHz playback

Of course, today we enjoy multi-terabyte drives, very fast broadband connections, and almost gigabit-class wireless data rates, and advanced lossless compression schemes like FLAC and ALAC, the latter of which can halve the size of an audio file with no quality loss whatsoever. And so, the story changes.

Suddenly, a $60 1 TB hard drive can store 3000 CDs at their native quality. That's a lot of shelf space saved. Buying and downloading a new disc takes minutes, at most. Finding an album or track in your collection happens quickly. Online stores are never out of stock. And if you back up your library, it will never get lost or degrade. What's not to like?

One part of the pipeline that remains constant, and where PCs traditionally lag, is the translation from digital source to actual sound. Thankfully, hi-fi devices natively supporting PCs are becoming increasingly common. And if the quality of more traditional hi-fi equipment can be matched, then a case can be made (given overwhelming convenience) for our PCs becoming the ultimate audio source.

But what are the options for hi-fi audio on a PC today, and at what price points? In today's story, we're looking at the differences in sound quality, features, and value of a few pieces of hardware able to turn your system in the ultimate hi-fi machine. In the process, we'll introduce you to blind listening tests done right (at least in our view), and why that's so important.

Four different devices are on the bench, ranging from $2000 all the way down to $2: the Benchmark Media Systems DAC2 HGC, JDS Labs' O2+ODAC, Asus' Xonar Essence STX, and Realtek's ALC889 multi-channel codec. That's a 1000x factor in cost.

Four Devices Tested: From $2000 Down To $2

All of our tests were run on a PC with Windows 7 x64. For the most part, the machine's specs aren't really relevant, except for the fact that the motherboard hosting our Realtek ALC889 codec is Asus' Rampage III Formula.

The following devices are included, covering price points from $2000 down to $2.

Foobar2000 sources, with the WASAPI sources circled in red

	Benchmark Media DAC2 HGC	JDSLabs O2+ODAC	Asus Xonar Essence STX	Realtek ALC889
Price	~$2000	~$290 (including AC adapter)	$190	~$2 (OEM in volume)
Format	External USB Device	External USB Device	Internal PCIe card	On-board codec
Driver version	1.61	Native USB Audio	7.12.8.1794	6.0.1.7023
DSP Chip	Custom FPGA	N/A	Asus AV100(C-Media CMI8788)	Realtek ALC889
DAC Chip	ESS SABRE32 ES9018	ESS SABRE32 ES9023	TI PCM1792A	Realtek ALC889
I/V conversion	2 x TI LME49860/LME4562	2 x JRC NJM4556AD	2 x TI LME49860/LME4562 (1)	Realtek ALC889
Buffer	TI LME49600TS	Custom 4 x NJM4556D stage	TI TPA6120A2	Realtek ALC889
PCM audio support	Up to 176.4/192 kHz samplingUp to 24-bit word length	Up to 96 kHz sampling (2)Up to 24-bit word length	Up to 192 kHz sampling (3)Up to 24-bit word length	Up to 176.4/192 kHz sampling (4)Up to 24-bit word length
DSD audio support	Natively supported via DoP	Not supported	Not supported (5)	Formally supported, but couldn't get it to work

Notes:

The STX has swappable socketed op-amps. We replaced the native 2 x JRC2114D (which are also very good) with 2 x TI LME49860/LME4562, the same ones used in the DAC2.
Does not support 88.2 kHz
Does not support 88.2/176.4 kHz
Did not support 88.2 or 176.4 kHz in our test at 16- or 24-bit depth
The PCM1792A DAC does support DSD, but unfortunately, the C-Media CMI8788 does not, hence the lack of this capability on the card

Despite the higher product series number, the ESS Sabre ES9023 DAC is, on paper, inferior to the ES9018. That doesn't imply an audible difference, though.

Benchmark DAC2 HGC

Few devices are consistently praised in the audiophile community. The Benchmark DAC1 is one of the chosen few. You'll have a hard time finding someone with critical feedback about that device. And, although personal preferences and arguments over value are rife, it really is the reference for a high-end DAC and headphone amplifier combination.

In October of 2012, Benchmark Media released its DAC2 HGC to weighty expectations. At $2000, it's certainly not affordable (a DAC1 HDR, comparable in features, still goes for $1600). But to Benchmark's credit, aside from the headphone amplifier, which is the same HPA2 found on the DAC1, the DAC2 is an entirely new device. It leverages what is one of the world's highest-end DACs, the ESS ES9018, adding to it, among other things, custom jitter-reduction logic. It lives up to its Hybrid Gain Control name by implementing separate volume controls: digital for digital inputs; analog for analog inputs.

The Benchmark DAC2 HGC is the Cadillac of this round-up. It includes many features I'd imagine are generally useful to PC enthusiasts:

Asynchronous USB input: up to 172.4/192 kHz at 24-bit PCM, plus native DSD64 support
Four S/PDIF digital inputs (two coax, two optical)
Two RCA stereo single-ended analog inputs
Two RCA stereo single-ended analog outputs
One XLR stereo balanced analog output
Two front-panel stereo TRS (1/4") headphone jacks
Input selection, word-length, and word-clock display on front panel (finally!)
A remote control commanding a motor-driven actuator attached to the master volume control
Polarity and dim/mute buttons, and a 12 V trigger (less commonly used)

Both front-panel headphone jacks can be active concurrently, without any signal degradation. The left headphone output jack mutes the back-panel analog output, while the right headphone output jack does not. This is a simple (but incredibly useful) feature that lets you mute (or not) your speakers by picking the appropriate jack for your headphones.

The DAC2 HGC operates as a USB Audio Class 1 device by default, which means that it doesn't require driver support for Windows and Mac compatibility. It can be manually switched to operate as a Class 2 device, necessitating a driver in Windows, which is included. The main reason to switch to UAC 2 is to play PCM files above 24-bit/96-kHz, DSD files, or if you need an ASIO driver for any reason. If none of those apply, there's no reason to change modes.

More affordable versions of the DAC2 HGC do exist. There's a DAC2 D without analog inputs and a DAC2 L with analog inputs, but without the headphone amplifiers. Both models are $200 cheaper at $1800. PC enthusiasts may look favorably at the DAC2 D, since it's unlikely that you'd need the analog inputs and that device supports concurrently multiple sets of both speakers and headphones, whereas the DAC2 L does not support headphones.

In case you're wondering, the DAC2 reflects exceptional build quality. That's something you'd no doubt expect at this price point, but it's still an important point to confirm. There's also a bundled remote that, while not terribly useful in a PC environment, is still a nice touch.

JDS Labs O2+ODAC Combo

The O2+ODAC that JDS Labs (among others) manufactures, based on an open source design, is the most innovative concept in our round-up.

In 2011, a mysterious blogger who used the handle "NorthWest Audio/Video Guy" (NwAvGuy) began ranting about the snake oil he believed was being sold to the audiophile community. He set out on a personal crusade to design and build a low-cost headphone amplifier that, through blind tests, could not be distinguished from the Benchmark DAC1.

That design eventually became what's known as the "O2" (from Objective2) headphone amplifier. NwAvGuy went on to create an implementation of ESS' ES9023 chip to function as a DAC feeding the O2, using similarly objective criteria. That latter device came to be known as the "ODAC" (from ObjectiveDAC). Both devices can easily be connected and integrated into a single enclosure.

The O2+ODAC is an uncommon design by most standards. The headphone amplifier, in particular, was originally designed with battery-powered operation in mind (for portability). While the JDS Labs implementation does away with the batteries, it retains many of the portability-related design choices. It employs an external AC transformer, not the internal one you'd find on most comparable DAC/amps. There are no RCA stereo outputs at all. And the O2 does not use an amplifier chip (like the TPA6120A2), but rather a custom design on the output stage.

Feature-wise, the O2+ODAC is really barebones. It has a 3.5 mm line-in connection up front, a mini-USB port in the back, and a 3.5 mm headphone-out jack. That's it as far as I/O goes. Controls are limited to a gain switch and an analog (high-quality) volume control.

Based on NwAvGuy's open-source license (which, paraphrasing, states: anyone and everyone can manufacture one of these without paying me a dime, as long as they don't change the design), a variety of manufacturers are now selling O2+ODAC devices.

In 2012, after being banned from the headfi.org forum for, according to his version of the story, criticizing one of that forum's sponsor's products, NwAvGuy started building a desktop-oriented version of the O2+ODAC, called the Objective Desktop Amplifier. The twist is that NwAvGuy mysteriously disappeared without a trace in mid-2012 before completing the ODA's design. Nobody seems to know why he stopped blogging or what happened to him. So we're left with the O2+ODAC to test, and a lingering dream of what the ODA could have been.

The manifestation we're testing today is provided by JDS Labs. It is sold fully assembled for roughly $290, including the required AC transformer. If you're nimble enough with a soldering iron, you can pick up the O2 do-it-yourself kit for $69, add the ODAC board for $99, and buy the transformer for $11. That'd get you going for about $180, not including the enclosure.

Aside from the performance commentary you'll find through the following pages, I encountered one specific problem with the O2+ODAC. After receiving and unpacking it, I clicked into high-gain mode, plugged in my Sennheiser HD 800s (300 Ω impedance), turned up the volume, and noticed that the sound was terrible, affected by massive distortion. It turns out that the supplied transformer isn't powerful enough to drive high-impedance phones using the high gain setting. Unfortunately, JDS Labs doesn't stock higher-power transformers, so a replacement wasn't an option. The only solution was to use the low-gain setting at much higher volume. That did successfully solve the distortion issue. But JDS Labs should consider, in my opinion, stocking AC transformers that better-support the high gain setting. Going one step further, transformers should really be included with the assembled product.

So, did NwAvGuy end up winning his crusade? Can the O2+ODAC be distinguished from the 7x-more expensive and 5x-larger Benchmark DAC2? Read on...

Update: We received the following response from JDS Labs:
"AC adapters for O2 are packaged separately because JDS Labs ships worldwide. There's little incentive to bundle AC adapters since each customer requires a unique plug. Thus, the items are presented separately for customer's selection. Our shopping cart reminds customers to choose an appropriate model. As of late December, we now stock a higher-power model for U.S. customers who need additional current; this represents less than 2% of customers, though. All European, Australian, and British AC adapters stocked by JDS Labs are high-power models."

Asus Xonar Essence STX

In May of 2009, Asus launched its Xonar Essence ST. The STX, which is almost identical except for its PCI Express interface (and a few other minor differences, notably the lack of daughterboard support for eight-channel audio), followed shortly thereafter.

The Xonar Essence ST(X) was one of the first cards designed specifically to support high-end headphones and bridge the gap between PCs and the high-end audiophile world. Most notably, it included 1/4" TRS connectors, which are rare on add-in cards. The Xonar ST(X) totally came out of left field; nobody imagined a motherboard manufacturer taking that route.

The STX is still sold today at close to its full launch price. How many other sound cards from 2009 can boast such a claim? Asus' design was presumably so effective that when the company introduced its Xonar Essence STU in October of 2013 (almost five years later), it pretty much mirrored the implementation, adding an external enclosure, two volume controls, and some other minor stuff (including 49720 op amps, which aren't popular on the STX, but might have been implemented differently). The Essence One uses somewhat higher-quality components and includes a few more features. But the STX must have been something special, since the Essence One is no longer for sale and the Essence STU doesn't appear to have much momentum.

So, what makes the Xonar Essence STX so successful?

Red: LME48960 op amps (used and spare), Green: stock JRC2114D + LM 4562 (unused), Blue: LME49720 (unused), Pink: TI PCM1792A DAC, Orange: PLX PCIe-to-PCI bridge, Purple: AV100/C-Media AV8788 DSP, Yellow: TI TPA6120A2 headphone amp, Gray: ADC section

One of its perceived strengths is the flexibility to manually swap out the operational amplifiers. Although many would argue that the real-world benefit of doing this is close to non-existent (in fact, you're more likely to make the card operate at a lower fidelity if you swap out the stock JRC2114D op amps which the card was designed for), tinkerers love the option. Tweaking a sound card, since overclocking it doesn't make much sense, resonated with the enthusiast community.

More important is the Essence STX's reportedly well-reviewed sound quality paired to high-end headphones. Asus' implementation of the once-top-of-the-line Texas Instruments PC1792A DAC and TPA6120A2 amplifier was well-received.

And then there's pricing. The Essence One ($600-$1000) and Essence STU ($400), while likely sounding similar, lacked the STX's value proposition at $190.

Because it used PCI Express, Asus' Xonar Essence STX didn't need a dedicated (and expensive) power supply. Except for a three-way gain setting, it also didn't need volume controls. It didn't need an external enclosure or the cables to connect it. The company did choose to add analog inputs and an ADC, though I doubt many of the enthusiasts who bought an STX valued that feature.

If Asus decided to create cheaper and higher-quality sound cards, rather than pricey external DACs, I think it'd win over more converts. A second version, made more affordable by cutting the ADC stages and equipped with a newer-generation DAC, would be great. It's also conceivable that enthusiasts would pay for an optional front-panel display with a quality 32-bit volume control and LCD.

Realtek ALC889

In addition to its work in the networking space, Realtek has a significant share of the integrated audio market, too. The company sells a variety of codecs with different feature sets. The Rampage III Formula motherboard I'm using comes equipped with an ALC889, so that's the multi-channel codec I'm testing alongside the discrete solutions.

Except for the very similar ALC898 and technically better ALC1150, neither of which is listed in the table below, Realtek's ALC889 is pretty much top-of-the-line. Beyond sporting the most advanced specifications, it's also Realtek's only codec with support for DSD (though we couldn't find a suitable ASIO driver to get it working with foobar2000).

You can purchase the ALC889 in volume as an OEM for an indicative price of ~$2 per chip (or less, depending on the volume ordered), which means that the cost it adds to your motherboard is probably less than $10. Talk about an indicator of how commoditized the integrated audio market is.

Before you lean on integrated audio, be sure to do a little research into the codec your motherboard includes. Specifically, higher-sounding part numbers aren't always indicative of a better component. For example, the popular ALC892's specifications are inferior to the ALC889.

According to its datasheet, the ALC889 sports headphone amplifiers integrated at six output ports. They drive the Sennheiser HD 800s at 93.6 dB(A), and as such have more than enough power for anything at or below 300 Ω.

As you'll see, the ALC889 appears to be the least hi-fi of the devices we're testing, with a 1.4 dB(A) difference at 100 Hz. It is quite easily distinguishable in a pure-tone comparison at that frequency, although it is much harder to detect in regular music-listening scenarios (as at 1 kHz and 10 kHz the volume difference is much smaller).

We also want to explore this codec's output impedance. At 77 Ω for the recommended implementation, it is by far the highest (almost by an order of magnitude over the second-highest) in our round-up. Is that a factor in the real world?

Test Setup: Sennheiser HD 800 And AKG K 550 Headphones

We're testing using two set of headphones. Because this is a story about high fidelity, they're expensive. If you don't listen to quality music recordings, or don't care about the upper echelon of audio equipment, they're almost certainly overkill. You'd get better value out of more affordable models.

Beyond their price tags, these two headphones are different in many ways.

Sennheiser's HD 800 is the company's flagship headphone. At $1500, it's prohibitively expensive. Quality-wise, however, it's considered one of the best in the world (along with the Audeze LCD-3 at $2000, Grado's PS1000 at $1700, the Fostex TH-900 at $1500, Ultrasone Edition 12 for $1700, HiFiMan's $1300 HE-6, and the $1400 Beyerdynamic T1 Tesla). The $4450 STAX SR-009 also deserves a mention as the best-known commercially available electrostatic headphone. We're sure that the circle of headphone royalty could be argued to include others, but it's safe to say that this list generally almost always qualify for the distinction.

The HD 800 is an open back and circumaural design. In plain English, that means these headphones don't block outside sounds and envelop your ears, resting on the sides of your head. Not surprisingly, then, they're also big, though surprisingly light for their size. Sennheiser rates the HD 800s for 300 Ω impedance, placing them in the high-impedance category of electrically-inefficient headphones that amplifiers have a hard time driving. This can also be a boon too, making them less sensitive to the output impedance of the amplifier itself. Even at 300 Ω, the HD 800's impedance is still half of some Beyerdynamic headphones, which can reach 600 Ω and are some of the hardest headphones to drive.

Sennheiser's top-end headphones connect through a Y-cable with a fixed 1/4" TRS plug. The cable is removable, so if you happen to break it, replacements are available. You can also swap out the stock cable with a more expensive one, though we haven't seen the benefits proven in a reliable blind test.

Besides their audio quality, the one characteristic I personally appreciate about the HD 800s is that their circumaural design and light weight mean they're extremely comfortable over long listening sessions.

We also used the AKG K 550 headphones for a few tests. They're marketed as reference. At $200 (and sounding very nice), they certainly deserve a place in the ranks of headphone nobility. The K 550s employ a circumaural design too, though they're smaller than the HD 800s and don't clear my ears as well. With less padding on the head band, the AKGs are far less comfortable overall, at least for me. AKG employs a single non-detachable cable instead of a Y-cable, which is intended to help with clutter.

These are traditional 32 Ω headphones. They come equipped with a 3.5 mm connector and 1/4" screw-on adapter. So, the K 550 can connect to your portable music player or phone, while the HD 800 is simply too difficult for a mobile device to drive. Another major difference is that the K 550s are based on a closed-back design, yielding certain privacy advantages. You can't really get away with using open-back headphones, say, at the office. Closed-back headphones also dampen outside noise; that can be a boon in relatively noisy environments.

The merits of open- and closed-based designs when it comes to sound quality are much more open to debate. Most top-of-the-line headphones are at least semi-open. Only the Fostex TH-900 is closed-back, and arguably not as popular as some of the other options on our list. Personally, I own affordable closed-back (Sony MDR7506, $85) and open-back (Grado SR80, $100) headphones, in addition to the high-end HD 800. Regardless of price point, when I have the choice, I use open-back headphones; I simply prefer their sound.

Test Setup: Volume Matching And Testing The Listener

The Listening Environment

All of our tests were conducted in a room with a background noise level of 36.5 dB(A) ±0.2. Of course, we had a PC in the room, and the noise we measured was primarily a result of the system's cooling fans. When my machine dropped to standby, the background noise fell to 32.2 dB(A) ±0.2. In other words, we listened in a very quiet room.

With all of the talk about signal-to-noise (SNR) ratios, total harmonic distortion + noise (THD+N) and dynamic range (DR), it's easy to forget that regular listening environments are inevitably subject to quite a bit of background noise. Beyond a certain threshold, increasingly high SNRs and the "N" component in THD+N become audibly irrelevant when the noise floor of your environment is meaningfully higher than the hardware being tested. That's particularly true for open-back headphones, which, unlike closed-back designs, provide practically no attenuation of ambient noise. Check out some of the (non-scientific) tests in the conclusions page to do a bit of related tests directly on your own.

Imagine trying to listen to your favorite CD on the deck of an aircraft carrier. You can't; the background noise level is so high that you actually need hearing protection. That's an extreme of course, but background noise in any environment still affects what we can hear and what we cannot.

Volume Matching and its Importance

Volume-matching sources when blind listening is important for two reasons. First, if sources are at different levels, they're easy to tell apart. From there, the test is no longer blind. Second, us humans tend to prefer (all other factors being equal) louder sources. Again, that's something we want to control.

It's rudimentary but effective. In this image, we're calibrating headphones using a standard SPL monitor.

Using Sennheiser's HD 800, we accurately volume-matched the individual devices using the 100% digital volume and minimum gain setting of the Asus Xonar Essence STX (which, as an add-in sound card, lacks an analog volume control) and a 1 kHz test tone.

Three test tones at 100 Hz, 1 kHz, and 10 kHz were used from mediacollege.com. The 1 kHz reference level is most important; that's the frequency at which human hearing is most sensitive. The devices we're using are rated to be fully linear in the specified range, so calibration values should match across all three tones.

At 1 kHz, all sound sensor weightings, such as dB(A), dB(C), and dB(Z), are exactly the same with a 0 dB gain. Meanwhile, at 100 Hz and 10 kHz, the weightings yield different values. We're using the common A-weighting, which approximates human hearing best in terms of relative loudness of sounds at different frequencies. This goes a long way in explaining why 100 Hz and, to a lesser extent, 10 kHz, measure consistently lower than 1 kHz. The remaining "drop" comes from the HD 800's own frequency response, which is far from linear above 1 kHz.

Calibration Tone Frequency	Benchmark DAC2 HGC	JDS Labs O2+ODAC	Asus Xonar Essence STX	Realtek ALC889
100 Hz	57.0 dB(A) ±0.1	57.4 dB(A) ±0.1	56.9 dB(A) ±0.1	58.3 dB(A) ±0.1
1 kHz	93.9 dB(A) ±0.1	94.0 dB(A) ±0.1	94.0 dB(A) ±0.1	93.6 dB(A) ±0.1
10 kHz	80.5 dB(A) ±0.1	81.0 dB(A) ±0.1	80.3 dB(A) ±0.1	80.2 dB(A) ±0.1

As you can see, the calibration is very good, though not absolutely perfect. The Benchmark DAC2 is not perfectly aligned because it uses a digital gain control to affect the volume of its digital input. This control has roughly 0.5 dB(A) "steps" at the level we tested, compared to the analog potentiometer in JDS Labs' O2+ODAC. Given the DAC2 HGC's higher price tag, I'm giving it a minor handicap and setting it at the rounded-down closest setting to the other devices. Realtek's codec is slightly softer at 1 kHz and significantly louder (1.4 dB[A]) at 100 Hz. In this sense, it's simply the least-linear or least-transparent of the devices we're testing.

Audiophiles might argue that a listening difference of 0.2 dB is notable, and might impact our test results. This might hold true for a small minority of humans. For us, it does not matter. This isn't just claimed; we'll prove it shortly. Furthermore, 0.2 dB approaches our equipment's margin of error. Realtek's 1.4 dB(A) difference at 100 Hz is the one measurement that might be noticeable.

Of course, listening at >90 dB(A) for extended periods of time can cause hearing loss. You'll be fine a few minutes at a time. But maintaining high volume should be avoided.

The Most Important Instrument to Calibrate: You

Because everyone's ear is morphologically different, we each hear sound uniquely. There are some general truths, though. For example, we become progressively incapable of hearing higher frequencies as we age. The typical human hearing range is conventionally referred to as 20 Hz to 20 kHz (sometimes 22 kHz).

Our tests involve two listeners: a moderate enthusiast, Listener A, accustomed to ~$3000 in audio gear, and a more serious enthusiast, Listener B, used to ~$70,000 in audio gear.

Measurement	Listener A	Listener B
Highest Frequency Heard	17 kHz	20 kHz
Lowest Frequency Heard	12 Hz	14 Hz
Volume Sensitivity (95% Confidence)	±1 dB	±1 dB

At the high end, Listener A can hear a 17 kHz tone using the DAC2. Tones at 18 kHz and above are absolutely silent. Listener B, despite being a few years older, can hear up to 20 kHz.

On the other end of the spectrum, Listener A can faintly hear 12 Hz. Anything lower is total silence. Listener B's hearing starts roughly at 14 Hz. This is uncommon; typically, the threshold is around 20 Hz. Some say such low frequencies are felt, rather than heard. Another possible explanation is harmonic distortion in the headphones or audio equipment. If that was the case, the tone heard at 12 Hz should sound the same as 24 Hz, but softer. But it doesn't. It sounds far lower than the 24 Hz tone.

Using these calibration settings, a blind A/B test of a difference in ±0.5 dB volume levels at 440 Hz results in a score of 5/10 for both listeners, essentially equivalent to a random guess. That means neither participant can tell 0.5 dB levels apart. To reach a 95% confidence level that listeners can tell volume levels apart, we have to move to ±1 dB, where they score 9/10 or 10/10 consistently.

Thus, the "calibration range" of your listeners today is 12 Hz to 17 kHz and 14 Hz to 20 kHz, with a 1 dB volume sensitivity.

Given that the devices we're testing are calibrated well below the level where either listener can hear the volume difference, we consider them accurately volume-matched (except for Realtek's codec at 100 Hz).

For reference, here is the hardware both listeners use:

Component	Listener A	Listener B
Primary source / DAC	Asus Xonar Essence STX$190	Burmester 061 CD Player~€9000
Power conditioner	None	Burmester 038 (no longer in production)~€4000
Integrated amplifier	Built into powered speakers	Burmester 032~€12,000
Secondary power amplifier (For horizontal bi-amping)	None	Burmester 036~€7000
Speakers	Yamaha HS80M + HS10W$900	Ascendo Z-F3~€21,000
Headphone amplifier	Built into Asus Xonar Essence STX	Lehmann Audio Linear SE~€1400
Headphones	Sennheiser HD 800$1500	Sennheiser HD 800~€1500
Cables	Budget RCA cables$5	Burmester/Ascendo cables~€4000

As you can see, Listener A is accustomed to an audio setup worth around $3000. Listener B is in another category altogether, with a configuration well into five figures. Listener A's setup is also a 2.1-channel near-field active-monitor setup, while Listener B's setup relies on high-end full-range speakers. Both listeners are well-acquainted with Sennheiser's HD 800 headphones though, which are what we'll primarily be using for our tests.

Test Setup: Cables, Software, And Tracks

Cables and Connections Used

For the O2+ODAC and the DAC2, we used vendor-supplied USB cables.

The Sennheiser and AKG headphones both relied on stock cables.

Four identical Hosa 10-foot TRS female-to-TRS male extension cables were used. For the O2+ODAC and Realtek ALC889 codec, which do not have TRS jacks, a Hosa TRS female-to-3.5 mm RCA male adapter was used. These are not exotic components; the cables are $7 each and the adapters are $3 each.

Here's an important question, though. Why use extension cables at all? Why not plug headphones directly into device jacks?

The reason has to do with our blind listening process. Extension cables essentially render interconnect noise the same (when the headphones are switched from one device to another) and require no moving around on the part of the test assistant performing the switch. It'd be hard to perform a truly blind test if the assistant had to get up, walk around to the back of the PC to plug into a sound card, and so on.

I believe (until I'm otherwise proven wrong) that the cables and adapters are audibly transparent. If you'd like to read a serious study on the effects of cables on audio frequency response, we recommend this article.

Music Formats

We classified sources into three categories:

Compact Disc Digital Audio (CD-DA)

These tracks are encoded with the common pulse-code modulation (PCM) scheme used in standard audio CDs. The format is a two-channel signed 16-bit linear PCM at a 44.1 kHz sampling frequency.

As a bit of trivia, the main reason why CD audio is sampled at 44.1 kHz is that the corresponding Nyquist frequency (the highest frequency that can be captured using the sampling rate) is 22,050 Hz. Hence, CD audio is designed to capture and represent all frequencies humans can hear.

What's more, sometimes this format is referred to as "Red Book" from the color of the binding book containing its technical specification.

The reason why CDs are designed to hold 74 minutes of audio is said to be less technical and more "human"; reportedly, Sony's president Norio Ohga wanted to listen to Beethoven's entire 9th symphony in his car.

Benchmark DAC2 HGC in operation. The LCD tells us it's configured for 16-bit/192 kHz. The smaller O2+ODAC is on top.

DVD-Audio (DVD-A) and DVD-Recordables (DVD-R), including PCM files (typically .WAV)

These are tracks that have higher word length and sampling frequency than "Red Book" CD audio.

While 24-bit recordings are relatively common in the recording studio, they tend to be used more for headroom in editing than an actual audible benefit. We've never seen a properly-conducted blind test where individuals could reliably tell between 24- and 16-bit audio. With that said, "audiophile" recordings made available at the native 24-bit, though not very popular, do exist.

Higher sampling frequencies than 44.1 kHz again provide more headroom for editing; the actual benefit in terms of audio quality is the subject of much debate. The ultrasonic frequencies that such high sampling frequencies collect are inaudible, unless you happen to be a dog (which can hear up to 60 kHz), cat (79 kHz), or a bat (up to 200 kHz). And that's assuming that your speakers/headphones can play those higher frequencies correctly. They certainly aren't designed to. In fact, the harmonics from those frequencies can actually result in lower fidelity.

We sourced our DVD-A files as uncompressed WAVs from www.hdtracks.com.

Super Audio CD (SACD)

Direct-Stream Digital-encoded audio takes a very different approach than multi-bit PCM. DSD has a word length of only one bit and a sampling frequency of 2.8224 MHz. It is a pulse-density modulation scheme. The benefits and limitations of DSD versus PCM are, not surprisingly, the subject of much debate and there is really no consensus, even among academics, on which is superior.

Although DSD content is rare (SACD never really took off), so-called "native DSD" digital-to-analog-converters appear to be popular in the audiophile community. Mytek, in particular, is pushing the format.

Some SACDs contain multi-channel tracks. The most famous one is likely Pink Flyod's The Dark Side of the Moon, which contains six channels on a "hybrid" disc.

Of the devices we're testing, only Benchmark's DAC2 supports DSD natively. So, we'll reserve a separate section of this article to delve into it.

Test tracks

In our choice of test tracks, we wanted to represent a wide variety of genres and musical format options. Obviously, how well a particular track was recorded influences the listening experience massively. So, our selections were picked because, in addition to being enjoyable, they were also recorded well.

Album / Track / Artist	Format	Comments
Skyrim Official ST / Dragonborn / Jeremy Soule	CD-DA(16/44.1)	Nothing screams Dovahkiin! like Jeremy Soule's signature soundtrack. Sung by 90 voices at the same time (30 people singing three times then mixed together), this dark, gloomy track is the ultimate test of deep bass.
Delta Machine / Soothe My Soul / Depeche Mode	CD-DA(16/44.1)	Electronic music and vocals at their finest. This is one well-recorded track. Also available in DVD-A 24/44.1 format.
Inhuman Rampage / Through the Fire and Flames / DragonForce	CD-DA(16/44.1)	Two-hundred beats per minute and rapid twin guitar solos by Herman Li and Sam Totman of power metal band DragonForce. One broken guitar string in the process.
Random Access Memories / Get Lucky / Daft Funk feat. Pharrell Williams	DVD-A (24/88)	Smash pop hit. A well-recorded track available in DVD-A format.
Symphonic Dances / Andante con Moto / Rachmaninoff [Eiji Oue w/ Minnesota Orchestra]	DVD-R(24/176.4)	A beautiful classical piece recorded in 24-bit at 176.4 kHz, edited and mastered at 88.2 kHz, and re-transferred to 176.4 kHz
Thriller / Billie Jean / Michael Jackson	SACD(DSD64) and DVD-A (24/176.4)	Thriller is the most-sold album ever (100 million copies sold worldwide). If you haven't been living under a rock, you know the track Billie Jean from this album. This particular SACD version is reportedly created by Gus Skinas from the original SACD cutting masters.

Player Software and Configuration

We used foobar2000 v1.3 beta 7. It's free, it works, and it doesn't mess things up. It's doesn't look cool, but that doesn't deter us. Benchmark wrote a pretty good article on how to configure it.

In short, configure outputs as WASAPI devices, set the output data format to 24-bit (the maximum supported by the devices we're testing), set all volume levels to max (0.00 dB), turn off Replaygain, and bypass all audio plug-ins. Note that devices in WASAPI mode will default to 16-bit operation if 16-bit content is played, ignoring the 24-bit setting. That's a good thing. It means that 16-bit tracks don't get padded to 24-bit, which would be undesirable.

It doesn't really matter if you configure outputs as WASAPI, KS (Kernel Streaming), or ASIO devices, as long as you are consistent. Each mode bypasses the Windows mixer, resulting in a bit-perfect stream to the DAC. The only mode you want to avoid is Direct Sound, which doesn't bypass the mixer.

Although it takes an extremely convoluted process to get working, foobar2000 is one of the few players in the world that can natively play DSD files on supported hardware. A notable alternative is JRiver Media Center, which has a free trial, but isn't free per se.

Objective or Subjective?

Nowhere in this article do we talk about technical specifications or benchmarking individual components. If you want that information, it's available for all three discrete devices. Realtek doesn't provide measurements, only specs, but those are published online too. The point we are making is that, they should all be completely transparent. Realtek's codec shouldn't follow far behind, at least on paper.

If that's true, then we shouldn't be able to tell them apart in a sequence of blind listening tests. That's the angle we're setting out to explore, hence our subjective approach.

It's easy to be influenced in a listening test by what you expect to hear. If you feel like you can be objective without a blind test, then great. But we know we cannot. So, we went to every length possible to remove expectations, correcting for any factor that provided unwarranted information.

Typical A/B tests let you hear A, then B, then a random sequence of As and Bs, testing to see if you can correctly tell them apart. If you can guess correctly with a 95% confidence interval, then it's fairly certain that you can tell them apart. If not, you must concede you can't. It's really that simple.

We've deliberately complicated the event in that this is essentially a blind tailored A/B/C/D test. We have four devices. We test one track at a time. We test each track eight times. The only guarantee is that each device will be presented twice in the sequence, though that could be in any order (even consecutively). A proper blind test would not guarantee equal distribution in the sequence, since that creates some form of expectation. But that was a compromise we had to make to generate sufficient data samples for each device.

The tests are conducted with a partner helping us by selecting the sources randomly. During each test, we write down our subjective thoughts. At the end of each run (lasting the first few minutes of each track), if we feel comfortable doing so, we make a guess on the device we just heard. After the eight runs, we compare our impressions and guesses to the actual device list, which our partner wrote down separately.

As you already know, every device is carefully volume-matched, demonstrating good matching across three representative test tones. Only Realtek's ALC889 codec could not quite get there due to its technical limitations.

Color-coding sources using identical extension cables is important for true blind listening

Furthermore, we used identical color-coded extension cables from each devices, so the partner didn't need to move from the test bench at all and the connecting noise for each device was the same. We went one step further and removed the headphones in between runs as the partner was switching connections to avoid hearing any distinct connection-related click or pop.

Due to time constraints, not all listeners tested all content. We also had some issues with volume-matching the Realtek ALC889, and those are called out where they're relevant.

Our precautions worked well; we could not tell the devices apart from each other in any way except their sound.

Challenging the Methodology

A few of the listeners who tried replicating the process above challenged our methodology. This is good, fair, and needs to be openly discussed. So, we present those challenges below.

We were questioned on:

The process of listening to the same track multiple times using the same or a different device (versus switching across devices seamlessly)
Using four devices (versus doing A/B testing of individual device pairs)
The applicability/extensibility of these tests from headphones to full-sized speakers

On the first point, we agree that there is some merit to this. Human acoustic memory happens to be short-lived. Not only that, but rarely are individuals conscious of it. So, trying to "remember" and "compare" how a given track sounds over time (even after multiple seconds) is really, really difficult. With that said, because we were testing on familiar hardware using our favorite tracks, we felt we should have been able to identify differences, with at least directional reliability, if we could hear them. But yes, ideally, we would have liked to try seamlessly switching as well. Unfortunately, we could not find any 1/4" TRS stereo rapid-switching boxes and, even if they exist, foobar2000 won't output over more than a single device at a time (and, we may be wrong on this one, but neither does Windows). Running multiple instances of foobar2000 at the same time is possible, though it creates temporal alignment issues. The idea is nice; it's just technically problematic.

On the second point, our purpose here wasn't telling pairs of devices apart, but rather trying to gauge whether any one component sounded significantly better or worse than the others. Based on what we were trying to achieve, I think our methodology is even better than A/B pairs. This is one challenge thus we'd like to directly rebuke.

Finally, regarding the last point: we agree. These tests, as they were conducted, only apply to headphones. More specifically, they apply to high-impedance headphones. Hopefully, we'll get the opportunity to extend our experimentation to low-impedance headphones in the near future. Full-sized speakers are more challenging for a variety of reasons, and we can't promise that'll happen any time soon.

Wrapping Up

If you've read through the last four dense pages of setup background, then you can appreciate the complexity of arranging proper blind tests. We did our best with the equipment, knowledge, and time we had available to create the best possible experiment, documenting each and every step so that you can judge for yourself how relevant these tests are to you.

The tests aren't perfect, and we don't claim they are. They cannot be generalized beyond the specific cases we tested, and we don't claim they can be. Nevertheless, we hope you'll find them interesting within the scope of their applicability.

We also would have liked to test more devices. If there's enough reader interest, you can bet we'll follow up with a wider range of products.

Results: Dragonborn / Jeremy Soule

Track notes

If you're reading this page and you've never played Skyrim, then stop reading. Now. Go play Skyrim. One hundred or 200 game-hours later, you'll appreciate the remainder of this page...

...or will you? In the game's encoded format (a lossy, compressed, WMA-related format with an .xwm extension), Skyrim's soundtrack is pretty outstanding. But the official soundtrack on CD has a special degree of immersiveness that goes beyond the in-game music (or so my brain seems to think).

So, after you put in your game time, go buy Skyrim's soundtrack, spend some more time just listening to that, and after you catch yourself singing out Dovahkiin! with those 90 voices, you will really appreciate the rest of this page.

The Dragonborn track itself is a Red Book-standard 16-bit, 44.1 kHz file. It is remarkable because of its deep vocals and bass-heaviness, intermixed with high treble female vocals that create an extreme sonic contrast.

Test results (Listener A)

Run	Actual Device	Guess device	Correct / Incorrect
1	Benchmark DAC2 HGC	Benchmark DAC2 HGC or JDS Labs O2+ODAC (uncertain)	(Directionally) Correct
2	Realtek ALC889*	Realtek ALC889 (uncertain)	Correct*
3	Realtek ALC889*	Benchmark DAC2 HGC or JDS Labs O2+ODAC (uncertain)	Not Correct*
4	Asus Xonar Essence STX	Asus Xonar Essence STX (uncertain)	Correct
5	Benchmark DAC2 HGC	Benchmark DAC2 HGC or JDS Labs O2+ODAC (uncertain)	(Directionally) Correct
6	JDS Labs O2+ODAC	Asus Xonar Essence STX (uncertain)	Not Correct
7	JDS Labs O2+ODAC	Realtek ALC889 (highly uncertain)	Not Correct
8	Asus Xonar Essence STX	Benchmark DAC2 HGC or JDS Labs O2+ODAC (uncertain)	Not Correct

Listener A's comments:

As we start our blind tests, I'm not really sure what exactly to listen for. Based on the results above, obviously for an untrained ear it is hard to tell most devices apart. I'm really curious to see if I improve as I listen to more content. From my notes, it seems that the device I subjectively preferred was what turned out to be Asus' Xonar Essence STX (runs four and eight). That is surprising to me. I'm curious to see if that continues to hold true.

*: Tests of the Realtek ALC889 codec marked with an asterisk had a volume level calibration issue that was corrected later. We kept the results in for the sake of transparency, although they should not be considered representative of an actual ability to distinguish the ALC889 from the other devices being tested.

Results: Soothe My Soul / Depeche Mode

Track notes

The second single released from the album Delta Machine, Soothe My Soul is a rich track with deep drums and intense vocals. We listened to the Red Book 16/44.1 version, although a 24-bit release is available.

Test results (Listener A)

Run	Actual Device	Guess device	Correct / Incorrect
1	JDS Labs O2+ODAC	Asus Xonar Essence STX (uncertain)	Not Correct
2	Realtek ALC889*	Realtek ALC889 (very certain)	Correct*
3	JDS Labs O2+ODAC	JDS Labs O2+ODAC (uncertain)	Correct
4	Benchmark DAC2 HGC	JDS Labs O2+ODAC (uncertain)	Not Correct
5	Realtek ALC889*	Realtek ALC889 (very certain)	Correct*
6	Asus Xonar Essence STX	Benchmark DAC2 HGC (uncertain)	Not Correct
7	Benchmark DAC2 HGC	Asus Xonar Essence STX (uncertain)	Not Correct
8	Asus Xonar Essence STX	Benchmark DAC2 HGC (uncertain)	Not Correct

Listener A's comments:

This was an interesting second test. I can now clearly distinguish the Realtek ALC889 and detect it immediately with certainty. I was highly uncertain of the others. Note my double error in runs six and eight. Twice I mistook Asus' sound card for the DAC2. That's because, subjectively, those were the devices that sounded the best to me. They should be the most expensive, right? It turns out that I show a patter of personal preference for the Xonar Essence STX. It doesn't sound as "reference" as the others, but it seems to be what I favor. The bottom line, either way, is that (excluding the ALC889) I got almost all of the others wrong.

Results: Through The Fire And Flames / DragonForce

Track notes

If you have any experience with Guitar Hero III: Legends of Rock, or if you like power metal in general, you almost certainly know this song. It is widely regarded as the game's hardest track.

At 200 BPM, it is extraordinarily fast, and with Hernan Li and Sam Totman playing guitars together in the foreground, this is one track that can very quickly degenerate into a muddled mess with poor headphones or other equipment.

Of the tracks we're using to test, this is probably the one that received the least amount of attention in the studio recording and mixing rooms. It's nowhere near as polished as the others. Since the music itself is amazing, however, that shouldn't deter listeners excessively.

Test results (Listener A)

Run	Actual Device	Guess device	Correct / Incorrect
1	Benchmark DAC2 HGC	JDS Labs O2+ODAC (uncertain)	Not Correct
2	Asus Xonar Essence STX	Benchmark DAC2 HGC (uncertain)	Not Correct
3	JDS Labs O2+ODAC	JDS Labs O2+ODAC (uncertain)	Correct
4	Asus Xonar Essence STX	Asus Xonar Essence STX (uncertain)	Correct
5	Benchmark DAC2 HGC	Asus Xonar Essence STX (uncertain)	Not Correct
6	Realtek ALC889*	Realtek ALC889 (very certain)	Correct*
7	JDS Labs O2+ODAC	Benchmark DAC2 HGC (uncertain)	Not Correct
8	Realtek ALC889*	Realtek ALC889 (very certain)	Correct*

Listener A's comments:

By this third test, Realtek's ALC889 codec became easy to tell apart. The others, however, are much more difficult. I have notes riddled with comments like "sounds the same as before" with, for instance, round five (DAC2) compared to round four (the Xonar).

Interestingly, I wrote "sounds familiar" in run four (Xonar), which was actually true, since I've owned Asus' sound card for a long time. Evidently, though, it wasn't familiar enough to become apparent in run two. I'm now starting to focus on whether I can tell the Xonar apart from the O2+ODAC and DAC2. I'm not yet close to telling those two latter components apart.

Results: Get Lucky / Daft Punk

Track notes

HDTracks' version of Daft Punk's Random Access Memory album, inclusive of the hit single Get Lucky featuring Pharrell Williams, is made available in a DVD-A format of 24-bit/88.2 kHz. That created issues for us. While the Benchmark DAC2 supports such sampling frequency, the JDS Labs O2+ODAC and Asus Xonar Essence STX do not. Realtek's ALC889 codec does support that frequency in its specs, but in WASAPI mode using foobar2000, neither 88.2 nor 176.4 kHz worked.

Our only choice left was resampling. We could upsample up to 96 kHz, which was closer in absolute value and supported by all devices, or downsample to 44.1 kHz. Though it may sound counter-intuitive, we chose to downsample because converting from 88.2 to 44.1 kHz is a very simple and precise operation. All that is required is a sum-and-divide-by-two. Upsampling from 88.2 to 96 kHz is far more more likely to cause artifacts. Given that the differences between 88.2 and 44.1 kHz are generally considered inaudible anyway, we went the route more likely to preserve fidelity. Also, we used foobar2000's PPHS resampler in Ultra mode, which is considered a very high-quality resampler.

For the sake of integrity, Listener A did some (non-blind due to time restrictions) tests on the DAC2 to see if he could immediately tell 88.2 from resampled 44.1 kHz. The (unscientific) answer is that he could not. He also tried reducing the word length from 24- to 16-bit, with and without dither, and he still couldn't tell any difference.

Test results (Listener A, take one)

Run	Actual Device	Guess device	Correct / Incorrect
1	Asus Xonar Essence STX	Asus Xonar Essence STX (relatively certain)	Correct
2	Realtek ALC889*	Realtek ALC889 (absolutely certain)	Correct*
3	Benchmark DAC2 HGC	Benchmark DAC2 HGC (uncertain)	Correct
4	JDS Labs O2+ODAC	JDS Labs O2+ODAC (uncertain)	Correct
5	Asus Xonar Essence STX	Asus Xonar Essence STX (relatively certain)	Correct
6	Realtek ALC889*	Realtek ALC889 (absolutely certain)	Correct*
7	Benchmark DAC2 HGC	Benchmark DAC2 HGC (uncertain)	Correct
8	JDS Labs O2+ODAC	JDS Labs O2+ODAC (uncertain)	Correct

Listener A's comments:

In all honesty, I was really surprised to guess each device correctly. I believe luck played a role, although there is certainly a learning factor involved. I can definitely tell the Realtek ALC889 apart by its lower volume. But this was the first time I felt I could (and did) reliably identify the Xonar sound card from the O2+ODAC and DAC2. I did so through the bass' particular definition. It's hard to say if this track's 24-bit resolution was a factor.

Asus' Xonar Essence STX seems to have a more lively and emotional bass that I subjectively appreciate. It probably isn't as "reference" as the O2+ODAC or DAC2. In that specific sense, it can be argued that those two devices both appear to be marginally superior to the Xonar.

The Benchmark DAC2 HGC and JDS Labs O2+ODAC I simply could not tell apart. I was frankly guessing and happened to be correct. Don't take the outcome as definitive; I believe I could equally have guessed incorrectly.

With that said, all three discrete sources sound absolutely amazing on a track that is absolutely masterfully recorded.

Test results (Listener A, take two)

Run	Actual Device	Guess device	Correct / Incorrect
1	JDS Labs O2+ODAC	Realtek (uncertain)	Not Correct
2	JDS Labs O2+ODAC	O2? DAC2? (uncertain)	(Directionally) Correct
3	Realtek ALC889	O2? DAC2? (uncertain)	Not Correct
4	Realtek ALC889	Asus Xonar Essence STX (uncertain)	Not Correct
5	Benchmark DAC2 HGC	Realtek (uncertain)	Not Correct
6	Benchmark DAC2 HGC	O2? DAC2? (uncertain)	(Directionally) Correct
7	Asus Xonar Essence STX	O2? DAC2? (uncertain)	Not Correct
8	Asus Xonar Essence STX	Asus Xonar Essence STX (uncertain)	Correct

Listener A's comments:

My second take, run a few days after the first, demonstrates how hard it is to tell these devices apart. The Realtek codec's volume issues are addressed and it easily blends in with the pack, making identification even harder. I still felt like I could tell the Xonar Essence STX apart, but the results proved me wrong. More interestingly, I could not even tell that a given device was the same when my partner smartly decided to run each device twice in a row.

Results: Symphonic Dances / Andante Con Moto / Rachmaninoff

Track notes

HRX's version of Rachmaninoff's Symphonic Dances is made available in a DVD-R format of 24-bit/176.4 kHz (after a 176.4 to 88.2 to 176.4 kHz process). That created similar issues as Daft Punk's 88.2 kHz album, and the reason is the same. Only the Benchmark DAC2 supports this sampling frequency; the JDS Labs O2+ODAC and Asus Xonar Essence STX do not. Realtek's ALC889 codec does support that frequency in its specs, but in WASAPI mode using foobar2000, neither 88.2 nor 176.4 kHz worked.

Since we were going from 176.4 kHz all the way down to 44.1, we wanted to show that resampling using the same foobar2000 PPHS resampler in Ultra mode introduced no audible artifacts. Both listeners tried multiple times, and neither could tell any difference. In our subjective opinions, 176.4 and 44.1 kHz are exactly the same.

Test results (Listener B)

Run	Actual Device	Guess device	Correct / Incorrect
1	JDS Labs O2+ODAC	N/A - "Less preferred"	N/A
2	Realtek ALC889	N/A	N/A
3	Asus Xonar Essence STX	N/A - "More preferred"	N/A
4	Realtek ALC889	N/A - "Less preferred"	N/A
5	Benchmark DAC2 HGC	N/A	N/A
6	JDS Labs O2+ODAC	N/A - "More preferred"	N/A
7	Benchmark DAC2 HGC	N/A - "Less preferred"	N/A
8	Asus Xonar Essence STX	N/A - "Less preferred"	N/A

Listener B's comments:

I was surprised at the results, struggling to decide whether the validity of our blind tests could be called into question, or rather if these tests indeed show our auditioned devices cannot be reliably told apart. I do believe that the story would be different if we used full-sized speakers, rather than headphones.

Bonus Test: DSD Versus PCM; Billie Jean / Michael Jackson's Thriller

Sampling into Megahertz

Having tried 24-bit/88.2 kHz (and 96 kHz) tracks without being able to tell the difference from Red Book audio, we were starting to get skeptical about high-def audio. Still, we wanted to test the pinnacle of digital audio formats. We picked the most-sold album in history, Michael Jackson's Thriller.

We chose two formats: the exotic DVD-Audio (PCM at 24-bit/176.4 kHz) and the equally (if not more) exotic SACD (DSD64 at 1-bit/2.8224 MHz). The former is available from hdtracks.com for no less than $25. The latter is available from acousticsounds.com, also for $25.

To give you a better idea of the amount of data we're talking about, the uncompressed PCM version (24-bit/176.4 kHz, or 8467 Kb/s) is 2.5 GB, while the DSD64 version (1-bit/2.8224 MHz, or 5645 Kb/s) is 1.66 GB. That's just one album. From a bit rate perspective, DSD64 is essentially equivalent to 16-bit/176.4 kHz PCM, although that in and of itself says nothing about perceivable sound quality.

On paper, Realtek's ALC889 codec supports DSD. But we weren't able to get it working with foobar2000 due to a lack of an ASIO driver. Asus' Xonar Essence STX's DAC chip does support DSD, and Asus does supply a quality ASIO driver. However, Asus' DSP choice, the C-Media CMI8788, does not support DSD, breaking the chain. By design, the O2+ODAC does not support DSD. It's a driverless device that tops out at 24-bit/96 kHz PCM. That left us with Benchmark's DAC2 as the only device supporting DSD through foobar2000.

The catalog of SACDs is small, so a lack of support for this format is hardly a deal-breaker in any circumstance.

A Difficult Comparison

The DSD version of the album plays louder in foobar2000, creating a nightmare as we tried to volume-match. Unfortunately, foobar2000 does not support digital volume control of DSD files, and manually adjusting the DAC2 is an imprecise exercise at best. With that said, the tracks we listened to sounded extraordinarily similar, and we'd guess that they're from the same set of master tapes, though we don't know if the mixing is the same.

Given issues with volume matching and questions about mixing, we hesitate to generalize about DSD versus PCM, so please consider our observations specific to just these two recordings.

Both listeners felt that, while the two versions were enjoyable, the DSD-based copy was better overall. Listener B observed "greater musicality", while Listener A noticed a difference but had a harder time putting it into words, eventually concluding that the DSD version felt more natural.

Why We Need To Test Low-Impedance Headphones Soon

So far, all of our tests employed Sennheiser's HD 800 headphones. As a reminder, they're relatively high-impedance (300 Ω) cans.

HD 800s and K 550s in their respective housings

As we talked about testing the O2+ODAC, JDS Labs asked that we also try using low-impedance headphones, and the company sent a set of of AKG K 550s, rated at 32 Ω. Its point is that one of the O2+ODAC's main advantages is a vanishingly small output impedance (close to 0 Ω), which is supposed to be great with low-impedance headphones.

Now, the Benchmark DAC2 also has vanishingly small output impedance; its HPA2 headphone amp is rated close to 0 Ω, too. Naturally, then, testing against the DAC2 again was fairly redundant. But what about Asus's Xonar Essence STX, which implements the TI TPA6120A2 datasheet-recommended 10 Ω output impedance level, or Realtek's codec, rated at 2 Ω but subject to a suggested 75 Ω resistor in series on the output path, yielding a typical total of 77 Ω?

Output and Load Impedance

In order to understand why output and load impedance might matter, we need to introduce a concept known as Damping Factor.

As speaker (or headphone) drivers oscillate, they generate a voltage difference of their own that affects all directly-connected electrical components. Without going into too much detail, if an amplifier's output impedance is high compared to the load's impedance, speaker motion and control are impeded. This is particularly true at low (<500 Hz) frequencies, and extremely so at the driver's resonance frequency (resonance, as you can imagine, is very bad for hi-fi audio). The ratio between an amplifier's output impedance and a load (headphones, in this case) impedance is called Damping Factor.

Impedance is a concept that applies exclusively to alternating-current circuits. Furthermore, impedance is not a set figure. It varies based on the frequency of the electrical signal. The 300 Ω-rated HD 800s, for example, typically measure in the 600 Ω impedance range below 1 kHz frequencies.

Headphone / Amplifier	Headphone Actual Load Impedance at <500 Hz	Amplifier Output Impedance	Damping Factor
HD 800 / Benchmark DAC2 HGC	600 Ω	0.1 Ω	6000
HD 800 / JDS Labs O2+ODAC	600 Ω	0.1 Ω	6000
HD 800 / Asus Xonar Essence STX	600 Ω	10 Ω	60
HD 800 / Realtek ALC899	600 Ω	77 Ω	7.8
K 550 / Benchmark DAC2 HGC	35 Ω	0.1 Ω	350
K 550 / JDS Labs O2+ODAC	35 Ω	0.1 Ω	350
K 550 / Asus Xonar Essence STX	35 Ω	10 Ω	3.5
K 550 / Realtek ALC899	35 Ω	77 Ω	0.4

A DF of 50 or more is typically considered excellent. That means amplifiers rated for up to 12 Ω output impedance should encounter little trouble driving the HD 800s (600/12 = 50 DF at <500 Hz), even through deep bass. The benefits of even higher damping factors, which you see in the chart above can approach 6000, are debatable.

But using a 32 Ω headphone as a load yields quite different numbers. According to InnerFidelity, the K 550 measures between 34-37 Ω impedance below 500 Hz. With that load on the 77 Ω Realtek ALC899 codec, the Damping Factor is a fairly poor 0.4, and on the 10 Ω Xonar Essence STX, it's a not-so-stellar 3.5.

Technically, you also need to add cable impedance to the amplifier's impedance. But given that the 10-foot cables and connectors we're using have an impedance of <0.1 Ω, I felt that could be excluded. If you're using long or thin cables, the same might not be true.

Coming Soon: Low-Impedance Headphone Testing

We would have loved to test AKG's K 550 as part of this article. But at over 12,000 words, this piece was already a behemoth before going down that road. Still, we know that testing the AKG K 550 (or another low-impedance headphone, for the matter) is important since high-impedance headphones tend to be exotic, expensive stuff. A vast majority of PC users own headphones rated at or around 32 Ω.

Because we haven't yet covered 32 Ω headphones, the results discussed throughout this article only apply to 300 Ω headphones.

We plan to explore whether the same conclusions can be drawn about lower-impedance headphones in a future article.

Why Audio Formats Above 16-Bit/44.1 kHz Don't Matter

Musical records vary enormously in their recording and mixing quality. Albums like Daft Punk's Random Access Memories, most of Lady Gaga's pop work, Robin Thicke's Blurred Lines, and many others are simply masterfully recorded/mixed.

Obtaining an audiophile-quality 24-bit/192 kHz version of a poorly put-together track does nothing to make it sound better. As a matter of fact, in all of our blind tests, we couldn't tell the difference between 44.1 and 176.4 kHz, or 16- and 24-bit recordings. While those formats do have a place (namely, in the recording studio where the mixing headroom is a real advantage), they don't seem to add anything to consumer audio. Based on our experience, 16-bit and 44.1 kHz provides the best audio quality you're able to experience. Everything beyond that format tends to be a waste of drive capacity and, since the high-def recordings are more expensive, money as well.

Downsampling a 176.4 kHz track to 44.1 kHz using a high-quality resampler should prevent clipping and yield an output that you can't distinguish from the original. So, if you somehow find a 176.4 kHz recording in your hands and your hardware doesn't natively support it, don't worry. Resample it to 44.1 kHz and know that you're, in practice, not losing any of its fidelity.

Pretty much all modern DACs oversample inputs before the analog conversion (sometimes to a fixed rate [Benchmark converts everything to 211 kHz internally] and sometimes to a input-dependent rate, which is still usually pretty high). Besides the loss of audio frequencies above 22 kHz, which are inaudible, there should be very little difference between a native signal at 176.4 kHz converted to 211 kHz and a native signal at 44 kHz converted to 211 kHz.

The main advantage of 24-bit versus 16- is greater dynamic range (144 dB compared to 98), but that's practically irrelevant. Many of today's records succumb to the loudness war, where dynamic range is artificially compressed in the production stages. Michael Jackson's "Black or White", shown in the figure above, is a great example of this phenomenon. Even if the dynamic range of records wasn't becoming smaller, you'd be hard pressed to meaningfully experience a larger dynamic range in music. As a test, try some of the unscientific but directionally interesting tests on our conclusions page.

Monty at xiph.org has a separate and far more exhaustive discussion of this topic, and I encourage you to read it if you find the subject matter interesting. For our part, we're limiting ourselves to what we hear and understand, which tells us there is no difference between 16- and 24-bit, or 44.1 and 176.4 kHz.

DSD is a bit of a different story. SACDs are vanishingly rare. Any suggestions that the DSD64 format will pick up steam seems highly unlikely to us; even the academic world cannot decide if it is better than multi-bit PCM. The technicalities differentiating DSD and PCM are very complex, though high-quality DSD and PCM recordings shouldn't sound all that different. Both DSD64 and Red Book PCM are, in essence, hi-fi formats. Moreover, it's extraordinarily challenging to compare them in any objective way since DSD and PCM encodings are often obtained through separate masters. When they are not, the DSD encoding comes from a PCM master (what's the point, then?) or an eight-bit DSD called DSD-Wide, which has more similarities than differences from regular PCM. We just have to rely on subjective opinions on this one.

Anything Above $2 Buys More Features, Not Better Quality

Although we don't typically review audio gear, we believe that we have a few advantages over some hi-fi reviewers. First, we have no financial interest in the products we review. Second, we're PC enthusiasts, not self-proclaimed audiophiles. Consequently, we're not afraid to talk about our strengths and weaknesses. In the audio field, an inability to hear differences among devices spanning a large range of price points is self-defeating. But here, we can comfortably suggest that those products might simply perform similarly.

One thing we know we're good at is designing objective tests, learning from them, and drawing fact-basing conclusions based on the analysis. The integrity of our methodologies is everything, and we can't help but believe that approach is rare in audio equipment testing. We hope our readers will find our experience in testing valuable.

Of course, we also have to acknowledge our own shortcomings and the limits of these tests; neither is perfect. We are audio amateurs, not audio professionals. However, we've tried to create the best possible tests, documenting each and every step along the way so that others can conduct their own experiment and form their own opinion. If you see a way to improve upon our process, we welcome this and look forward to seeing your results, too.

If some of the conclusions we drew sounded implausible, don't worry; they did to us as well.

Try A Few Things For Yourself

Although there is no quick and easy way to replicate the tests in this article at home on your own, here are a few tests we hope you'll have fun with. They should be far more enlightening than our technical explanations of some of the concepts we discussed.

You probably can tell the difference in 1 dB volume levels, but can you reliably tell the difference in 0.5 dB volume levels?

Can you hear all the way up to 22 kHz? What about at or below 20 Hz?

You can probably hear an absolute 54 dB of dynamic range in your environment, but can you reliably hear 78 dB? For reference 16-bit audio has roughly 96 dB of dynamic range. Twenty-four-bit manages a theoretical 144 dB, although it's almost impossible to achieve more than 120-130 using real-world ADCs. Eight-bit audio has a dynamic range of "only" 48 dB; can you reliably tell the difference between 8-bit and 16-bit audio?

Play all of these tests at maximum digital volume. Just be aware that they're not designed to be scientific, but rather to give you some perspective. Try them out for yourself and feel free to post your results in the comments section below!

A $2 Codec Sounds (to us) like a $2000 Device

	Benchmark Media DAC2 HGC	JDSLabs O2+ODAC	Asus Xonar Essence STX	Realtek ALC889
Price	~$2000	~$290 (including AC adapter)	$190	~$2 (OEM in volume)
Pros	-Great sound quality-Outstanding build quality-Only device to support 88.2/176.4/DSD64 in practice-Dual headphone out-Greatest number of analog/digital I/O and features (remote control, LCD display)-Free 30-day trial	-Great sound quality-Open-source design that can be self-assembled at lower price point-High-quality volume control-Semi-portable	-Great sound quality-Does not take up desk space-Has both RCA and 1/4" TRS output-Has ADC stage	-Great sound quality-Outstanding value-Does not take up desk space-Supports eight-channel audio-Doesn't require PCIe or USB connectivity
Cons	-Very expensive-You pay for features; sound quality is matched at lower price points-Adds desk clutter	-No RCA output-No TRS 1/4" jack-Power transformer not included-Adds desk clutter	-RCA and 1/4" TRS output cannot be concurrently active; switch is software-only-Requires free PCIe slot-No external volume control-Essentially no portability	-Not as linear or hi-fi as the other devices (-1.4 dB @ 100 Hz)-No TRS 1/4" jack-Fixed gain setting-No external volume control-Essentially no portability
Application	Extreme PC-driven DAC / headphone amplifier and natural interconnect point with any high-end hi-fi system	Dedicated DAC and headphone amplifier with a convenient volume control and option for limited portability	Budget hi-fi solution that allows switching between 2(.1) stereo speakers and high-end headphones	"Near-Fi" solution that fits almost all major use cases and dominates from a value perspective

I sank $2000 of my own money into the DAC2 HGC last December, so I subjectively wanted it to sound better than everything else. Tests have shown that it doesn't. I was surprised, but, having been personally involved in the evaluation and believing in the integrity of what we set up, I rationally accept the findings.

Of course, we're ready for the audiophile community to rise up in arms about the statement you'll read next, but it's true that neither an intermediate enthusiast nor a serious one with ~$70,000 in gear at home were able to reliably tell apart any of the four devices once we properly set up a blind test with accurate volume-matching. We actually enjoyed them all as great audio experiences.

Using world-class headphones, a $2 Realtek integrated audio codec could not be reliably distinguished from the $2000 Benchmark DAC2 HGC in a four-device round-up. Again, all four devices sounded great. The same might not apply to full-sized speakers; we can't say, since we didn't test them. But as far as some of the best headphones in the world go, we stand by these test results.

While calibration does show that Realtek's ALC889 is less linear, and thus less hi-fi than the other devices we're looking at, the 1.4 dB difference at 100 Hz apparently isn't enough to reliably differentiate the experience it delivers from others in real-world scenarios. Isn't 1.4 dB a pretty big difference? In a "pure tone", it would be quite noticeable. That's less the case when you're listening to regular music though, especially if the more sensitive 1 to 4 kHz tones are more accurately matched.

But $2 Buys A Smaller Subset of Features

If we halted our exploration at perceived audio quality, we'd only be telling half of the story. There's just so much more to a DAC/amplifier.

Neither the Realtek codec nor Asus' Xonar provide volume control, aside from what you get in Windows. Realtek does support DSD, but without an ASIO driver, we couldn't get it working in foobar2000. Neither lower-end solution can drive headphones and speakers concurrently, let alone automatically mute speakers when headphones are connected. They don't support amplifying an external source, either. Not surprisingly, they're strictly tied to a single device with no real portability. Realtek does facilitate eight-channel output, and the integrated codec and discrete sound card help prevent clutter on your desk.

The DAC2 and O2, being USB-based audio devices, can be plugged into and rapidly switched between any USB source. Want to connect your laptop to your audio system rather than your desktop? That's easy. The O2 has a very high-quality analog volume control, which provided the finest calibration in our round-up. The DAC2 has a motorized volume control with remote control. Want to listen to your headphones in bed and adjust the volume without getting up? Only the DAC2 can do that.

Ultimately, music is about entertainment and personal enjoyment. Hi-fi is meaningful insofar as it heightens the experience of music; it is not necessarily helpful beyond that. Some audiophiles even prefer the low-fi distortion that tube amplifiers introduce. The DAC2, O2+DAC, Xonar Essence STX, and ALC889 are all outstanding solutions. Each delivers a beautiful experience that you'd certainly enjoy. They're similar when it comes to sound quality. Where they differ is mainly in their feature sets and price points.

Value Considerations

I think that money spent on quality recordings, whether they're digital recordings, CDs, DVDs, or SACDs, is the money best-spent. They'll simply never become obsolete.

From there, speakers and headphones are the most important components in your sound system. Headphones generally give you better bang for your buck and are usually more convenient. Obviously, though, they can't replicate the experience of full-range speakers. You feel bass from a subwoofer in ways a headphone can't match. Also, listening to high-end speakers well-separated provides a more immersive experience.

If headphones are the way you go, then our tests show that quality integrated audio codecs are sufficient for driving some of the best in the world. You simply have to live with the fact that a motherboard with built-in audio is going to give you fewer features. That's the point where you have to decide what you're willing to pay for.

We debated whether to recognize a codec for its achievements, rather than a specific product hosting it, but decided that Realtek deserved credit for its work. The ALC889 is found on premium motherboards, as are the newer ALC898 and ALC1150. It's somewhat lacking in the features department; you don't get external volume control, RCA (or 1/4" TRS) outputs, or an ASIO driver. You could argue that eight-channel output partly compensates, though it's not a factor in hi-fi audio. The ALC889 is the least-linear of the devices we tested, though its worst performance of -1.4 dB(A) at 100 Hz is still acceptable overall.

With all of that said, we simply could not tell the little codec's sound quality apart from other, much more expensive devices. For a component that costs 1/1000 of our highest-end contender, that's an impressive-enough feat to earn Smart Buy honors. It also encourages a broader re-evaluation of how integrated audio is reviewed.

The Benchmark DAC2 HGC, on the other hand, easily gets the money-is-no-object Tom's Hardware Elite award. It is a wonderful device with a wide array of features that aren't just mashed together, but rather designed for intuitive usability. Further, the DAC2 is built like a rock. Of course, you'll have to decide if the spec sheet and build quality are worth $2000, particularly since our ears couldn't tell it apart from much cheaper products at a fraction of the price. If you're shopping in this price range for a DAC/amp, also consider the Mytek Stereo192-DSD ($1600), Bel Canto C5i ($1900), and Violectric HPA 200 ($1000), all of which sport similar features and are generally well-reviewed. Remember that our Elite recognition is not a reflection of the DAC2's performance compared to similarly-priced contenders in its class; we haven't had a chance to test them yet, after all.

The PC As The Future of Hi-Fi

As optical storage fades away, we believe PCs will increasingly become the center of the hi-fi listening experience. Nothing can match the accuracy (bit-perfect sourcing and streaming, and no degradation over time) and convenience (thousands of losslessly-compressed albums a mouse-click away) of PCs. Today we even demonstrated that a $2 codec is sufficient for driving some of the most expensive headphones in the world. We haven't tested this yet, so we can't say with certainty, but a DAC hooked up to a PC should also drive amplifiers and associated full-sized speakers as well as the DACs built into, say, high-end CD players. For PC enthusiasts, that convergence is just one more reason to love our versatile systems.

Adobe Updates Desktop Graphics Applications for Cloud

Jon K. Carroll — Wed, 08 May 2013 12:00:00 +0000

Adobe announced at Adobe MAX 2013 that it is ending its CS applications and going forward with the Creative Cloud. At the same time, it is also launching new versions of their applications: Photoshop CC, Indesign CC, Illustrator CC, Dreamweaver CC, and Premiere Pro CC.

Adobe Photoshop CC

Photoshop CC Has the cloud collaboration features mentioned in the article linked above and integration with Behance for sharing your work, plug the following new features:

Smart Sharpen- enhance details and edges but reduce the noise and halos normally associated with using Sharpen
Intelligent upsampling- blown an image up to larger resolution without inducing noise or blur
Extended for everyone- the features like working with video and 3d objects that were formerly only in Photoshop Extended are now included
Camera Raw 8 and Layers support- updated RAW importer gives new ways to fix perspective distortion, heal images, and create vignettes, and Camera Raw adjustments are now available as a filter that can be applied to players.
Editable rounded rectangles- rounded rectangles can have their corners edited, even independently, after creation
Multi-shape and path selection- select multiple shapes, paths, and vector masks at the same time
Camera shake reduction- analyzes the frame and removes blur caused by motion of the camera
Conditional actions- add if/then statements to Photoshop actions
Expanded Smart Object support- non-destructive Blur Gallery and liquify effects contained in smart objects
Improved 3D Painting- 'up to 100%' faster painting on 3d objects.

Adobe Illustrator CC

Illustrator also features Behance integration, and other new features:

Touch Type tool- allows type characters to be manipulated- scales, rotated, etc- while still a font so the characters can be changed later. Also allows multitouch devices to be use for this.
Images in brushes- use an image as a brush within Illustrator
Font Search- search for fonts by name or a portion of the name
Sync Fonts- Browse Adobe's online type library and download fonts from there for your project
Multiple File Place- import multiple files into illustrator and place them interactively
Sync Colors- capture colors and palettes from the real world using the Kuler iPhone app, then sync them and they will be available in IllustratorCC
Area and point type conversion- switch text back and forth between area and point type, including on imported text
Auto corners for pattern brushes- automatically generate corners for pattern brushes to make them seamless
Sync Settings- synchronize your Illustrator settings including presets, patterns, brushes, workspaces, etc, between systems through the cloud, even across platforms

Adobe Indesign CC

Faster performance- speed and stability improvements including native 64-bit support
Modern UI- UI revised to be consistent with Photoshop and Illustrator
HiDPI and Retina display support- support for high DPI displays like the Retina display on the current MacBook Pro
Sync Fonts- similar to the update for Illustrator above
Font search, preview, and favorites
QR code creator- creates vector QR codes that can be scaled, moved, etc
Sharing with Creative Cloud- Share and save projects and layers directly to the cloud, including the ability to recover previous versions

Adobe Flash Professional CC

64-bit architecture- rewritten from the ground up for 64-bit compatibility
High-definition export- export your content with full HD video and audio, with no dropped frames
Improved HTML support- Better HTML5 support thanks to the updated Toolkit for CreateJS
Simplified user interface- streamlined used interface, dialog boxes and panels are more intuitive and easier to navigate
Real-time mobile testing- test your content on iOS and Android devices connected via USB
Powerful code editor- new code editor written from the open-source Scintilla library
Real-time drawing- instant full previews with fill ans stroke color as you draw
Timeline time-savers- manage properties across multiple layers in the timeline panel. Easily swap symbols or bitmap images on the stage. Select multiple objects on a layer and distribute them to key frames with a single click.
Unlimited pasteboard size- Easily manage large backgrounds or content that's positioned offstage with an unlimited pasteboard/work area.
Code profiling in Adobe Scout-Detect potential problems in your code earlier in your workflow by integrating with Adobe® Scout, a tool that offers advanced profiling and analysis of items such as CPU, GPU, memory use, and performance.

Adobe Dreamweaver CC

CSS Designer- Intuitive visual editing tool that helps generate clean web-standard code and let you quickly apply CSS properties such as gradients and box shadows.
Enhanced Fluid Grid Layout- Construct web designs and responsive layouts visually. The updated Fluid Grid Layout interface makes it a cinch to design projects that display on different screen sizes for desktop and devices.
Sync Settings- Log in to Creative Cloud from any computer sync & access your files, preferences, and site settings. You have everything you need to work on your web projects, whenever you need it, wherever you are.
Edge Web Font- Bring expressive text to the party. Use the vast and ever-growing Adobe Edge Web Fonts Library, powered by Adobe Typekit®.
Modern Platform Support- Author projects using HTML, CSS and Javascript.
Simplified User Experience- The modernized Dreamweaver CC interface is more intuitive with smoother workflows. Enjoy a lighter and faster application due to removal of outdated features.
JQuery UI Widget- Full visual support for jQuery UI widgets enhance your development workflow.
PhoneGap Build Support- Build and package native apps for Android and iOS with Adobe PhoneGap Build Support in Dreamweaver.

Adobe Premiere CC

Editing Finesse- Edit more easily and efficiently with a redesigned Timeline, intuitive track targeting, and dozens of helpful new shortcuts. Dupe-detection markers, through-edit indicators, and clearer labels to show start/end of media provide critical information at a glance. Source sequences can now be edited into other sequences without nesting, retaining all of their component tracks and clips. Speed up your workflow with handy new tools, such as Paste Attributes for copying effects from one clip to another.
Link and Locate- Modern productions are built on hundreds, if not thousands, of clips. Files are often moved, renamed, transcoded to various formats, or backed up to different storage locations. Link & Locate helps you track down your clips quickly no matter where they’ve moved, making media management faster— and your production pipeline that much more efficient.
Sync Settings- Take your workspace preferences and keyboard shortcuts with you when you move to a new machine, or start a new project with Sync Settings in your Creative Cloud account. Different editors can easily work on the same computer, simply by downloading their own preferences when they start, and uploading any changes at the end of their sessions. Postproduction facilities and broadcasters who use freelancers can count on maximum productivity as their artists get straight to work in a familiar editing environment.
Anywhere for Video Integration- Adobe Anywhere enables team members to work with files on a shared server—without having to download source material. Say goodbye to versioning problems. Make and review edits from any location. Assemble the best team for every project, regardless of geographic distance. Note: Adobe Anywhere for video requires a separate purchase and implementation.
Lumetri Deep Color Engine- Apply SpeedGrade color grades and sophisticated looks within Adobe Premiere Pro, thanks to the new Lumetri Deep Color Engine integration. Use the new Lumetri Looks folder in the Effects panel to apply rich, beautifully styled preset color grading effects as easily as adding a dissolve. Apply LUTs or exported SpeedGrade looks to clips or adjustment layers with the Lumetri effect.
Closed Captioning- Adobe Premiere Pro now supports closed captioning with a workflow designed for editors. Intuitively import, view, edit, and adjust positioning and layout of closed captions. When you’re done, export media with embedded closed captioning, or export closed captioning as a separate file.
Precise Audio Control- Take control of your sound with the Audio Clip Mixer. Adjust each clip independently for a perfect mix. Get hands-on with an audio control surface for precise control. A host of new real-time audio effects allow for even better sounding projects. Need more effects? You can use third-party VST3 plug-ins. On the Mac you can also use Audio Units (AU) plug-ins. The integrated ITU Loudness Radar from TC Electronic makes it easy to ensure that all your deliverables comply with new broadcast standards.
Sync Fonts- Sync Fonts – part of Creative Cloud – will change the way you work with type. Quickly find the perfect font from the growing library of Adobe Typekit fonts, sync it to your system, and have it immediately available for use.

Adobe After Effects CC

Refine Edge- Save time and get great results faster with the powerful new Refine Edge tool. Say goodbye to old-school frame-by-frame rotoscoping: use Refine Edge in After Effects CC to separate challenging foreground elements—such as frizzy hair or soft edges—from poorly lit or complex backgrounds. The Refine Edge tool creates high-quality matting results, so you can take your compositing to the next level.
3D Workflows with Cinema 4D Integration- Save time and stay in the creative flow. Insert 3D objects directly into After Effects compositions thanks to the new Live 3D Pipeline with MAXON CINEMA 4D Lite, included with After Effects CC and Creative Cloud. The new Advanced Rendering engine allows you to composite C4D files within After Effects, including OBJ, FBX, and Alembic file formats. No more rendering and waiting every time you want to make an adjustment or just try out a new idea. Roundtrip edits and modifications between CINEMA 4D and After Effects are a snap, and any changes you make to the .C4D file are automatically updated in the After Effects project.
Sync Settings- Workspace preferences now travel with you, thanks to Sync Settings in your Creative Cloud account. Different artists can easily work on the same computer, simply by downloading their own preferences when they start their sessions. Postproduction facilities and broadcasters who hire freelancers can count on maximum productivity as their artists get straight to work in a familiar environment.
Anywhere for Video Integration (Coming Soon)- Adobe Anywhere enables team members to work with files on a shared server—without having to download source material. Say goodbye to versioning problems. Make and review edits from any location. Assemble the best team for every project, regardless of geographic distance. Note: Adobe Anywhere for video requires a separate purchase and implementation.
Warp Stabilizer VFX- You can smooth handheld footage, lock a shot—or part of your frame—automatically, and more with the new Warp Stabilizer VFX. Select stabilization points, edit and delete them throughout time, and preserve scale to fix tricky shots such as aerial fly-throughs. Warp Stabilizer VFX also allows you to reverse stabilize. Select objects within a scene to stabilize while leaving others unstable, or stabilize an entire scene to do detailed work such as painting or warping, and then artfully restore jitter to get exactly the shot you want.
Pixel Motion Blur- Create more dynamics in your compositions. Derived from the popular Timewarp effect, Pixel Motion Blur allows you to create the photographic illusion of movement by adding motion blur to your frames or to elements within them.
Sync Fonts- Sync Fonts – part of Creative Cloud – will change the way you work with type. Quickly find the perfect font from the growing library of Adobe Typekit fonts, sync it to your system, and have it immediately available for use.

Adobe Audition CC

Sound Remover- Easily remove specific audio elements with just a few clicks. Select a sample of the unwanted sound; Sound Remover will scan the entire clip and remove that element from the recording. Repair or restore dialogue and production audio and deliver brilliant results faster.
Preview Editor- Confirm your edits before you commit. Preview Editor offers a versatile new split-screen view where you can visually compare effects results and view multiple sections of a file simultaneously. For example, you can compare different regions of a clip or zoom in on a selection (without losing your place in the main window) to confirm time-stretching before applying changes.
Enhanced Multitrack Editing- New color coded tracks, automatic crossfades and clip merging, and many other enhancements make for an even more efficient multitrack environment. Clear and comprehensive clip handling, manipulation, and grouping tools save time by letting you craft large multitrack projects quickly, apply edits and effects to multiple clips, and easily organize audio within projects.

Several of the smaller Adobe desktop applications have also received updates, but these are the major highlights.

Pricing and Availability

The Adobe Creative Cloud line of desktop applications will be available exclusively through its Creative Cloud subscription program, which starts at $19.99 per month for a single application, and $39.99 per month for access to all of the creative cloud applications. Special rates are available for owners of CS3 and later. Adobe expects the CC editions of the applications to be available on June 17.

Adobe Creative Suite Gives Way to Creative Cloud

Jon K. Carroll — Tue, 07 May 2013 07:26:00 +0000

At Adobe MAX 2013 in Los Angeles on Monday, Adobe let loose with a pretty earth-shattering announcement...

Creative Suite 6 is the last Creative Suite release from Adobe. Though it will continue to be available for sale and supported, Adobe is moving its focus to the Adobe Creative Cloud.

With this shift, the Adobe applications are being rebranded using the Creative Cloud name, becoming the new set of 'CC' desktop applications instead of 'CS'. Presumably, this also resets the version numbers again.

The 'CC' release of Adobe desktop applications includes a host of new collaboration features, extended project space on the Adobe Cloud servers, and features for collaboration with and viewing on mobile devices. It also features integration with the Behance online creative community.

The updated Adobe 'CC' products, Photoshop CC, Indesign CC, Illustrator CC, Dreamweaver CC, and Premiere Pro CC, will only be available through creative cloud subscriptions. This represents a major shift from Adobe to a software as a service model as opposed to the more traditional Suites packaging. Really, it means there will be no 'packaging' at all, just downloads.

Tue Creative Cloud installers themselves will be slightly revamped to support the installation of either the CS or CC revisions of the applications in order to meet the user needs. No word as to how long the prior version will be left available -- in two years, when CC 2 comes out, will you still be able to install and use CS? Only time will tell.

Plans and Prices

Adobe Creative Cloud subscriptions come with a variety of plans. There is a 'single application' plan, for $19.99 a month that allows you to download and install one application- they even figure most people will use it for Photoshop. The normal Creative Cloud membership is $49.99 per month with a one-year contract, and allows you to install all of Adobe's major applications, giving you the equivalent of the Adobe Master Collection, which retails for $2599 for a full copy and $1049 as an upgrade, for $599.88 a year. People who own CS 3 to CS 5.5 can get their Creative Cloud membership for $29.99 per month for the first year. Teachers and students can get the membership for $19.99 per month. There is also promotional pricing (at a rate not mentioned) for CS6 users.

Above the individual memberships is the team version, which improves on the individual membership by giving 100GB of storage instead of 20 GB, and centralized administration abilities. Team membership to the Creative Cloud costs $69.99 per seat, with a reduced rate of $39.99 per seat for users of CS3 or later. There are also more specific plans aimed at enterprise and educational customers.

Adobe expects the new Creative Cloud and new CC versions of their applications to be available June 17.

MSI Also Integrating Creative Sound Blaster Cinema Audio on Certain Motherboards

Niels Broekhuijsen — Thu, 28 Feb 2013 10:30:00 +0000

Some of MSI's new motherboards will feature the well known Creative Sound Blaster Cinema audio which consists of a physical chip partnered with a software suite that should significantly enhance the audio quality delivered from on-board audio.

Some of the features that will be found on the new chip are:

SBX Bass: A low frequency enhancer
SBX Crystalizer: A software trick to restore quality to low and high frequencies from compressed data
SBX Dialog Plus: A voice enhancer for voices in games and films
SBX Surround: A software trick to create surround-esque effects through headphones and expands the perceived number of speakers in the room
SBX Smart Volume: An automatic volumizer that will protect the listener from sudden sounds and abrupt volume changes.

Speaking on the announcement, Low Long Chye, General Manager of Audio for Creative stated that "we are very excited to provide MSI with the latest in Sound Blaster sound technology on its new gaming motherboards. This is the next step of our great ongoing relationship where MSI introduces new standards of Sound Blaster audio technology designed specifically for motherboard products."

Whilst MSI plans to unveil its range of Sound Blaster equipped motherboards during this year's CeBIT, we've already spotted the chip on MSI's new X79A-GD45 PLUS Motherboard.

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Creative Licenses Technology and Patents to Intel

Kevin Parrish — Sun, 25 Nov 2012 15:00:00 +0000

Creative Technology said last week that it has entered into a $50 million USD deal with Intel to license out certain technology and patents from subsidiary ZiiLABS Inc to the CPU giant. As part of the deal, Intel will also acquire "certain engineering resources and assets" related to Creative's UK subsidiary ZiiLABS Limited, formerly known as 3DLABS Limited.

News of the agreement arrives after Creative and Intel partnered to create the Creative Interactive Gesture Camera, an advanced motion sensing camera that can pick up human motion for interaction with games, as seen in September during the Intel Developers Forum (PDF). It's a small, light-weight, low-power camera that is tuned for near-range interactivity on both desktops and laptops, including Ultrabooks. It includes an HD web camera, a QVGA depth sensor and a dual-array microphone.

According to Creative, it will receive $20 million for licensing ZiiLABS' high performance GPU technology to Intel, and it will receive $30 million for transferring the previously mentioned engineering resources and assets from the UK subsidiary. The company said the subsidiary is a design entity that's engaged in the development of various silicon solutions including Creative's own ZMS chips.

"As the next generation advanced media processors beyond 28 nanometers become increasingly complex and expensive to develop, we must find new models to work with our partners and customers to drive continued product innovation," said Sim Wong Hoo, CEO of Creative Technology. "With this announcement, we gain increased flexibility with the ability to partner with multiple semiconductor companies on advanced design and process technologies, allowing us to mitigate risk while maintaining control over the long-term direction of our product portfolio."

Creative's CEO added that moving forward, it will simply be more cost effective for the company to outsource to third party contract chip-layout houses on future advanced chips for its products. Outsourcing will also allow Creative to focus on designing and marketing "more innovative and exciting products for our customers."

The company said on Monday that ZiiLABS will continue to retain ownership of its StemCell media processor technologies and patents. It will also continue to supply and support the ZMS series of chips to its customers, and continue developing devices incorporating the ZiiLABS ZMS-20 and the ZMS-40 media processors.

"Creative will continue to retain ownership of its formidable patent portfolio in the field of 3D graphics and media processing," CEO Sim Wong Hoo added. "We will be engaging in discussions to further monetize this valuable collection of 100 plus patents."

This transaction is expected to be completed in the current quarter ending December 2012, Creative said.

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Deals Nov. 16: Creative X-Fi USB Sound card $44.99

Jane McEntegart — Fri, 16 Nov 2012 22:00:00 +0000

Top Deals

Creative SoundBlaster X-Fi Surround 5.1 Pro USB Sound Card for $44.99 with free shipping at Dell Home (normally $59.99).

Netgear R6300 Wireless-AC Dual-Band 450+1300Mbps Gigabit Router + USB Adapter for $239.99 with free shipping at Dell Home (normally $269.99).

14" HP Pavilion Sleekbook 14z-b000 AMD Dual-core Laptop w/4GB RAM, 500GB HDD, Windows 8 for $374.99 with free shipping at HP Direct (normally $499.99 - use $75 coupon code NB3521 ).

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17.3" Toshiba Satellite L870-BT3N22 Core i3 Dual-core Laptop w/6GB RAM, 500GB HDD for $499.99 with free shipping at Toshiba Direct (normally $599.99).

15.6" Lenovo IdeaPad Z580 3rd Gen Core i7 Dual-core Laptop w/8GB RAM, 1TB Hard Drive for $649 with free shipping at Lenovo Direct (normally $899 - use $250 coupon code BFRIDAYPRICE1 ).

15.6" Dell Inspiron 15R Special Edition 3rd Gen Core i7 Quad-core Laptop w/8GB RAM, 1TB HDD + 32GB mSSD, Blu-ray, 2GB Radeon HD 7730M, 1080p screen for $899.99 with free shipping at Dell Home (normally $1,049.99).

11.6" Apple MacBook Air Ultrathin Core i5 + 64GB SSD Laptop (previous-generation) for $699.99 with free shipping at PC Connection (normally $799).

Desktops:

Dell Vostro 270 3rd Gen Core i3 Desktop w/4GB RAM, 500GB HDD, Wireless-N, 21.5" LCD Monitor for $469 with free shipping at Dell Small Office (normally $588).

Dell Optiplex 7010 Core i5 Ivy Bridge Desktop + $100 Gift Card for $649 with free shipping at Dell Small Office (normally $796).

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3TB Western Digital My Book Live Personal Cloud Network Storage for $179.99 with free shipping at Dell Home (normally $199.99 - use 10% coupon code B7J4DTN?81NR2V ).

128GB Crucial M4 2.5" SATA III Internal SSD for $99.99 with free shipping at B&H (normally $199.99 - use $20 mail-in rebate form).

Intel Core i5-2500K 3.3GHz Quad Core Unlocked CPU (Retail) for $199.99 with free shipping at TigerDirect (normally $219.99 - use $20 coupon code BGG77392 ).

Targus USB 3.0 Dual Video Docking Station for $159.99 with free shipping at Dell Small Office (normally $199.99).

Dell B1260dn Monochrome Wireless Laser Printer for $114.99 with free shipping at Dell Small Office (normally $159.99).

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Xbox 360 250GB Holiday 2012 Bundle w/ Skyrim & Forza 4 for $249.99 with free shipping at Microsoft Store (normally $299.99).

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55" LG 55LM6200 1080p 120Hz 3D LED HDTV + Free 6 LG 3D Glasses for $1,159 with free shipping at AllTimeTVs (normally $1,297).

47" LG 47LS4500 1080p 120Hz LED HDTV for $599.99 with free shipping at Dell Home (normally $699.99).

42" Vizio E420VSE 1080p LED HDTV for $478 with free shipping at Dell Home (normally $518).

Movies:

Under Siege / Under Siege: Dark Territory Blu-ray for $7.99 at Amazon (normally $12).

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ASUS TF600T VivoTab 10.1" Windows RT 32GB Tablet + Mobile Dock for $549 with free shipping at B&H (normally $799.98 - no rebate hassles).

Samsung Galaxy Note II 5.6" Smartphone [AT&T] for $239.99 with free shipping at Best Buy Mobile Solutions (normally $299.99 - use 20% coupon code EB20PCT ).

Personal Portables and Cameras:

GoPro HD HERO2 Surf Edition Camcorder for $199.95 with free shipping at REI (normally $299.99).

Sony Cyber-shot DSC-WX50 16.2 MP Digital Camera w/ 5x Optical Zoom for $158 with free shipping at Dell Home (normally $188).

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Free 7 digital issues of Taste of Home Magazine (via Mercury Magazines).

TW Steel Rennault F1 Team Pilot Watch for $250 with free shipping at Ashford (normally $310).

Realspace Corveza Leather Guest Chair for $79.99 with free shipping at Office Depot (normally $179.99 - use coupon code 367597258 ).

Deals June 14: 30% off Creative Wireless Headset Bundle

Jane McEntegart — Thu, 14 Jun 2012 23:00:00 +0000

Top Deals

This do-it-all wireless surround sound headset is from the original name in PC audio, Creative Labs. The Recon 3D Omega wireless headset has a built-in sound card forh ardware acceleration, THX TruStudio Pro support, and even Dolby Digital decoding. Take your PC, Xbox 360, or PS3 audio to the next level with $75 off this hot headset.

Creative Sound Blaster Recon3D and Omega Wireless Headset Bundle for $174.99 with free shipping (normally $249.99).

Laptops:

17.3" Dell XPS 17 Core i7-2670QM 2.2GHz Quad-core Laptop w/8GB RAm, 1TB storage, 1080p LCD, Backlit Keyboard & GeForce GT 550M for $980 with free shipping (normally $1,613 - use coupon code KXXKKK5JSNG3CP).

15.6" Dell Vostro 3560 Core i3-2370M 2.4GHz Dual-core Laptop w/4GB RAM, 320GB HDD for $549 with free shipping (normally $599 - use coupon code RP2R6RDX12DT28).

15.6" Dell Vostro 3555 AMD A6-3420M 1.5-2.4GHz Quad-core Laptop w/4GB RAM, 320GB HDD, Radeon HD 6520G, Backlit Keyboard, Windows 7 Professional & Laptop Bag for $549 with free shipping (normally $784).

15.6" Dell XPS 15z Core i5-2430M 2.4GHz Dual-core Ultra-thin Laptop w/6GB RAM, 500GB HDD, 1GB GeForce GT 525M & Backlit Keyboard for $799.99 with free shipping (normally $900 - use coupon code PNTT97ND10M4F7).

13.3" Lenovo IdeaPad U310 (437522U) Core i3-2367M 1.4GHz Dual-core Laptop w/4GB RAM, 500GB HDD for $599 with free shipping (normally $799 - use coupon code USLTO614).

Desktops:

Dell Vostro 470 Core i7-3770 3.4GHz Quad-core Desktop w/4GB RAM, 500GB HDD, Wireless-N for $689 with free shipping (normally $789 - use coupon code W9D06J14FX10WM).

23" Dell Inspiron One 2320 Core i7-2600S 2.8GHz Quad-core 1080p Touchscreen PC w/8GB RAM, 2TB HDD, GeForce GT 525M & Blu-ray for $1,099.99 with free shipping (normally $1,470 - use coupon code ).

Dell Optiplex 9010 Core i5-3550 3.3GHz Quad-core Desktop w/4GB RAM, 250GB HDD, 3-year warranty Windows 7 Professional for $749 with free shipping (normally $1,175 - use coupon code F5T?SMKGBS7RDB).

Dell Inspiron 620 Core i5-2320 3GHz Quad-core Mini Tower w/6GB RAM, 1TB HDD, Wireless-N & 20" LCD Monitor for $579.99 with free shipping (normally $700 - use coupon code TK6NSHDRXKFF4$).

Computing Hardware & Peripherals:

Iomega StorCenter Px4-300d Network Storage for $469.99 with free shipping (normally $640 - use coupon code ZSQW6B10JS$0WM).

2TB Buffalo LinkStation Live NAS (LS-X2.0TL) for $134.99 with free shipping (normally $170 - use coupon code X12?30?M6MGK3B).

750GB Seagate FreeAgent GoFlex Portable USB 3.0 Hard Drive for $84.99 with free shipping (normally $120 - use coupon code J2PJM5XCK?SMWQ).

Logitech G9X Laser Gaming Mouse Call of Duty MW3 Edition for $49 with free shipping (normally $100 - use coupon code logi_g9xc_61312).

Canon imageCLASS D550 Laser Multifunction Printer for $236 with free shipping (normally $299).

27" Planar PX2710MW 1080p 2ms LCD Monitor for $209.99 with free shipping (normally $290 - use coupon code HDX6R45LRKLWW4).

24" Dell ST2420L 1080p LED-backlit HDMI LCD Monitor + Soundbar for $239.98 with free shipping (normally $310 - use coupon code ).

22" Planar PL2210W 1080p LCD Monitor for $99.99 with free shipping (normally $130 - use coupon code 4K6ZL$4K$CVW90).

21.5" Dell P2212H Professional LED-backlit LCD Monitor w/3-year Advanced Exchange Warranty for $159 with free shipping (normally $199 - use coupon code 4K6ZL$4K$CVW90).

Gaming:

Power A Batarang Wired Controller (Xbox 360) for $20 (normally $35).

Splatterhouse (Xbox 360) for $9.99 with free shipping (normally $15).

Home Entertainment:

65" Toshiba 65HT2U1080p 120Hz LCD HDTV for $1,299.99 with free shipping (normally $1,500 - use coupon code UJC63415)

55" Sony BRAVIA XBR-55HX929 XR960 3D-Ready 240Hz 1080p LED HDTV for $2,893 with free shipping (normally $3,500).

55" Panasonic VIERA TC-L55ET5 3D 1080p 120hz LED HDTV for $1,400 with free shipping (normally $1850 - use coupon code SKX63463).

55" Toshiba 55L6200 1080p 120Hz 3D LED HDTV for $1,399.99 with free shipping (normally $1,900 - use coupon code OKL63436).

51" Samsung PN51E450 600Hz 720p Slim Plasma HDTV + $50 Gift Card for $600 with free shipping (normally $650).

50" Panasonic Viera TC-P50ST50 3D 1080p Plasma HDTV for $1,100 with free shipping (normally $1,200).

47" Toshiba 47L6200 1080p 120Hz 3D LED HDTV for $1,100 with free shipping (normally $1,200 - use coupon code BSB63448).

46" Toshiba 46L5200U 1080p 120Hz LED HDTV for $750 with free shipping (normally $800 - use coupon code DJB63424).

Movies:

Jurassic Park Ultimate Trilogy [Blu-ray + Digital Copy] for $37 with free shipping (normally $60).

Nip/Tuck: The Complete Series (DVD) for $88.99 with free shipping (normally $145).

Wonder Woman Complete Collection (DVD) for $41.99 with free shipping (normally $60).

Phones & Tablets:

Consumer Cellular deals and plans starting at just $10/month.

Motorola Droid 4 4G LTE + $25 Free Apps + $40 credit [w/new 2-year Verizon contract] for $0.01 with free shipping (normally $99.99).

10.1" Asus 16GB Eee Pad Transformer TF300T Tablet (Blue) for $349.99 with free shipping (normally $379.99).

Personal Portables and Cameras:

Sony Bloggie Sport MHS-TS22/R Waterproof Camcorder for $149.99 with free shipping (normally $180).

Samsung HMX-F80BN HD Camcorder for $149.99 with free shipping (normally $200).

16MP Sony Cyber-shot DSC-H90 Digital Camera Bundle for $184.95 with free shipping (normally $220).

Apps:

Priorities (iOS) for $1 (normally $4).

Multi Measures - The all-in-1 measuring toolkit (iPhone) for $0 (normally $1).

GoodNotes - Notes & PDF (iPad) for $1 (normally $4).

Cool Stuff:

Electronic House Magazine (8 print issues) for $0.

Second McDonald's Fruit Smoothie for $0.

Creative Reveals Multi-Core Sound Processor

Kevin Parrish — Tue, 31 May 2011 23:00:00 +0000

Tuesday Creative Technology revealed the internally-developed Sound Core3D, a high performance audio processor combining four Quartet digital signaling processor (DSP) cores and a high-quality HD audio codec onto one low-power chip. The new processor will arrive in two flavors when it eventually hits the market: an HD audio configuration for desktops and an embedded configuration for consumer electronics.

According to the company, the Sound Core3D comprises of the four Quartet DSP cores, 6-channel 24-bit 102dB digital-to-analog converters, 4-channel 24-bits 101dB analog-to-digital converters, integrated headphone amplifier-out, digital microphone interface, S/PDIF inputs and outputs and general purpose inputs and outputs (GPIO) all in a compact 56-pin QFP package. It will also be Dolby Digital decode certified, depending on the parent device.

"We designed a sound and voice processor that will enable our OEM partners to deliver the highest quality Sound Blaster audio ever available for a motherboard while also bringing a new level of quality to sound and voice processing to consumer electronics products," said Steve Erickson, VP and GM of audio and video products at Creative Labs, Inc. "With Sound Core3D we deliver a versatile chip that can deliver the highest performance voice processing and audio playback from a single chip."

Creative also detailed the chip's support for its CrystalVoice technology designed specifically for "delivering crystal clear vocal fidelity in video conferencing, multiplayer games and online chats." CrystalVoice includes acoustic echo cancellation, background noise reduction and voice focusing, a voice-specific smart volume, a special equalizer and an effects bundle. The chip will also support THX TruStudio Pro and feature an additional audio toolbox of algorithms including a 10-band graphic EQ, bass management, speaker calibration, limiter, reverb and a pitch shifter.

Currently there's no indication of when we'll see Creative's Sound Core3D enter the market. However, Gigabyte has already signed on to incorporate the new technology into its motherboards. “We’re excited to continue our long-standing relationship with Creative to give our customers the best-sounding HD audio and voice processing available,” the company said.

More should be revealed this week at Computex, so stay tuned.

Intel Names Musician Will.i.am Creative Director

Jane McEntegart — Thu, 27 Jan 2011 04:10:00 +0000

Intel has named Black Eyed Peas front man and hit solo artist Will.i.am its director of creative innovation. Unlike many celebrity endorsements, it appears as though Will.i.am will actually have some responsibilities to fulfil at his new job. In a statement release yesterday, the giant outlined the 35-year-old singer’s position at the company.

“In his unique role, will.i.am will collaborate with Intel on many creative and technology endeavors across the “compute continuum” that may include such devices as laptops, smart phones and tablets. Complementing his visionary role as the front man for The Black Eyed Peas, Will.i.am is also already working on music expressly for Intel.”

Already outfitted with his Intel employee ID badge, Will.i.am, real name William James Adams, said he is excited to be working with Intel. Speaking at a news conference in Anaheim, where Intel is holding an internal sales and marketing conference, the Black Eyed Peas singer talked of his strong connections to technology and said Intel makes him think of creativity.

“Nearly everything I do involves processors and computers, and when I see an Intel chip I think of all the creative minds involved that help to amplify my own creativity,” said Will.i.am. “Teaming up with the scientists, researchers and computer programmers at Intel to collaborate and co-develop new ways to communicate, create, inform and entertain is going to be amazing.”

Intel VP and CMO Deborah Conrad added that Intel is thrilled to be able to tap into Will.i.am’s “limitless” creativity.

“We’re thrilled to tap into the limitless creativity Will.i.am brings to the table. He’s not only a brilliant artist and producer, but also an innovator pushing the bounds of technology professionally and personally. We share a strong interest in innovation around music, art and lifestyle, and are excited to join forces to establish an authentic, emotional connection with consumers.”

Check the full statement here.

VIDEO: It's World of Warcraft Using Kinect

Kevin Parrish — Fri, 31 Dec 2010 23:30:00 +0000

Recently we reported that a Korean game developer plans to include Kinect support in its MMORPG Divine Souls. And as we've seen with a crop of hacks that have surfaced since the motion sensing device hit the market, unofficial Kinect support will eventually be available for all of our favorite PC titles-- even World of Warcraft.

As seen in the video below, Evan Suma and his team at the USC Institute for Creative Technologies has developed middleware for off-the-shelf PC games that enables the use of Microsoft's Kinect. Called Flexible Action and Articulated Skeleton Toolkit (FAAST), the "software framework" simulates virtual keyboard events based on body gestures.

"FAAST can be configured with a variety of body-based controlled mechanisms depending on the specific game," he says in the video.

In the sample shown below, the player is using Kinect to control his character in World of Warcraft. To move the character forwards and backwards, the player simply leans in the corresponding direction. To turn the camera, the user moves the left hand from side to side. The left hand can also be used to target an enemy by moving forward in a grabbing motion while the right hand can be moved to trigger different attack spells.

To download FAAST for Windows, head here. To learn more, check out the full 4-minute video as seen below.

Former VP Calls Microsoft Clumsy, Uncompetitive

Marcus Yam — Fri, 05 Feb 2010 23:00:00 +0000

A former leader Microsoft spoke out this week, saying that Microsoft has become a "clumsy, uncompetitive innovator."

Dick Brass, a vice president at Microsoft from 1997 to 2004, wrote yesterday for in an opinion piece of the New York Times his account on several incidents at his former company that point to the stifling in the execution of creative ideas.

"Microsoft has become a clumsy, uncompetitive innovator," Brass posed. "Its products are lampooned, often unfairly but sometimes with good reason. … While Apple continues to gain market share in many products, Microsoft has lost share in Web browsers, high-end laptops and smartphones. Despite billions in investment, its Xbox line is still at best an equal contender in the game console business. It first ignored and then stumbled in personal music players until that business was locked up by Apple."

Brass says that Microsoft's image has never recovered from the antitrust matters in 1990s and that the company's marketing has been "inept," pointing to the Bill Gates and Jerry Seinfeld commercials.

Although Microsoft posted a $6.7 billion profit for the past quarter, Brass says the bulk of that comes from old, traditional Windows and Office products.

Brass relayed a story where his group developed ClearType, which is a method for LCD screens to better display text on screen. Alleged internal competitive forces made the technology's growth harder than it should have been.

In a second example, Brass says that his group was developing a tablet PC in 2001 that relied on stylus input. The head of the Office group at the time, who was characterized as being resistant to stylus, supposedly refused to modify the productivity software to work properly with the tablet.

"To this day, you still can’t use Office directly on a Tablet PC. And despite the certainty that an Apple tablet was coming this year, the tablet group at Microsoft was eliminated," Brass explained. "Perhaps worst of all, Microsoft is no longer considered the cool or cutting-edge place to work. There has been a steady exit of its best and brightest."

Brass does clarify that internal competition is common at great companies and that it can be wisely encouraged to force ideas to compete. Brass doesn't believe that it worked as intended at Microsoft.

"At Microsoft, it has created a dysfunctional corporate culture in which the big established groups are allowed to prey upon emerging teams, belittle their efforts, compete unfairly against them for resources, and over time hector them out of existence," Brass wrote. "It’s not an accident that almost all the executives in charge of Microsoft’s music, e-books, phone, online, search and tablet efforts over the past decade have left."

MSI's Big Bang Mobo Offers THX Yummyness

Kevin Parrish — Thu, 08 Oct 2009 22:40:00 +0000

Earlier today, MSI officially announced its collaboration with Creative and THX to bring their audio technologies to the upcoming Big Bang motherboard. According to the company, the new mobo line is slated to be the first to implement THX TruStudio PC along with Creative's EAX Advanced HD 5.0 audio technology.

For consumers and gamers alike, this means that video, music, and games will (hopefully) sound better than typical onboard sound, while remaining true to the intention of the artists who created the content. “We consider Creative to be the best gaming audio provider worldwide and believe our cooperation will redefine the listening experience among the gaming community," said Jason Lee, MSI's Marketing Director.

According to this countdown clock, the Big Bang doesn't explode onto retail shelves for another twenty-one days (October 29). MSI first offered a glimpse of the mobo during the Intel Developer Forum, announcing its partnership with LucidLogix to incorporate the Lucid HYDRA 200 real-time distributed processing engine, allowing universal multi-GPU support.

"MSI's BigBang Motherboard is a turning point for the multi-GPU industry," said Offir Remez, President of LucidLogix. "Our close collaboration with MSI has allowed us to rapidly design and produce a first-ever universal multi-GPU motherboard that takes a major leap into mass market parallel graphics processing."

Nvidia Releases OpenCL Driver

Kevin Parrish — Thu, 23 Apr 2009 01:21:01 +0000

For the uninitiated, OpenCL stands for Open Computing Language, and is defined as a framework for writing programs that execute across platforms of structural variations and multiple parts including CPUs, GPUs, and all other processors (heterogeneous). OpenCL is ideal because it can allow application to execute on an immeasurable number of PC configurations (cross platforming), possibly addressing the problems that many programs face today through various patches.

For example, OpenGL--via open industry standards--addresses multiple GPUs, and OpenAL addresses multiple audio processors; OpenCL works in the same way, but encompasses processors, GPUs, and more. Currently the non-profit technology "consortium" Khronos Group--consisting of id Software, Intel, Nvidia, Sun Microsystems, Creative Labs and more--manages OpenCL. Along with Nvidia, Intel, and AMD, Apple originally submitted the OpenCL proposal to Khronos back in the summer of 2008. By December 2008, Khronos approved the technical specifications and allowed the specs to be released to the public.

On Monday, Nvidia released its OpenCL driver and software development kit (SDK), however only through its OpenCL Early Access Program. Nvidia found it necessary for this early release in order to receive feedback from the EAP participants before the release of the beta (to all GPU Computing Registered Developers) within the next few months. According to the company, the OpenCL driver will run on the CUDA architecture, enabling the driver to take advantage of Nvidia's GPU parallel computing.

"At the core of Nvidia’s GPU Computing strategy is the massively parallel CUDA architecture that Nvidia pioneered and has been shipping since 2006," stated the company in a press release. "Accessible today through familiar industry standard programming environments such as C, Java, Fortran and Python, the CUDA architecture supports all manner of computational interfaces and, as such, is a perfect complement to OpenCL. Enabled on over 100 million Nvidia GPUs, the CUDA architecture is enabling developers to innovate with the GPU and unleash never before seen performance across a wide range of applications."

The company said it would be beta-testing OpenCL with developers throughout the year. However, to get an early sample, interested readers may want to check out this YouTube video of the OpenGL demonstration--running on Nvidia's Quadro FX 570M GPU--during a speech at Siggraph Asia 2008. While the clip would make an excellent screensaver (one viewer even made that comment), the demo shows the "flexibility" of OpenCL, allowing the end-user to change settings--including cluster scale and velocity damping--on the fly. Additionally, this YouTube video displays AMD's demonstration, displaying cool effects that turned a hand-drawn AMD logo into a colorful explosion of fireworks and energy rays.

Creative X-Fi to Go into Your Automobile

Aaron Heibert — Mon, 23 Feb 2009 23:00:00 +0000

JC Hyun Systems has developed the world’s first automobile infotainment system using Creative’s highly popular Xtreme Fidelity (X-Fi) technology to enhance the overall in-car/truck audio experience for the user.

The RUNZ CI-7100 features the MMSP2 MPEG video hardware engine, SiRF III GPS chipset and Creative’s X-Fi audio processor all backed by an Intel Dual-core 360/300 MHz processor. The user interface features an intuitive 7-inch digital LCD touch screen capable of displaying 800 x 480 pixels resolution which provides a large and clear display of interface controls, images and video playback.

Audio quality is digitally restored and improved using both Creative X-Fi Crystalizer and Creative X-Fi CMSS-3D processing. Additional features of the RUNZ CI-7100 include two AV in/out ports, USB 2.0, SD memory card interfaces and Bluetooth 2.0 Enhanced Data Rate(EDR) support.

Quoting Senior Sales Director of JC Hyun Systems :

“I believe all motorists seek to enjoy music and videos of the highest quality when traveling in their cars. They expect the same high standards of entertainment experience they enjoy at home, something which most car audio or car infotainment systems in the market have been unable to match so far. By integrating the state-of-the-art Creative X-Fi audio technology to the RUNZ CI-7100, I am confident that we can propel car infotainment enjoyment to the next level and set the standard for next generation systems to come in the near future.”

The use of Creative’s Crystalizer and CMSS-3D technology restores vibrancy typically lost in compressed music and movies. All highs and lows in the frequency spectrum are also intelligently enhanced to ensure that users hear everything in the best possible quality. CMSS-3D technology expands stereo MP3s and digital movies into surround sound over multi-channel speaker systems within the vehicle adding a much more immersive experience for the passengers.

The RUNZ CI-7100 Infotainment System is currently available in Singapore through its authorized dealer, Navigator Systems Pte Ltd at a suggested retail price of $1,999.00 which is roughly US$1300.00. As of current there is no word on where, where, or even IF the RUNZ CI-7100 will be available in North America.

Creative announces 2 megapixel webcam

The Editors of Tom's Hardware — Fri, 16 Mar 2007 17:14:44 +0000

Hannover (Germany) - Creative announced what the company calls the "most advanced webcam on the market".

The new Live! Cam Optia AF is not quite on the market yet as it is scheduled for a later Q2 product introduction. But it is the first camera we know of that runs at a 2 megapixel (1600 x 1200) resolution, which is a substantial upgrade from the regular Optia model that offers only 1.3 megapixels. Most competing webcams only offer 640 by 320 pixel resolution.

The form factor is identical with the predecessor, however, Creative decided to go with a trendy piano black look in the new model. The camera also includes a glass lens, the firm's dual microphone system s well as noise cancellation technology.

Pricing has not been announced but is expected to be slightly above the Optia's $80 MSRP.

Creative tries to hook babies on MP3 players

The Editors of Tom's Hardware — Sat, 20 Jan 2007 00:03:21 +0000

At this year's Consumer Electronics Show, Creative, partnering with Playskool, demonstrated several mp3 player/speaker systems for babies and young kids. Here is the "2 in 1 Infant Gym" that is designed to be placed over cribs.

At this year’s Consumer Electronics Show, Creative, partnering with Playskool, demonstrated several mp3 player/speaker systems for babies and young kids. Here is the "2 in 1 Infant Gym" that is designed to be placed over cribs.

The "Made for Me" line of players include a player with pre-loaded content. The player can be disconnected from the system and be used with other Made for Me products.

Here is another colorful mp3 player.

Of course, other colors are available.

The software interface to transfer music is simple enough for kids and parents.

The player unit docks in the back.

The handle provides for easy transport.

Big and colorful buttons for kids

Creative tries to hook babies on MP3 players

The Editors of Tom's Hardware — Fri, 19 Jan 2007 00:03:24 +0000

At this year's Consumer Electronics Show, Creative, partnering with Playskool, demonstrated several mp3 player/speaker systems for babies and young kids. Here is the "2 in 1 Infant Gym" that is designed to be placed over cribs.

The "Made for Me" line of players include a player with pre-loaded content. The player can be disconnected from the system and be used with other Made for Me products.

Here is another colorful mp3 player.

Of course, other colors are available.

The software interface to transfer music is simple enough for kids and parents.

The player unit docks in the back.

The handle provides for easy transport.

Big and colorful buttons for kids

Creative X-Fi: A New World of Sound

Jean-Pierre Roche — Thu, 18 Aug 2005 19:05:21 +0000

Introduction

We have been spending lots of time with the latest sound card from Creative, called the X-Fi. While it looks like an ordinary PCI sound card, the innards are completely new and improved and worth spending some time on. Here we give you plenty of the straight dope, based on our tests and living with various pre-production versions for over a year now. You might also want to review our two previous articles on the card that we published earlier this summer:

Creative's X-Fi: A New Age in Sound Card Power?

The Rise To Power

Creative's sound cards have undergone considerable development, starting with the days of the first Sound Blaster "PRO" card in 1991, which offered 8-bit sound. This was followed by the famous AWE 32 and Live!, and then the Audigy, which has been the standard for sound cards until now. But X-Fi represents an enormous leap forward in terms of power and capability for handling and processing digital audio. In the table below, the evolution can be clearly seen Compare Prices on X-Fi Sound Cards!

Sound card	Raw Data Path MIPs	Typical Processor MIPs	Internal Audio Channels	Overall Audio Sample Rate & Effects Processing MIPS vs Live!	No. of Simultaneous Real-time Effects	No. of Transistors
Sound Blaster Pro	?1	3+	-	0.0001x	-	100K
AWE 32 (EMU8000)	67	200+	-	0.2x	-	500K
Live! (10k1)	335	1,000+	16(to Effects Engine)	1x	1	2M
Audigy (10k2)	424	1,250+	64(to Effects Engine)	4x	4	4.6M
Creative X-Fi	10340	30,000+	4096(to all Processing Elements)	67x	8	51.1M

We should stress the fact that Creative, unlike most of its competitors, has always included a true audio processor on its cards, as opposed to simply using a codec and putting the processing load on the CPU. That approach accounts for their superiority in games, where Creative avoids having to devote part of the available processing power to sound, but it also creates a few problems in other areas. The processors used in the Live! and Audigy cards operated natively at 48 kHz, creating some problems at 44.1 kHz and simply refusing to process higher sampling frequencies at all. With X-Fi, those problems are behind us, and operation is now possible at all usable sampling frequencies.

A New Architecture: Audio Ring

X-Fi is not just a new circuit - that's no big deal, as new circuits appear regularly. Unlike traditional sound processing circuits, which have a fixed sequential architecture, X-Fi's Audio Ring architecture allows processing sequences to be reconfigured to suit the task at hand. X-Fi has a naturally modular architecture, with each module communicating via the Audio Ring - a kind of bus that accepts up to 4,096 audio channels.

The Audio Ring bus is not really comparable to that of a professional mixing board, either, because it handles significantly more functions - such as communication with the PC's memory using a wider bandwidth than the PCI interface can handle.

The next table shows the distribution of processing power among the main modules that make up the X-Fi circuit. We'll come back to certain ones in detail, such as the Sample Rate Converter (SRC), a new technology that, as you can see, takes up the lion's share of the processing power.

X-Fi Raw Data Path MIPs
SRC	7310
Filter	200
Mixer	1210
Tank	440
DSP	1180
Total	10340

In practice, users of an X-Fi card are offered three configurations, corresponding to the three main types of use: Gaming, Entertainment, and Creation. The table below sums up the basic capabilities of each configuration, which we'll discuss in detail when we look at drivers and software.

Another point to stress is that the X-Fi circuit is not tied to the PCI bus, so it can be used in equipment using the USB, FireWire, or PCI Express interfaces. Special versions will probably also be employed in consumer electronics equipment.

The X-Fi Line

Four X-Fi cards are being launched simultaneously, to suit the needs and desires of different users. The X-Fi XtremeMusic could be considered the basic card, aimed mainly at music listening, general entertainment (DVD and games), and the other basic uses of a sound card. It's a PCI card with no particular extensions. The directly accessible connections (1/8th inch jacks only) are limited to a "FlexiJack" input - usable as a microphone, line, or digital S/PDIF input - and speaker outputs. The latter, naturally, are 7.1, spread over three jacks as on previous Creative 7.1 cards. Note that the stereo output (the first output jack) is usable as a headphone jack, unless you use a non-standard model. There's also an extension connector for an external rack if you want to upgrade. Internally, there's an auxiliary input using a Molex connector, and another extension connector for an optional internal rack. There's also a proprietary extension connector, the purpose of which has yet to be defined.

The X-Fi Line, Continued

The next model up is the X-Fi Platinum, which has all the characteristics of the basic model - in fact, the PCI card looks identical - but adds an internal rack that fits into a 5¼" bay. The rack has a line/mic input with adjustable level using a 1/4" (6.35 mm) jack, a line input, digital optical and coaxial inputs and outputs, and a headphone jack with volume adjustment. MIDI connections using mini-DIN connectors are also provided, and adapters for standard MIDI connectors are supplied as well. An infrared remote controls all sound functions. All of these features make this model a good choice for amateurs who want a good range of connections and easy access to them.

The more specialized Fatal1ty FPS is very similar to the Platinum, including a PCI card and internal rack, but is aimed at hard-core gamers. It adds 64 MB of internal memory (X-RAM) to improve performance in games supporting this technology.

Finally, the top of the line, the X-Fi Elite Pro, comprises a PCI card and an external rack. The rack is fairly large and can be installed either flat or vertically using the provided support, and obviously also has a remote control. This is the model we mainly based our test on, and the one we'll go into detail about, because it has higher-quality converters and thus provides the best audio performance.

A remote control comes with all models except the basic XtremeMusic. It controls certain functions like the Crystalizer, EAX, CMSS-3D, and 3DMIDI, and also playing your files, and allows essential adjustments such as volume. On the rack of the Elite Pro, you can adjust the same functions with rotary controls, which can be practical; there are indicator lights showing their operation to avoid any ambiguity.

Creative Labs X-Fi Elite Pro
Interface	PCI
Circuit principal	CA20K1 (X-Fi)
Max. sampling rate	192 kHz
Quantification	24 bits
ASIO	24 bits/96 kHz
Inputs
Card	Mike/line/digital SP/DIF with adaptator, Molex line (internal)
Rack	Hi-Z line, mike/line, phono/line, S/PDIF optical and coaxial
Outputs
Card	8 cinch (7.1), 1 S/PDIF optical and coaxial (jack 3.5 mm)
Rack	1 S/PDIF optical and coaxial, 1 adjustable headphone
DVD and cinema
Standards	Dolby Digital EX, DTS-ES, S/PDIF output
Configuration	Up to 7.1
DVD Audio	Yes
3D game sound
Standards	DS3D, A3D, Open AL, EAX 5.0
Configuration	2 to 7.1
MIDI
Software synthesizer	Creative SoundFounts 24 bits
I/O	Prises Standard (DIN)

Inputs And Outputs

The PCI card has a single 1/8th inch (3.5 mm) input jack called a "FlexiJack", which can be configured via the driver to serve as a line input, mic input, or digital connection for input and output. There's a plethora of connections on the Elite Pro rack. The front features two 1/4" (6.35 mm) input jacks with adjustable level. The first, depending on the position of the adjustment potentiometer, is either a line input or a high impedance (Hi-Z) input, the most common use of which is plugging in a musical instrument such as an electric guitar. The second is more standard, and serves either as a line or microphone input.

On the back is another input using cinch connectors; a small switch lets you configure it as either a line input or phono input with RIAA correction. This is an excellent idea, and will let you take advantage of your vinyl disks, either to digitize them or simply to listen to them. Note that a ground connection is provided for hooking up a turntable, a detail that's sometimes forgotten... Added to all this are optical and coaxial digital S/PDIF inputs and a pair of cinch connectors for MIDI input and output. Finally, there's a special connector for Creative speakers.

If you look at all the possible connections, you'll see that while Creative has stayed with consumer-type hookups - there's no symmetrical input - it offers a complete range, with microphone, line, and phono, plus the added possibility of connecting a musical instrument with a simple standard cable. So it's a design that can meet the needs of all amateurs.

Inside

There's nothing particularly spectacular-looking about the X-Fi PCI card itself; you could almost confuse it with an ordinary sound card. The X-Fi (CA20K1) circuit is a lot more compact than the one on the Audigy, for example. There are two models of PCI cards in the X-Fi line. The Elite Pro's has Cirrus Logic CS4398 D/A converters (192 kHz, 120 dB) and an AKM AK5394 A/D converter (192 kHz, 123 dB). The PCI card used on the other models has Cirrus Logic CS4382 D/A converters (192 kHz, 114 dB) and a Wolfson WM8775 circuit that includes a mixer for four analog sources and an A/D converter (96 kHz, 102 dB).

The Elite Pro's rack uses TI Burr-Brown PCM1804 A/D converters (192 kHz, 111 dB). For the headphone jack there's a Cirrus Logic CS4392 D/A converter (192 kHz, 114 dB). The conclusion you can draw from all of this is that the best input is the one on the PCI card of the Elite Pro. However, the inputs on its rack provide ample performance for its intended uses.

SRC: Sound In Time

Among the various modules comprising the X-Fi, the Sample Rate Converter (SRC) probably seems the most mysterious and least interesting to most potential users. Yet it's the one that gets the biggest share of the processing power! To understand its importance, you have to consider the nature of digital sound itself.

The sampling frequency indicates the number of times per second the value of the signal is read: 44,100 times per second for stereo CD Audio, for example. Today, numerous other values are possible, depending on the source used (e.g. DVD or DVD-Audio). In addition, even sources that use the same theoretical value can differ slightly, since clocks aren't absolutely precise. When you want to mix these sources, for example, these differences can cause errors that result in very audible defects in the sound. Professional equipment - like the kind used in recording studios - uses synchronization systems that consumer equipment doesn't have. Interconnections between the various pieces of equipment also become more complex. Conversion of sampling frequencies can solve all these problems, but until now it's been considered a workaround; a necessary evil. In certain cases, it results - at least in principle - in a reduction in audio quality, especially if there isn't a lot of processing power available for the operation.

For its SRC, though, Creative has used a new architecture that results in a totally transparent audio signal. Converting a 997 Hz test signal from 44.1 to 48 kHz produced a distortion of -136 dB and a ±0.00025 dB pass-band ripple. That's less distortion and noise than is introduced by other audio components, which guarantees the absence of artifacts due to the conversion.

Processing by the SRC to convert a digital signal from 44.1 kHz to 48 kHz

THD+N (distortion + noise) resulting from conversion from 44.1 to 48 kHz. There's no chance you'll be able to hear it!

SRC: Sound In Time, Continued

The SRC is not only a technical achievement, it's also a tool that allows the X-Fi card to deliver its promised performance in quite a few areas. The first is obviously synchronization of digital signals, but it can also create effects, such as sound ambiences or movement effects, with much greater precision than anything that's existed until now at the consumer level.

The Doppler effect of a moving object can be created more easily and precisely with the SRC!

The principle of traditional digital synchronization

Digital synchronization as performed by X-Fi, handled entirely by the SRC. Much simpler for the user!

Finally, SRC is a source of savings in areas like synthesizing, and more generally, the storage of samples (wavetables) intended for reproducing music. It allows the transparent conversion of a small number of samples to produce a wide range of notes, by adjusting various parameters such as pitch and vibrato at will.

Three Cards In One

As we've said, X-Fi cards have three operating modes: Entertainment (for activities like listening to music or watching a DVD), Games, and Audio Creation (sound and music). You choose one of the three via a Mode Switcher and the card is reconfigured to provide the best performance for the activity chosen. Naturally, the possibilities - and also the control panel - are different depending on the configuration you choose. The table below provides a summary.

The Mode Switcher lets you choose the operating mode that corresponds to what you're doing at a given moment. The X-Fi card is reconfigured in a few seconds to provide the best possible performance.

	Entertainment	Audio Creation	Games
3DMIDI Playback	Yes	Yes	Yes
3DMIDI Interaction	No	Yes	No
EAX ADVANCED HD 5.0	Limited	Limited	Yes
EAX ADVANCED HD 4.0	Limited	Limited	Yes
EAX ADVANCED HD 3.0	Yes	Yes	Yes
Number of Auxiliary Effects	2	4	4
Maximum Number of Reverbs	1	2	4
Insert Effects	No	4	No
ASIO Out Channels: Dry	1 pair	5 pairs	1 pair
ASIO Out Channels: FX	No	4 pairs	No
ASIO In Channels: WUH	8	8	8
ASIO In Channels: Basic	2 (1 pair)	2 (1 pair)	2 (1 pair)
ASIO 2.0 Support	Limited	Yes	Limited
ASIO 2.0 Direct Monitoring	0	12 (6 pairs)	0
Bit-Matched Playback	No	Yes	No
Bit-Matched Recording	No	Yes	No
CMSS-3DSurround	Yes	No	Yes
CMSS-3DHeadphone	Yes	No	Yes
CMSS-3DVirtual (2 Speakers)	Yes	No	Yes
CMSS-3DVirtual (4 Speakers)	No	No	Yes
CMSS-3DInteractive	Yes	Yes	Yes
24 bit Crystalizer	Yes	Yes	Yes
Graphic EQ	10 bands	10 bands	10 bands
Smart Volume Management	Yes	Yes	Yes
Bass Management	Advanced	No	Advanced

Entertainment

In Entertainment mode, you see a screen that resembles a compact stereo with a series of icons that let you adjust numerous functions. Some of these are well known and not greatly different (at least in appearance) from those on previous Creative cards, such as the ten-band equalizer, mixing board, and loudspeaker configuration selection. Others are totally new, like the Crystalizer, or entirely reworked and therefore completely different from earlier ones that had the same names, like CMSS. We'll get back to these two functions in detail in a moment.

In Entertainment mode, the control panel looks like a stereo

The mixing board is quite classic

The well-known equalizer from earlier Creative cards is still here, with possibilities that are similar to previous versions

No surprises as far as speaker selection is concerned. Listening tests let you check whether they're correctly placed.

Game

Game mode displays a very compact screen with many of the previous adjustments, but specific functions for games are also present. On the mixing board you can enable EAX effects, and adjust environment effects for the microphone if you're using a mic/headphone. In addition, you get the most powerful version of EAX: 5.0!

For gaming, you can activate the EAX effects and alter your voice by processing the signal from the microphone

Creation

Creation mode will usher you into another world, if you're not familiar with professional audio equipment or equipment meant for musicians. What you'll see in front of you is a mixing board with extensive possibilities. We won't go into detail about them, because they're extremely wide-ranging and, as of this writing, no structured information seems to be available. The help that accompanies the software is fairly limited, but the existence of buses and user-assignable inputs and outputs clearly opens up some highly interesting possibilities for numerous users. For example, you can assign an input to any output, or send the mix to one or several outputs. DJs and event organizers should find a lot here to have fun with...

For musicians, aside from a broad palette of effects, the big novelty is 3D MIDI, which offers the possibility of positioning a MIDI sound in space very simply - it's a new creative option accessible to amateurs! Naturally, Creation mode opens the door to ASIO 2.0 mode and lets you freely choose your sampling frequency from among the standard values. If you opt for 96 kHz, you won't see the effects modules disappear as with earlier Creative cards - with X-Fi, they remain functional regardless of the frequency chosen. Be careful, though, because the files get very big!

In Creation mode, it's possible to send stereo sound to the eight channels of a 7.1 system. An interesting possibility for certain users...

You can insert a parametric EQ correction onto an input to correct a fault in the source, or obtain a specific effect

Creation, Continued

The reverberation module might inspire you, or it might scare you! It also has simplified adjustments...

MIDI sounds can be positioned in space thanks to 3D MIDI. Musicians will be able to achieve some surprising effects...

You can choose from all standard sampling frequencies!

This block diagram of the mixing board is unfortunately only partial in coverage, but it gives you an idea of the possibilities for control and inserting effects.

Creation mode offers so many possibilities that it would be impossible to mention them all in detail. For example, there are the 24-bit SoundFonts, and naturally the possibility of working with ASIO 2.0 drivers for very low latency (2 ms). Even though X-Fi is not aimed specifically at musicians, they'll find it provides some very attractive resources...

Crystalizer: Truer Sound

Among the modules offered by X-Fi is the Crystalizer, available in all three operating modes. We described the principle behind it in a previous article about X-Fi .

The Crystalizer has a single adjustment graduated in percentage. With the Elite Pro, you can adjust the level of the effect either with the remote control or directly on the rack. We might have hoped for more complete controls, but the goal is undoubtedly to give amateurs a tool that's easy to use.

In actual listening, the Crystalizer's processing truly does result in more realistic sound, closer to what you hear in an actual performance. In general, dynamics are greatly improved, and you get the impression that the frequency response has been extended - it hasn't really, but the impression comes from the relief added to the bass and the processing on the upper part of the spectrum. Naturally, the effect is very dependent on the type of sound being processed. It can become imperceptible with sound whose level doesn't vary much. But a recording with a lot of percussive sounds and transients will be altered much more audibly. With many types of music, it'll be hard to go back to the way it sounded before once you've heard what it sounds like with the Crystalizer. Without it, you get the impression that you're listening to your music from behind a thick curtain.

Naturally, to get the full benefit of the Crystalizer, your playback system (amplifier and speakers) needs to be up to the task. The speakers have to handle the increased dynamic range without tiring or creating distortion. Also, the adjustment of the Crystalizer's level has to suit the music - you won't use the same adjustment for techno as for opera! And the adjustment depends not only on the type of music but also on the characteristics of the original recording.

CMSS 3D: From Stereo To Surround

With surround sound becoming common for consumer listening, plain stereo - though still the most widespread sound format for music - is beginning to look a bit obsolete. If you're in the habit of listening to 5.1 (or better) surround, you probably often find stereo somewhat "thin." And it's also a little frustrating to use only two channels when you have a multichannel system.

CMSS, which Creative has already offered for some time now, was designed (like other similar technologies) to solve this problem by "upmixing" two channels to 5.1 or 7.1 surround sound. Until now, the results have been only partially successful. But thanks to the processing power of X-Fi, the operation - called CMSS-3D - now produces much better results. We described its operating principle in our earlier article :

In practice, the X-Fi version of CMSS 3D has several modes, depending on your equipment and the type of source being processed. The first upmixes stereo to 5.1 or 7.1, but it can also create a virtual surround experience if you have only two speakers. Finally, it considerably improves headphone listening, as we'll see later.

CMSS-3D is very effective when upmixing a stereo source to multichannel, because it both recreates the ambient sound of a recording, and preserves the center of the sound image thanks to the center channel. In a typical recording, the singer will be perfectly centered in the soundstage and won't "wander" due to imprecision in the recording or the reproduction. On the other hand, obviously CMSS-3D's upmix of a stereo source is not comparable to a true multichannel recording. Effects created by the sound engineer won't appear by magic. This is clear if you listen to recordings that exist in both versions - like the Jean-Michel Jarre album Aero , or Feels Like Home by Norah Jones. Still, the reproduction of ambience in a recording can be spectacular; it all depends on what was originally recorded. And in that respect, old recordings you may have thought you knew well can reveal some hidden treasures. Since they tend not to have been made in today's totally aseptic recording studios, they contain ambience information that's particularly interesting to hear when it's rendered realistically. This can apply to all live recordings such as opera.

For DivX

Upmixing a movie or video is even more spectacular. Do it with a DivX stereo movie that you're familiar with in Dolby Digital and you'll be blown away. Of course here again, the CMSS-3D can't figure out the spatial origin of a sound, but it comes close!

For our tests, we made a DivX stereo copy of a DVD of Toy Story 2 . The introduction to this movie is an especially good example of sound positioning in space. CMSS-3D managed to correctly locate most of the action with sounds at the left and right rear. Moving to Dolby Digital, the origin of the sound is more precise, in particular with an action that starts in the rear, and the motion effect from right rear to left front could be heard perfectly. But the Creative upmix was still very good, much better than Dolby Pro Logic II, which sometimes denatures the soundtrack and never manages to make a really precise move to a rear speaker. If you often watch DivX movies, and especially if you use your PC as a living-room video player, you won't get better spatialization from a stereo soundtrack than X-Fi's.

Naturally, Creative's MediaSource software is included. We used it to enjoy an opera recording with CMSS-3D.

Of course, there's no problem with an original multichannel recording, like a movie in Dolby Digital or DTS - at least so long as you stay with multichannel listening. CMSS-3D promises "surround" reproduction with only two speakers, but naturally we found it a lot less impressive. It did create a soundstage that was clearly beyond stereo, but obviously it wasn't comparable to what a 5.1 or 7.1 system can do. So the processing capability will be welcome if you have only two speakers, but moving to a multichannel kit is still by far the best solution for getting the most out of your movies.

Headphones: Space Inside Your Head

The other CMSS-3D mode is dedicated specifically to headphone listening. Though often indispensable, traditional headphone listening has many disadvantages, in particular, the impossibility of creating a credible soundstage. The sound seems to come from the center of your head, or sometimes from the top, but in general it remains confined to within your skull. With CMSS-3D Headphone, you'll discover 3D sound with headphones - not only differentiation in the positioning of various sound sources, but above all what Creative calls "externalization," the creation of a true soundstage.

Let's discuss the principles behind the positioning of sound sources using headphones. Three factors come into play: ITD (Interaural Time Difference), ILD (Interaural Level Difference), and HRTF filters that reconstitute the sound as it reaches you, with reflections and diffractions caused by your body, head, and outer ear.

With a stereo source, CMSS-3D continues its extraction of ambience information from the recording to give the listener the sensation being in the middle of the action. But naturally, the effects are most spectacular with multichannel sources (movies in Dolby Digital or DTS) and with games. Headphones are no longer the punishment they once were, and become a real pleasure in their own right. Some progress still needs to be made on the front/rear positioning, based on our experience. Sound sources that are directly in front of you or behind still lack a little realism. We won't be categorical about that, however, as individual experiences of sound do vary widely. Also (in our personal experience) sources were placed a little too high, and an elevation adjustment would be good.

Test System And Audio Measurements

Our test configuration remains the same, and is plenty powerful enough for an X-Fi card. Note, however, that you have to make sure your PC's power supply is sufficient: if it's a little weak or of poor quality, it can cause problems operating cards equipped with racks, which draw extra power. We ran into this problem during a test on a consumer-level machine that already had various equipment added; the power supply wouldn't allow a normal boot-up.

Hardware
Processor	Pentium 4 2.4 GHz
Memory	1 GB of DDR
Graphics card	NVIDIA GeForce Ti4200
Hard disk	80 GB, 7200 RPM
Optical drive	DVD LG16/48X
OS	Windows XP Pro SP2
Direct X version	9.0c
Speakers	Creative Gigaworks S750, Logitech Z2200
Video playback	Power DVD, Win DVD
Measurements	Right Mark Audio Analyzer 5.4, Right Mark 3DSound 1.24, DAAS audio measurement system, Neutrik 3337 audio measurement system

All of our measurements were made on the X-Fi Elite Pro model. As mentioned previously, the differences in performance between this model and the others have to do with the quality of the Analog/Digital and Digital/Analog converters. The table below shows the typical performance levels of the different models of X-Fi cards. You'll note that the major difference was with record/playback, where we jumped from a signal-to-noise ratio of 112 dB for the Elite Pro to 98 dB for the other cards. With playback, the difference was less significant, since only one converter (D/A) is involved. As we said earlier, the input on the PCI card is the one that offered the best performance, so that's the one we used.

Model		X-Fi Elite Pro	Others
Digital Playback	Frequency Response	Lo -1dB <10 HzHi -1dB 46kHz	Lo -1dB <10 HzHi -1dB 45kHz
	Crosstalk	L-R: -112 dBR-L: -112dB	L-R: -105 dBR-L: -105dB
	Signal to Noise Ratio (SNR)	116 dB	109 dB
	Total Harmonic Distortion + Noise (THD+N)	0.00%	0.00%
Line-IN / Line-OUTRecord & Playback	Frequency Response	Lo -1dB < 10 HzHi -1dB 45 kHz	Lo -1dB ~17 HzHi -1dB 42 KHz
	Crosstalk	L-R: -106 dBR-L: -106 dB	L-R: -86 dBR-L: -86 dB
	Signal to Noise Ratio (SNR)	112 dB	98 dB
	Total Harmonic Distortion + Noise (THD+N)	0.00%	0.00%

Behavior At 16 Bits / 44.1 KHz

We made measurements at these settings because they correspond to the CD Audio digital format, which is the one most of your music will be in. Obviously, 16-bit quantification limits the performance of a modern sound card, especially high-performance cards like the X-Fi. The parameters that suffer most are obviously signal-to-noise ratio and dynamic range. On the other hand, with an X-Fi, the parasitic waves that hurt the response of earlier Creative models are gone.

Frequency response (40 Hz - 15 kHz) : +0.01, -0.07 dB
Weighted signal-to-noise ratio : 94.6 dB(A)
Distortion : 0.0008%
Stereo separation : 94.9 dB

Frequency response : Response was perfectly linear over the entire audio spectrum!

Noise level : Noise level was very low and perfectly regular

Dynamic range : A perfect score given the quantification settings!

Distortion : Distortion was extremely low (H3 around -110 dB!); you can't ask for much better...

Intermodulation : Intermodulation distortion won't cause you any problems!

Stereo separation : Stereo crosstalk increases slightly in the upper part of the spectrum but is still low enough not to be perceptible

Behavior At 24 Bits / 48 KHz

With 24-bit quantification and a sampling rate of 48 kHz, the card begins to show what it can really do. These settings are an especially good compromise between performance and reasonable file size. As a matter of fact, they're frequently used in professional applications. Dynamics and signal-to-noise ratio naturally jump much higher.

Frequency response (20 Hz - 20 kHz) : +0.01, -0.19 dB
Weighted signal-to-noise ratio : 112.6 dB(A)
Distortion : 0.0005%
Stereo separation : 101.2 dB

Frequency response : The frequency response widens very slightly at the top and is obviously still perfectly linear...

Noise level : 24-bit quantification shows the card's limits, with an extremely low noise level

Dynamic range : Dynamic capacity reached the maximum value possible given the other parameters!

Distortion : Distortion as such is on the same order as what we observed at 44 kHz. The lower noise level is what explains the difference in the figures (THD+N).

Intermodulation distortion : Values are still infinitesimal and there's no danger of distortion being audible

Stereo separation : There was a (relative) increase in stereo crosstalk in the upper part of the spectrum, but it's off the graph, below 1 kHz...

Behavior At 24 Bits / 96 KHz

These settings correspond to the best possible performance, but in reality the only gain is in upward extension of the frequency response to 40 kHz, with negligible attenuation (0.13 dB!) The rest is identical, with similar or very slightly lower figures, a classic consequence of extension of frequency range.

Frequency response (20 Hz - 20 kHz) : +0.01, -0.19 dB
Weighted signal-to-noise ratio : 112.4 dB(A)
Distortion : 0.0005%
Stereo separation : 100.3 dB

Frequency response : Perfectly linear response beyond 40 kHz without significant attenuation!

Noise level : Noise is identical to what we measured at 48 kHz, but the response is broadened upward and therefore shows a few more parasitic waves at that end.

Dynamic range : The result is still just as excellent!

Distortion : Distortion is absolutely identical to what was measured at 48 kHz - extremely low.

Intermodulation : Values remain infinitesimal...

Stereo separation : Stereo crosstalk is slightly higher than at 48 kHz, undoubtedly due to the broadened bandwidth.

The figures speak volumes, so to speak: with X-Fi you'll have no worries about performance, since the unit is capable of higher quality than any available audio source. Our tests showed the same results as those published by Creative, with very slight variations attributable to normal production differences between the two units tested, and the adjustment choices we made. As we've said before, audio performance depends on many criteria, and the balance may tip toward one consideration or another.

Games And 3D

Games have always been a specialty for Creative, and their cards have always led the field in that area. They have the most advanced versions of EAX, and their processor ensures that they take only a small amount of power from the PC's CPU, saving a maximum amount for the game itself. X-Fi marks a new stage in gaming sound, thanks to its processing power and extended virtual-reality functions. To promote its capabilities, Creative has associated with "cyberathlete" Jonathan Wendel - known in the gaming world as "Fatal1ty" - who has lent his name to the X-Fi card that's specifically dedicated to gaming.

Fatal1ty and Franco of Bonis (Creative) at the X-Fi rollout

A LAN party organized for the introduction of X-Fi, with Fatal1ty as the man to beat...

Fatal1ty - the concentration of a champion...

With the X-Fi line, Creative introduces EAX 5.0, which can render 128 sources simultaneously in a 3D space with multichannel routing. It also has MacroFX for controlling proximity and occlusion effects. All of this is currently in its early stages, since the X-Fi's processing capacity has not yet been fully put to use, but major developments should be appearing soon. EAX Voice, meanwhile, performs real-time processing of the voices of players as they talk into a mic - something called Microphone Environment FX - to render them in conformity with the virtual space they're in. It's a new way to achieve even more total immersion in the virtual world, which will truly show its potential in multi-player environments.

Games And 3D, Continued

For its cards specifically aimed at "hard gamers" - the Fatal1ty FPS and Elite Pro - Creative has chosen to use a type of memory called X-RAM. This dedicated memory avoids drawing on the computer's main memory and also avoids compressing sounds to store them in memory. The technology makes it possible either to add effects without suffering a performance hit, or to increase performance by using compressed sounds, with decompression taking place upstream of the game action. Creative has run tests with a modified version of Unreal Tournament 2004 . The graph below (source: Creative) gives you an idea of the effectiveness of X-RAM, which increases with the number of voices used.

Naturally, this demonstration remains fairly theoretical for the moment; we'll have to wait to see what game developers will do with this new technology. We'll report back to you when the first optimized games become available.

Tests we made with our usual games showed results that are comparable to those we got with the most recent Audigy cards (Audigy 2 ZS and Audigy 4). Naturally the sound quality was better, particularly for headphone listening, but the gain in CPU resources wasn't very significant. To make sure, we compared an Audigy 2 ZS to an X-Fi in Battlefield 2 , which is already optimized, and Doom 3 , for which Creative supplied us with a patch.

We ran the tests on a high-end PC (AMD Athlon FX51 processor, 1 GB of DDR at 400 MHz, ATI X800 XTPE 3D card). At best, we noted an improvement of 1 to 2 frames per second in Battlefield 2 (1280x960, maximum detail, high-quality sound, EAX effects enabled), and only in certain phases of the game at certain times. In Doom 3 (1024x768, maximum detail) the improvement was just as slight. We might mention in passing that the quality of the effects didn't seem very different between the normal and optimized versions. On the other hand, with no loss of performance, you get the benefit of the Crystalizer, CMSS 3D, and surround sound with a headset - which is not bad for a start. Sound has to be programmed in Open AL to get the full benefit of the X-Fi, and optimization of programming and of the drivers for the card is only in its early stages. Again, we'll be keeping up with the latest developments for you...

The processor-use test with Direct 3D produced remarkable results, with less than 3.5% utilization of the CPU.

In actual use with current games, and compared to an Audigy 2, don't expect to gain a lot of frames per second or a more spectacular 5.1 sound environment. If your speakers are good, the sound will be noticeably better, but it won't blow you off your stool. On the other hand, if you use headphones, the difference is like night and day. In fact, you may even want to consider always using headphones from now on. The sensation of immersion in the game is even better than with a well-placed 5.1 speaker kit. You get the benefit of the immersive qualities of headphones, without losing the notion of spatiality you get with speakers. Until optimized games become available, this is the real advantage of X-Fi as far as gaming is concerned.

In Practice

X-Fi brings so many innovations to the table that it's difficult to experience them completely in just a few days. Many points deserve to be developed further, and we will do that as time goes on, since the new card should turn up in quite a few products in the future. The big question is whether it's worth getting rid of your current sound card to buy an X-Fi (which should be available by September).

For anyone who's passionate about sound reproduction, the answer is "yes." The results are clearly superior, in most areas, to what must from now on be called the "old generation" of sound cards. However, it remains to be seen where the line should be drawn between the truly passionate and those who are interested in sound reproduction but for whom it's not an essential issue.

To a certain degree, the benefit a user will get out of X-Fi depends on his or her auditory education. Those who have never devoted a lot of time to sound might not be all that sensitive to the progress that this new technology represents. That's the ambiguity of a system whose purely technical characteristics are pushed to the fore, and not the final result. Since 24-bit quantification and high sampling frequencies aren't new in and of themselves, if you look only at the figures you might wonder what all the fuss over X-Fi is about. And it would be a shame for you to miss out on what it can offer. So here's a summary of what you can expect from it as of right now:

Music

A clear improvement in the sound of MP3 files (even in 192 kbps)
Overall music reproduction that's more ample, more flattering, and more immersive if you have quality speakers
A much more enjoyable headphone listening experience
Good spatialization on multi-channel equipment

Video

Impressive surround effects with stereo sources (DivX)
Better rendering of multi-channel sources (Dolby Digital, DTS) if you have a quality 5.1 speaker kit
Exceptional headphone listening

Games

Better sound rendering if you have a quality 5.1 speaker kit
Exceptional headphone listening

In Conclusion

With X-Fi, Creative has ushered in the audio of the 21st century, and the actual listening experience - like the measurable performance - is very convincing. If sound quality is at all important to you and you want to take advantage of the most recent advances in sound reproduction, it's clearly the best choice, regardless of what your main activity is. And best of all, the price is not exorbitant: the basic card, priced at around $130, is sufficient to let you get the benefit of all the advantages we've listed without leaving a big hole in your wallet Compare Prices on X-Fi Sound Cards.

Prices (not final)	Europe (€)	USA ($)
XtremeMusic	130	130
X-Fi Platinum	200	200
X-Fi Fatal1ty FPS	280	280
X-Fi Elite Pro	400	400

Creative Audigy 4 Pro: The Ultimate Consumer Sound Card?

Jean-Pierre Roche — Tue, 03 May 2005 19:04:05 +0000

Introduction

At first glance, the Audigy 4 Pro is identical to the Audigy 2 ZS Platinum Pro . It takes the form of a PCI board connected to an external hub, with the line outputs (three 3.5 mm jacks) on the PCI board and all the other connections on the hub. For more details, take a look at our article on the Audigy 2 ZS Platinum Pro - the design and the external hub are essentially identical. The table below sums up the device's capabilities and requirements.

Creative Labs Audigy 4 Pro
Interface	PCI
Main circuit	Audigy 4
Max. sampling rate	192 kHz
Quantification	24 bits
ASIO	24 bits / 96 kHz
MIDI/game port	Yes
Inputs
On-Board	1 line, 1 S/PDIF
Hub	2 line, 1 adjustable mike/line, S/PDIF coaxial/optical
Outputs
On-Board	Three 3.5 mm jacks (7.1)
Hub	1 adjustable headphone, 1 digital optical/ coaxial S/PDIF
DVD and Cinema
Standards	Dolby Digital EX, DTS ES, S/PDIF output
Configuration	Up to 7.1
DVD Audio	Yes, up to 192 kHz
3D Game Sound
Standards	DS3D, A3D, EAX 4.0Advanced HD
Configuration	2 to 7.1
MIDI
Hardware synthesizer	32 channels, 64 tracks, standard DIN input and output
Software synthesizer	Creative 16 channel

Inside

Except for a few cosmetic details, the external hub is identical to the one used for the Audigy 2 ZS Platinum Pro; most of the changes here involve the PCI board. The main circuit is now stamped Audigy 4, but the changes there seem minor compared to the preceding version. On the other hand, the digital/analog converters have been changed, and that's the main difference between the Audigy 2 and the Audigy 4. Creative has replaced the Cirrus Logic 4382 (8 channels, 114 dB dynamic range) with four CS4398s (2 channels, 120 dB dynamic range). Their design is more professional, and performance has been improved. Naturally, all the capabilities of the Audigy 2 are here too, including the ones supplied by the DSP.

Drivers And Software

There are no surprises here compared to other current Creative sound cards. The Audigy 4 also ships with the MediaSource suite, which can do just about anything with sound and sound files, even though the unit is intended more for leisure (essentially playback) than creative activities (recording). All the usual software modules Creative provides are included for playing, converting, and burning your musical selections. The only new item is the DVD-Audio player, whose interface has been modernized, while few changes have been made to its functions. The Creative System Information module is worth a look, however; it puts a lot of worthwhile data together in one place.

Creative's System Information module tells you everything about the software installed on your system.

The DVD-Audio player has a much nicer interface!

You can use playlists with DVD-Audio!

Managing playlists from the contents of the DVD is very simple.

MediaSource also lets you access the card's different settings. The main adjustment module is Audio Console, which has just about everything. It would have been better if Creative had avoided multiple occurrences of the same adjustment; perhaps this a preliminary stage to putting everything in one place?

Drivers And Software, Continued

There are several settings modules, but with a tendency to put all the basic adjustments in the Audio Console. For now, it's a good idea to avoid playing with an adjustment in the Audio Console if it exists elsewhere - such as the choice of the number of speakers or management of EAX effects.

The Audio Console has a plethora of tabs. You won't necessarily need to use all of them...

Among the interesting tabs are, first of all, the decoder settings. Following Creative's usual approach, the card's drivers decode the surround sound information. You'll need to set your software DVD player to "S/PDIF" to keep it from doing the job itself (if it has the capability). Decoding via the Audigy 4 will let you access more sophisticated decoding settings, like Dolby Digital EX and DTS-ES. As on other recent cards, there's no more Dolby Pro Logic II, probably because Creative feels it's been replaced by its own CMSS upmix system. Dolby Pro Logic has been retained for decoding soundtracks that use MP Matrix encoding. Oddly, Creative includes the DTS Neo:6 system with the MediaSource player. It also lets you upmix to "surround" sound from a stereo source, and is separate from CMSS. So you'll have to choose between the two systems.

This tab is essential! The surround decoder settings determine how your Audigy 4 behaves with DVD Video.

The Dolby decoder settings let you manage specific modes like Dolby Digital EX, and also adjust dynamic-range compression to suit your listening conditions.

For DTS, the choice is limited to managing DTS-ES mode.

Drivers And Software, Continued

The S/PDIF I/O settings let you decode an external Dolby Digital source!

Another tab you shouldn't neglect: headphone management. You can choose to mute the speakers when you plug in headphones.

MediaSource now lets you upmix to surround using the DTS Neo:6 process.

Neo:6 has music and cinema modes, but in this case only the music mode will really be usable. Few music tracks are encoded.

Aside from its own software, Creative gives you two games - Thief: Deadly Shadows and Hitman: Contracts. It also includes a set of software oriented towards amateur musicians, including Cubase LE (a MIDI and audio sequencer), Wavelab Lite 2.5 (an audio editor), and Fruity Loops Studio 4 CE (a sequencer). If you have musical inclinations you'll find a lot to have fun with, even though the Audigy 4 is not a professional sound card (it's not that its performance isn't good enough, but its design approach is different). It is possible, thanks to the availability of ASIO 2.0 drivers, to work with low latencies and professional settings (24 bit digitization). So the card could be an interesting compromise for amateurs who want to do music, multimedia, and games. But don't forget that it is, in fact, a compromise.

Test System And Audio Measurements

Our test configuration remains the same, except for the inevitable upgrades to keep the operating system up to date.

Hardware
Processor	Pentium 4 2.4 GHz
Memory	1 GB DDR
Graphics card	NVIDIA GeForce Ti 4200
Hard disk	80 GB, 7200 RPM
Optical drive	DVD LG16/48X
OS	Windows XP Pro + SP2
DirectX version	9.0c
Sound System
Speakers	Creative Gigaworks S750, Logitech Z-2200
Measurement
RightMark Audio Analyzer 5.4RightMark 3DSound 1.24Audio WinBench 99DAAS audio measurement systemNeutrik 3337 audio measurement system

Behavior At 16 Bits / 44.1 KHz

At these settings, which correspond to CD Audio, the Audigy 4's performance potential is clearly being held in check! But it's indispensable for you to see how the device behaves with the settings most often used for digital music.

Frequency response (40 Hz - 15 kHz) : +0.13, -0.36 dB
Weighted signal-to-noise ratio : 94.5 dB(A)
Distortion : 0.0032 %
Stereo separation : 93.1 dB

Frequency response : As is often the case, we'd have preferred slightly better performance - there's a visible lack of linearity, and response drops off a little too fast before 20 kHz.

Noise level : No problems here - the Audigy 4 was close to the theoretical ideal.

Dynamic range : Again, this card is not about to limit performance!

Distortion : Distortion was extremely low, far from any possibility of being audible.

Intermodulation : The test software isn't really suited to these operating settings and produced erratic results. Pay them no mind!

Stereo separation : Stereo crosstalk was practically non-existent.

Behavior At 24 Bits / 48 KHz

When you move to 24 bits, you're making full use of the card's capabilities, and so performance jumps. The cards clearly scored the best results we've ever measured on a consumer-oriented sound card, where noise is concerned, at any rate. The Audigy 4 is a success!

Frequency response (20 Hz - 20 kHz) : +0.09, -0.91 dB
Weighted signal-to-noise ratio : 108.1 dB(A)
Distortion : 0.0019 %
Stereo separation : 106 dB

Frequency response : A slight lack of linearity (of low amplitude) remained, but the result was very satisfactory.

Noise level : A record reading, in line with many professional sound cards

Dynamic range : The potential implied by the signal-to-noise ratio was realized!

Distortion : It came as no surprise that distortion is still very low and will be absolutely no problem.

Intermodulation : A very good result. No problems foreseeable.

Stereo separation : Stereo crosstalk was practically nil. You can't ask for much better.

Behavior At 24 Bits / 96 KHz

Moving to a sampling rate of 96 kHz resulted in performance that was at the same level (that is, excellent!) and, naturally, improved frequency response significantly. As you can see, the full audio spectrum was amply covered with almost perfect linearity.

Frequency response (20 Hz - 20 kHz) :+0.02, -0.2 dB
Weighted signal-to-noise ratio : 108.5 dB(A)
Distortion : 0.0019 %
Stereo separation : 106.5 dB

Frequency response : An excellent result - beyond 40 kHz at -1 dB!

Noise level : Similar (excellent) results to what we measured at 48 kHz

Dynamic range : No unpleasant surprises; still a very high level of performance

Distortion : Distortion is still negligible - the highest harmonic was harmonic 2, at -100 dB!

Intermodulation : Excellent performance, as elsewhere

Stereo separation : Stereo crosstalk was practically non-existent. Why ask for more?

The results make it evident that overall, the Audigy 4 is the best-performing consumer sound card currently on the market. Our only reservations are in the area of frequency response, which is probably related to the presence of the DSP (which also has its advantages). Whether you need this kind of performance obviously depends on how you use your PC where sound is concerned. If all you do is listen to 128 kbps MP3s, a sound card like this is obviously overkill. On the other hand, for enthusiasts who work with high-quality sound and/or are musicians, the card's performance could be a deciding factor.

Games And 3D

The Audigy 4 makes very low demands on the processor - less than 6% in the worst case, as measured with RightMark 3DSound. In practice, the results were similar to the results of our tests with the Audigy 2 ZS. So presumably the Audigy 4 will offer the same performance with games (allowing for contingencies) as the Audigy 2 ZS, since it shares the same EAX version.

In Conclusion

The Audigy 4, probably the last in the Audigy series, is undeniably the most advanced and most universal consumer sound card. It's obviously aimed at sound buffs who don't want to be hampered in the areas of games and multimedia . But it's certainly in a narrow market niche, as the rather steep price confirms.

Creative I-Trigue 3600: Big Ambitions, Small Design

Jean-Pierre Roche — Fri, 11 Feb 2005 18:03:16 +0000

A First Look

First and foremost, Creative Trigue 3600's satellites represent the most distinguishing feature about the kit. The speakers are small columns with a careful, modern design, housing three micro drivers each. At the very least, they look good next to a flat-panel display or notebook for those taking a minimalist approach for their PC setup.

The finish is luxurious-looking, though it can be misleading - the columns have what looks like an adjustment knuckle above the base, which in fact is intended to serve as a decorative element. It would have been nice to be able to orient the units better.

Creative has stuck with its usual design choices elsewhere - the subwoofer is familiar looking, though there's a decorative faceplate that mimics the shape of the satellites. There's also the usual external transformer, which is a good solution technically but adds to the tangle of cables you have to drag around with your box.

Technical characteristics:

Bass power output : 24W
Satellite power output : 2 x 8.5W
Frequency response : 30Hz - 20kHz
Inputs : 2 line
Headphone jack : on control unit
Satellites : 2 x 3 1" micro drivers
Subwoofer : 6.5" (16.5cm)
Satellite dimensions : 2.4" x 6.4" x 3.9"(60 x 162 x 100mm)
Subwoofer dimensions : 7.5" x 11.8" x 11" (190 x 300 x 280mm)

Domesticated Micro Drivers?

Many manufacturers have chosen to use micro drivers to shrink down their satellite sizes. These devices are small loudspeakers that look like dome tweeters. Their advantage is that they're very small (generally 1" in diameter) and so are easy to use in very small satellite speakers. Several of them are required, since their small radiating area won't reproduce relatively low frequencies with enough volume. Still, such drivers are fundamentally better suited for reproducing high frequencies than midrange and bass. And you can generally hear the difference - the sound is more or less heavy on the highs and very often lacks punch in the midrange and low midrange.

It's hard to find solutions to these problems. To get enough energy in the midrange frequencies, the technique most often used is to couple several drivers. This works well enough, but don't forget that it has disadvantages. In the upper part of the spectrum (the extreme highs), interference is inevitable. To get around that you'd have to find a way to suspend the fundamental laws of acoustics, and nobody has done that yet - at least not in a consumer product. To better reproduce lower frequencies (in the low midrange), a sophisticated loading system can be used - a kind of bass-reflex approach, but operating at higher frequencies. Such solutions have been used in the past on professional products (like the midrange speakers on some Electro-Voice studio monitors).

That's the solution Creative says they've used for the 3600, with a kind of labyrinth-type rear load. In practice the three micro drivers are mounted in parallel. Since their nominal impedance is 12 ohms, the total value works out to a standard 4 ohms. The rear loading, despite appearances, is common to all three - the three cavities and their baffles communicate. This design is problematic with the micro drivers. The diameter of their voice coils is equal to that of the membrane. This means that the membrane area available for the rear load is very small or even non-existent. The suspension may enter into the picture, but still the volume of air being moved will necessarily be very small. This means you can legitimately ask whether the complex loading system will really have much effect on the response curve. We'll talk about that later when we get to the measurements.

A Traditional Subwoofer

Except for the decorative face plate, which echoes the design of the satellites, the subwoofer Creative has used is traditional. It looks almost exactly like the ones used on other recent kits. The speaker is mounted on the side. In this case, it's approximately 6.5" (165 mm) in diameter with a big half-roll suspension that allows a long throw and uses a classic bass-reflex load with the port opening on the front surface.

The controls are all found on a little round unit that has a big volume knob that's very handy to operate and an adjustment for the relative woofer volume on one side. On the front are two 3.5 mm jacks for the headphones and an auxiliary line input (for connecting an audio player, for example). The main line input is on the back of the subwoofer cabinet, which is ideal for a fixed installation.

On The Graph And To The Ear

The 3600 delivered well-balanced response, but with a particular profile: The midrange shows a relative dip and the extreme highs are attenuated, with a hiccup at around 17 kHz corresponding to the space between the radiating surfaces of the micro drivers in the satellites. The lower end of the spectrum showed a drop at around 200 Hz. Turning the volume of the subwoofer all the way down, we could see that the satellites' output stops at around 300 Hz, dropping off very quickly below that point. We opened one of the satellite enclosures to trace the impedance curve, and found that the system's resonant frequency was a little below 300 Hz, which is coherent with the preceding measurement. After closing the satellite, the impedance curve did show a bass-reflex effect, with the tuning shifted upwards. This means to us that the sophisticated loading system Creative has used is only moderately effective. But it does seem to provide good output up to the resonant frequency, which after all is not so bad. But getting a system using micro drivers to work well with a subwoofer is always tricky.

The response showed good overall balance and the high-resolution graph shows no hiccups, which is a very positive point.

On this high resolution graph with the subwoofer turned all the way down, you can see that the satellites' response drops off at around 300 Hz.

With the satellite enclosure open, the impedance curve shows a resonance peak at around 300 Hz, which confirms the response-curve graph.

In normal configuration, the impedance curve of the satellite shows a bass reflex-like acoustic load.

The subwoofer itself shows a response curve centered at approximately 100 Hz, with rapid attenuation above 150 Hz. This would explain the valley in the low midrange. In the bass, this subwoofer concentrates on the 60 - 150 Hz area, with the sub-bass strongly attenuated. This approach is quite well suited to a system of this type, which doesn't have the power or the enclosure volume needed to reproduce very low frequencies.

The maximum possible volume is commensurate with the design approach. It's quite sufficient for individual listening close up, but not quite enough to fill a room.

Maximum volume: 108 dB SLP

Listening Test Configuration

Sound cards: E-MU 1820, Terratec Aureon Firewire
Acoustic systems: Creative Gigaworks, Logitech Z-2200

For listening at a "reasonable" level, once the subwoofer volume was adjusted, the 3600 performed well. The reproduction had good timbre, without overemphasizing the highs like many micro driver systems.

Naturally, where bass is concerned, you have to limit your expectations. The relatively low volume of the subwoofer enclosure can't match the breadth and depth larger models can deliver. It all depends on the type of music you listen to. Sometimes not a single song sounds good, other times almost everything does. Sound effects such as explosions and the like obviously lack the impact they have on a more powerful system.

The sound deteriorates if you try to crank up the volume. The limited amplification power and the capacities of the micro drivers add up to distortion that quickly becomes noticeable, along with metallic sound on sources that are subject to that kind of fault. Going a little farther, we could add that definition is limited in the midrange, but that's certainly the aspect that's easiest to accept. You don't expect speakers like these to compare to studio sound.

So the overall assessment is mixed, as we had expected. The 3600 is a possible choice if you're looking above all for a small-footprint speaker kit with modern esthetics, but sound buffs should choose models that perform better on the purely acoustical level. But of course, they're also bigger.

In Conclusion

Creative's I-Trigue 3600 is a speaker kit with a very small footprint and modern esthetics that has managed to reduce certain disadvantages of micro drivers, but it's still a compromise between esthetics and quality sound. It's a compromise you may be willing to make, but be sure of what you're getting before you make your choice.

A Prima Donna on PC: Creative Labs Audigy 2

Philippe Ramelet — Wed, 06 Nov 2002 18:00:18 +0000

Introduction

To keep its place as pioneer in sound, Creative Labs has to break new ground all the time. Challengers to Creative Labs' established leadership in multimedia sound cards are never very far behind. With the Audigy 1, Creative Labs strengthened its 3D sound advantage by the EAX Advanced HD, and took a decisive step in non-professional use with the inclusion of ASIO drivers and a rather timid incursion into the 24 bit/ 96 kHz domain. One year later, the release of the Audigy 2 has confirmed this move towards mainstream use and proves how clever Creative Labs can be.

Just take a look at its main new features and you will see for yourself:

Supports DVD Audio;
Plays at 24 bits/ 192 kHz;
Plays and records at 24 bits/ 96 kHz;
Dolby Digital EX decoding;
Seven analog outputs;
Supports 6.1 sound in games and movies;
THX Certification;
Signal-to-noise ratio of 106 dB;
CMSS 3D.

Audigy 2 And Audigy 2 Platinum

As usual, Creative Labs' Audigy 2 sound cards come in three versions:

Audigy 2:

The Audigy 2 is the basic offer. At $129, this card has the following connections:

Mini-jack stereo analog outputs: front and surround;
Mini-jack three-speaker analog outputs: center, subwoofer and center surround;
5.1-compatible S/ PDIF mini-jack output;
Line-in;
Microphone-in;
SB1394 port;
Internal Tad-in input;
Internal CD-in input;
15-pin MIDI/ game port on internal bracket;
SB1394/ FireWire connector;
AD-EXT connector for extra internal rack.

The software package includes the following features:

Creative Media Source;
Audio Stream Recorder 2;
Creative Diagnostic;
Mini Disc Center;
Creative Wave Studio;
Speaker Calibrator;
SoundFont Bank Manager;
Surround Sound Mixer;
Speaker Settings;
Soldier Of Fortune II: Double Helix;
Hitman 2: Silent Assassin.

Audigy 2 Platinum:

The Audigy 2 Platinum will cost $199. It has the Audigy 2 card and an internal 5.25" input/output rack to add the following connections:

Second SB1394 port;
Headphone output with volume control;
Optical and coaxial S/ PDIF outputs;
Optical and coaxial S/ PDIF inputs;
RCA x2 analog input;
Two-jack Microphone/ Line-in 2 input with gain control;
MIDI-in and MIDI-out;
Infrared port for IR remote control.

The software package is the same as for the Audigy 2, plus the following programs:

Steinberg Cubasis VST;
Native Instrument Traktor DJ;
Ulead 5.0.

The internal 5.25" rack is connected via a ribbon cable (similar to an IDE cable) and another round cable for connecting the SB1394 port on the outside.

Audigy 2 Platinum eX:

The Audigy 2 Platinum eX uses the same system as the Audigy Platinum eX, meaning a card and an external rack, but it has some extra technical features that will interest music-makers, especially the fact that it alone supports the ASIO 2.0 standard, and so it can handle recording and processing in 24 bits/ 96 kHz with Cubase VST. The basic Audigy 2 and Platinum only have ASIO 1, so they are limited to 16 bits/ 48 kHz in this respect. What's more, the external rack has been completely redesigned and will look like the Extigy.

The Audigy 2 Platinum eX is due for release early in 2003.

Audigy 2: Technical Details

The Audigy 2 architecture is based on the DSP Audigy 2 CA0102. This is a separate version of the Emu10k2 because it includes the following new features:

Supports DVD Audio playback: 24 bit/ 96 kHz Advanced Resolution 5.1 and 24 bit/ 192 kHz Stereo;
Dolby Digital EX 6.1 decoding;
Signal-to-noise ratio of 106 dB in playback;
6.1 sound in Direct Sound 3D games;
32 bit effects engine with real-time effects, mixing and 3D positioning;
64 hardware-managed DS3D voices;
Supports DS3D, EAX 1.0, 2.0 and EAX Advanced HD;
Supports SB1394;
16/ 24 bit 48/ 96 kHz input and output;
8, 16 and 24 bit recording at 8 kHz, 11.025 kHz, 16 kHz, 22.05 kHz, 24 kHz, 32 kHz, 44.1 kHz, 48 kHz and 96 kHz;
ASIO drivers;
2x16-channel MIDI hardware synthesizer;
64 hardware-managed polyphony voices;
Windows Media Audio 9 compatibility.

No doubt about it, the Audigy 2 is the most full-featured and versatile card on the market. It will change your PC equipped with a DVD-ROM player into a system complete with hi-fi, Home Cinema decoding, gaming 3D sound platform, digital video acquisition and 24 bit/ 96 kHz Home Studio. In short, a whole range of features to silence the nitpickers who still think that sound is the weakest link in computers. Such an orgy of features could make you think most people will have no use for many of them. True enough, but at least they're there, and it can't be denied that Creative has pulled off the impressive feat of combining them all on a single card managed by a single controller!

Apart from the Audigy 2 DSP, Creative Labs has used some new chips to ensure the card really does support 24 bit/ 96 kHz playback, recording and DVD Audio. The key element in this support is the Cirrus Logic CS4382. This is an eight-channel DAC (Digital to Analog Converter), providing 6.1 and 24 bit/ 192 kHz support for playing DVD Audio. Here are the features of this classy chip:

Eight channels;
24 bit conversion;
4 to 192 kHz sampling rate;
Dynamic Range of 114 dB;
Total Harmonic Distortion -100 dB;
PCM and DSD format support;
Volume control in steps of 1 dB (transition without clicks);
Simultaneous support of two synchronous sampling rates.

When Creative decides to go for 24 bit sound, they don't do it by halves. The CS4382 enables the Audigy 2 to support 24 bit/ 192 kHz playback and even reproduce sound on eight channels (5.1 for DVD Audio). And CS4382 is also compatible with the Direct Stream Digital (DSD) technology used for SACD encoding.

Another component not found on the Audigy 1 is the Sigmatel STAC9721. This is an AC97 codec designed on the whole for internal inputs since it is limited to a maximum sampling rate of 48 kHz. So, it acts as an internal DAC and uses delta sigma technology, the most usual for digital-to-analog conversion. Its signal-to-noise ratio is given as 95 dB, and the chip has a DAC and an ADC (Analog-to-Digital Converter) with the following analog inputs and outputs: four stereo inputs, two mono inputs, two stereo outputs and one mono output.

So What Is 24/ 96 For?

To understand the advantage of sound encoded in 24 bits and sampled at 96 kHz, here is a brief explanation of the way sound is digitized. When an analog sound is digitized, the analog flow is sampled at given intervals. At each of these intervals, the sound level is measured and represented by a numeric value. In CD Audio for instance, 16 bits are allocated for each value, so there are 65,536 values for one measurement (2 to the power of 16). Now, as digitization only accepts integers and not decimals, there will be an error, or, rather, an approximation when the analog signal falls between two integers that can be represented. This error is different for each value represented. The difference between the real value and the digitized one appears as superimposed when played, and is called "quantization noise." However, quantization noise is theoretically 96 dB lower than the maximum quality control parameter, which is infinitesimal compared to most of the inevitable interference observed in digitization. This being so, it would seem pointless to increase the digital resolution in order to decrease quantization noise, yet we shall see later on that this is not just theory.

To ensure there is no over-modulation during digitization, an ADC (Analog-to-Digital Converter) must reserve part of its resolution for what is called "headroom." And this is where the 24 bit system has the edge, because it retains most of its resolution (20 bits) whereas 16 bit headroom is only 14 bits at the most. And given that 24 bit resolution provides 16.7 million values to represent an analog flow, the quantization noise of a 24 bit converter is theoretically -144 dB, a truly negligible amount of interference.

So, the input signal in digitization is like this:

This signal is then broken down into a series of sampling periods:

After sampling, the converter eliminates the intermediate signals and rounds off those found by the sampling rate.

A value is then allocated to each signal; in 16 bits the value ranges from 0 to 16,536, and in 24 bits from 0 to 16,700,000. If a signal has a value that does not match an integer which can be allocated, the converter rounds it up or down to the nearest integer. This method is the source of the errors called quantization.

The converter next uses a reconstruction filter to rebuild a curve which is truer to the original than the one above. Note that our example is greatly exaggerated to make the demonstration more clear. After filtering, the curve looks like this:

The main point of this operation is to cut out the high frequencies, these being most inclined to generate errors, so a Low pass filter is applied to cut out sounds above a certain frequency. The fewer errors there are in digitization, the less need there is to cut out high frequencies. So, when 16.7 million values are available for each change in amplitude, it is easier to preserve the fidelity of the high frequencies. According to the Shannon theorem, the highest frequency that can be represented amounts to half the sampling rate. So, if the sampling rate is 44.0 kHz, the highest frequency that can be reached is 22.05 kHz. This cutoff frequency is also called the "Nyquist" frequency.

If the sampling rate is raised to 96 kHz, the Nyquist frequency rises to 48 kHz, making it possible to reproduce a much wider range of high frequencies. But let's not forget a very important detail in this respect: the bandwidth in the best of human hearing never exceeds 20 kHz and is around 17 kHz in adults, though a number of sound buffs believe that increasing the bandwidth beyond what can actually be heard substantially improves perception of sound because of the harmonics created by the sounds beyond the limit. This is known as "residual listening." Scientific experiments on this have never been able to prove once and for all the beneficial effects of residual listening, but we can establish some things about sound resolution and sampling rates:

If the aim is to digitize, work on, and recreate an analog sound, there is no doubt about the advantage of 24 bits/ 96 kHz. The object of the exercise being to retrieve the original curve in the end, you are more likely to do so if your source base contains as much information as possible. In this instance, a sound "captured" 96,000 times a second and encoded each time on a panel of 16.7 million values is better than one "captured" 44,100 times and encoded on a panel of 65,536 values.

For a more detailed explanation of this subject, we strongly recommend two online files: http://www.tonmeister.ca/main/ and http://www.terratec.de/4G/2496-en.pdf .

5.1, 6.1 And 7.1: A Speaker Multiplication Table

In movie or DVD sound, 5.1 means the recording has been made on five main channels - right, left, center, right surround and left surround - plus one for LFE (Low Frequency Effects), represented by the .1 in "5.1." When it comes to speakers, the terms 5.1, 6.1 and 7.1 represent the number of elements in the sound system. The difference between them is simple: it just depends on the number of surrounds - two for 5.1, three for 6.1 and four for 7.1.

Some DVD sound tracks use a variation of Dolby Digital called Dolby Digital EX. This format uses a matrix system, which includes a third surround channel based on the left and right surround channels of the conventional 5.1. This matrix system means Dolby Digital EX is still considered a 5.1 system. Especially because Dolby Digital 5.1 decoders can read these sound tracks, the only difference being that sounds encoded for the third surround channel are re-transcribed on the surround channels of the conventional 5.1.

So a Dolby Digital EX sound track can be read in 5.1 by a Dolby Digital 5.1 decoder. But the reverse is also true. You can get a 6.1 or 7.1 from a 5.1 sound track. The signals on the two surround channels are mixed and redistributed through all three or four loudspeakers. This distribution can be done either with a Dolby Digital EX decoder or a THX Surround EX decoder.

So you can see that the figure describing the recording is not the same as the figure meaning the number of loudspeakers in a sound system. With Dolby Pro Logic II, you can even play a stereo sound track on a multi-channel system.

Dolby Digital

In 1965, an American physicist and engineer named Ray Dolby founded the Dolby Laboratories in London. His idea was to develop noise reduction systems to improve sound quality for professionals and the general public alike. The name Dolby is now known throughout the world, and the surround sound standards he created are used both in movie theaters and private homes. First of all, a description of the two Dolby Digital ancestors:

Dolby Surround: This has three channels, two for the front and one for the rear, with a bandwidth of 100 Hz to 7 kHz.
Dolby Pro Logic: This is an enhancement of Dolby Surround with four channels, including a center one and two elements sharing a channel for the rear sound.

As for Dolby Digital 5.1, also called AC-3 (for Audio Code-3), this has six channels - two front, two rear, one for the center speaker, and one for the subwoofer. When a movie is shot, the sound effects and the voices are realized on five channels. Unlike Dolby Surround and Pro Logic, the bandwidth here ranges from 20 Hz to 20 kHz. The term AC-3 refers to a coding technology which eliminates sound data the user cannot hear and produces a Dolby Digital sound track coded on six channels. An absolute prerequisite for Dolby Digital sound is a decoder, such as the one on the Creative Labs Extigy, or else a sound card like Fortissimo III.

Dolby Digital uses a fixed sound compression method of about 1:12. This means that, however much sound there is to encode, compression will always be the same, so we have a compression algorithm with a constant output. The practical side of this is in the disk space, but the downside is that sound quality decreases as its quantity increases. But to counter this is the fact that the less space used on a DVD, the more space is available for different languages or bonuses, and this can compensate for a loss of quality. In general, AC-3 sound is coded in 18 bits, so the standard output of an AC-3 flow is 384 kbps (6 channels x 18 x 48 kHz). On restitution, the Dolby Digital decoder transmits with a delay of one millisecond on the front channels because the listening position is usually closer to the rear speakers than to the front or center ones. This optimizes simultaneous sound reception. With some decoders, you can adjust this delay to give the best listening configuration.

The main advantage of the Dolby Digital standard is that it is the digital audio surround standard for DVD. In the rules defining the DVD standard, no other kind of digital sound track can be inserted on a DVD unless there is also a Dolby Digital sound track. So you'll never find, say, a DTS sound track alone, and most DVDs only have the one digital sound track, the Dolby. This leads to the second advantage of the standard - it is virtually universal. The first movie with a Dolby Digital 5.1 sound track was Batman Returns in 1992. Since then, practically all DVDs have extended the standard.

Dolby Digital EX is an enhanced version of Dolby Digital 5.1 in that it has a support for an extra surround speaker or two behind the listening position. This means you can put your side speakers in the right position and gain in sound effects and immersion from the back. Remember, though, that Dolby Digital EX is not a "true" 6.1 or 7.1 sound standard because the surround channel is matrix-encoded from the conventional 5.1 surround speakers. The sound is recorded as in Dolby Digital, and the sixth channel is added when the initial encoding is done. The sound engineers view the film and decide which sounds should be moved to the rear, so the EX is definite progress. As for the argument over whether 6.1 or 7.1 is better, this is rather pointless. In 6.1, the rear center speaker produces mono sound. In 7.1, the two rear center speakers produce the same mono sound. The advantage of the Hercules Fortissimo III 7.1 and Digif alt=>ire 7.1 is that you can have either 6.1 or 7.1 depending on whether you want more or less. The choice between the two modes is a purely technical one: if you have a large room with lots of widely spaced listening positions, the 7.1 is best, otherwise the 6.1 is perfectly adequate.

DTS

DTS, for Digital Theater System, was introduced by Steven Spielberg with the release of Jurassic Park in 1993. So far, this standard applies more to the big screen than to the private home. It, too, is 5.1, with sound coded over six channels like it is in Dolby Digital. There are now many DTS-compatible systems around for speakers and sound cards that decode the standard by software. However, while DTS quality is undeniable, and even a bit better than Dolby, remember no movie comes out in DTS alone and Dolby is considered a digital sound standard while DTS is not.

The main feature of DTS is that its coding system favors sound quality over disk space. So a DTS sound track codes in 20 bits (specifications allow for coding in 16, 18, 20 and 24 bits) instead of the 16, 18 or 20 bits with Dolby. Compression uses a dynamic process where the compression rate varies with the amount of sound to encode. This rate ranges from 1:1 to 40:1, and generally results in better sound quality than Dolby Digital with an average rate of 1.5 Mbps. The main drawback, obviously, is that the sound track takes up much more space (about three times as much) than a Dolby one. So DVDs coded in DTS can only have one language and a limited number of bonuses. Until recently, very few DVDs had a DTS sound track, but there are a lot more around now, owing to the quality advantage this system has over Dolby Digital. This quality advantage is due mainly to the way DTS encodes dynamically, but also to other factors, such as the fact that Dolby Digital mixes the channels above 15 kHz at 448 kb/s and above 10 kHz at 384 kb/s. This means Dolby Digital can reduce the space needed for the sound track on a DVD and retain a maximum of bandwidth at high output, but to the detriment of overall quality. DTS encoding never mixes the channels. This remark is not intended to kindle an argument over Dolby and DTS, just to show that each format has opted for different encoding systems. Dolby Digital goes for disk space and bandwidth, while DTS prefers quality above all.

The DTS quality advantage also applies in 6.1 and 7.1, because only the DTS ES standard has discrete encoding on the sixth channel, meaning independent of the other surround channels and integrated during recording (on at least five sound effects mikes) and editing. But be warned: movies encoded in DTS ES Discrete are as yet few and far between, and what you mostly find is a DTS ES Matrix track which has a rear center channel matrixed into the left and right surrounds, as in Dolby Digital EX. So for the time being, there is only one true 6.1 sound system standard and it is not exactly mainstream.

Audigy 2: My Captain, My King!

With its four analog outputs and its drivers, the Audigy 2 can decode DVD sound tracks encoded in Dolby Digital EX. You need a DVD playback software like Power DVD Pro or Win DVD. It is not needed to get the multichannel version of your DVD playback software as the Audigy 2 drivers will perform the decoding job themselves. If you have a stereo or a 5.1/6.1 version the setting is the same: just switch the audio configuration to "S/PDIF Out". By the way, it's a pity Creative Labs still does not provide the relevant software with its cards.

The card was tested subjectively with DVDs encoded in Dolby Digital EX, like Star Wars Episode One: Phantom Menace and Lord of the Rings, and with DVDs encoded in Dolby Digital, like Alien Resurrection and Saving Private Ryan. There is nothing in particular to say about decoding itself - the job was done brilliantly and came very close to the quality and clear positioning results of a dedicated decoder. The advantage of 6.1 over 5.1 is patent - the center surround speaker bathes you in sound much better. An appreciable point is that music and background noise are on these speakers, and so free up the main surround channels for sound effects. However, the gain in the sound effects themselves is negligible because 90% of them are still on the standard 5.1 channels. They are hardly to be heard on the center surround channels.

As we already said, a system that can decode sound in 6.1 or 7.1 is also good for playing DVDs encoded in Dolby Digital 5.1. Positioning is not as good as with EX sound tracks, but still effective. The surround sounds are spread over the three speakers so listeners are more fully bathed in sound. This should be avoided in some movies, however, because it reduces the force of the sound effects.

Test Configuration And Methods

Hardware
AMD Athlon 1800 XP - 256 Mo PC2100
MSI KT7 Master
Enceintes Megaworks 510D - 210D - Inspire 6700 - Logitech Z680
DVD-ROM Toshiba SM1302
ATI Radeon 64 Mo DDR
Drivers & Software
DirectX 8.1a
Windows XP Pro

The Audigy 2 sound card was tested objectively and subjectively. The following software and DVDs were used:

Right Mark Audio Analyser 4.2
Audio Winbench
Dungeon Siege
DVD Test Platinum Series
DVDs encoded in Dolby Digital 5.1 and EX
Windows Media 9
Win DVD 4.0
Power DVD Pro EX
Creative Media Source

Audigy 2: Input/ Output Quality

The section on subjective and objective tests of converters and inputs/ outputs is usually at the end of our articles. But the quality of the Audigy 2 is so outstanding, especially of its digital-to-analog conversion, it deserves to be pointed out before all the other good features of this card.

In the subjective tests, whether of DVD, CD Audio or DVD Audio, the quality of the sound restored was the best we have ever heard from a multimedia sound card. We can even state that, when combined with high-class speakers, the Audigy 2 is better than most basic hi-fi systems and is, in some respects, nearly as good as professional-range sound cards. The sound from the digital-to-analog converter, and so from the analog mini-jack outputs, has unprecedented clarity and precision. Creative Labs had already taken a step in this direction with the first Audigy and again with the Extigy, but the Audigy 2 is way ahead in the quality of restored sound. We particularly noted how good it was in 24 bit/ 96 kHz and 24 bit/ 192 kHz playback.

The objective tests with Right Mark Audio Analyser proved this unquestionable quality. Just look at the results for playback in 24 bits/ 96 kHz with the Audigy 2 Rear Out - DMX 6Fire 24/ 96 Line in Rear test line:

Results Right Mark Audio Analyser
Frequency response (from 40 Hz to 15 kHz), dB:	+0.01, -0.05	Excellent
Noise level, dB (A):	-98.1	Excellent
Dynamic range, dB (A):	95.1	Excellent
THD, %:	0.0015	Excellent
IMD, %:	0.0069	Very good
Stereo crosstalk, dB:	-89.8	Excellent

Here is an overall table that speaks for itself, giving excellent marks at practically all levels.

Frequency range	Response
From 20 Hz to 20 kHz, dB	-0.15, +0.01
From 40 Hz to 15 kHz, dB	-0.05, +0.01

The card's bandwidth curve shows whether its frequency reproduction over the entire sound spectrum is balanced. The test is measured from 20 Hz to 20 kHz, the usually accepted limits of human hearing.

Parameter	Left	Right
RMS power, dB:	-89.8	-88.5
RMS power (A-weighted), dB:	-98.1	-97.4
Peak level, dB FS:	-76.3	-76.5
DC offset, %:	0	0

Audigy 2: Input/ Output Quality, Continued

The second test is of noise and interference levels, and measures in particular where the card's background noise is located and its sensitivity to interference from the computing environment: power supply, transformers and monitors.

Parameter	Left	Right
Dynamic range, dB:	87.2	85.9
Dynamic range (A-weighted), dB:	95.8	95.1
DC offset, %:	0	0

Related to the above test, the dynamic range test gauges the level of noise generated in the presence of a sound signal, in this instance, a sine wave (1 kHz at -60 dB) at card input.

Parameter	Left	Right
THD, %:	0.001	0.002
THD + Noise, %:	0.003	0.003
THD + Noise (A-weighted), %:	0.003	0.003

Parameter	Left	Right
IMD + Noise, %:	0.007	0.008
IMD + Noise (A-weighted), %:	0.005	0.006

Parameter	L <- R	L -> R
Crosstalk at 100 Hz, dB:	-85	-86
Crosstalk at 1 kHz, dB:	-86	-89
Crosstalk at 10 kHz, dB:	-85	-87

Audigy 2: Input/ Output Quality, Continued

The 16 bit/ 44.1 kHz tests gave positive results, though not the same level of quality. This is because when the Audigy 2 resamples all the 44.1 kHz flow rates in 48 kHz, corresponding to the DSP's internal frequency, rates above 48 kHz do not get resampled. So here we have a paradox: the Audigy 2 produces near-perfect sound in 24 bit/ 96 kHz playback (i.e. DVD Audio), but is not as good in 16 bit/ 44.1 kHz playback (such as CD Audio).

Results Right Mark Audio Analyser
Frequency response (from 40 Hz to 15 kHz), dB:	+0.05, -0.17	Very good
Noise level, dB (A):	-92.5	Very good
Dynamic range, dB (A):	87.3	Good
THD, %:	0.0018	Excellent
IMD, %:	1.393	Poor
Stereo crosstalk, dB:	-85.1	Excellent

You can see the test results are generally positive, except for the intermodulation one. This is evidently due to resampling in 48 kHz.

Frequency range	Response
From 20 Hz to 20 kHz, dB	-1.79, +0.05
From 40 Hz to 15 kHz, dB	-0.17, +0.05

Parameter	Left	Right
RMS power, dB:	-89.5	-88.3
RMS power (A-weighted), dB:	-92.5	-91.1
Peak level, dB FS:	-75.5	-75.4
DC offset, %:	0	0

Parameter	Left	Right
Dynamic range, dB:	86.3	85.4
Dynamic range (A-weighted), dB:	88.2	87.3
DC offset, %:	0	0

Parameter	Left	Right
THD, %:	0.002	0.002
THD + Noise, %:	0.009	0.009
THD + Noise (A-weighted), %:	0.008	0.008

Audigy 2: Input/ Output Quality, Continued

Parameter	Left	Right
IMD + Noise, %:	1.482	1.393
IMD + Noise (A-weighted), %:	1.333	1.253

Parameter	L <- R	L -> R
Crosstalk at 100 Hz, dB:	-80	-80
Crosstalk at 1 kHz, dB:	-84	-84
Crosstalk at 10 kHz, dB:	-76	-82

For your information, the restored sound is of the same quality on the card's three analog outputs, apart from a definite drop of about 10 dB in the signal-to-noise ratio on output 3. This does not stop this output from being better than the main outputs on middle-range sound cards.

Here are the 16 bit/ 48 kHz results:

Results Right Mark Audio Analyser
Frequency response (from 40 Hz to 15 kHz), dB:	+0.05, -0.17	Very good
Noise level, dB (A):	-96.6	Excellent
Dynamic range, dB (A):	92.1	Very good
THD, %:	0.0032	Very good
IMD, %:	0.0095	Very good
Stereo crosstalk, dB:	-89.2	Excellent

The following results show the quality of the Audigy 2 in 24 bit/ 96 kHz recording via the line-in stereo input. The test line was: DMX 6Fire 24/ 96 Stereo Out - Audigy 2 line in.

Results Right Mark Audio Analyser
Frequency response (from 40 Hz to 15 kHz), dB:	+0.01, -0.11	Excellent
Noise level, dB (A):	-90.1	Very good
Dynamic range, dB (A):	87.7	Good
THD, %:	0.0022	Excellent
IMD, %:	0.014	Very good
Stereo crosstalk, dB:	-74.8	Good

So no trouble with recording then; the Audigy 2 is a good card for 24 bit/ 96 kHz recording. The subjective tests also showed that a significant effort has been made with recording from an analog source. The sound is a bit less "plump" with less coloration than on the previous cards, and benefits from the extra precision of the 24 bit/ 96 kHz.

DVD Audio

Audio and video supports have evolved over the years. The audio world has settled for the CD, an accurate, highly practical and economical support, while video is changing directly from the VHS cassette to DVD. But the music industry and the DVD Forum prefers a uniform format, so they are now thinking they will sell us our favorite albums on DVD, and this is why the DVD Audio has come into being. A bit of technical information: DVD has the edge over the CD in its storage capacity. A CD can hold 80 minutes of music at most in a single format, whereas a DVD can hold ten times as much and supports all sorts of sound formats. In terms of data, an ordinary DVD has a capacity of 4.7 GB, but a double-layer DVD has 8.5 GB! A CD holds no more than 700 MB. The problem for DVD developers is whether this huge space will be used to increase the amount of music or its quality. The answer is a combination of the two since the innovative thing about DVD Audio is that its quality is improved because its output is higher.

On a CD, music is stored digitally in PCM format, and the format is invariable. The sound is encoded in 16 bits with a sampling rate of 44.1 kHz. The technology used for a DVD Audio is MLP (Meridian Lossless Packing), and data can be varied to raise quality or lower it if necessary. With higher encoding and sampling rates, the quality of the sound and its restoration are substantially better. Now on a DVD Audio, the sample size can be lowered by 12 bits or raised by up to 24 bits. The same goes for the sampling rate, which can be taken to 192 kHz in stereo or 96 kHz in multi-channel mode. Unlike a CD, a DVD Audio can contain music encoded in Dolby Digital and DTS. Most DVD Audio encoding will be in Dolby Digital, or in DTS, this being one of the main assets of DVD Audio, apart from the gain in sound quality.

Sony and Philips have also developed a format that can be described as halfway between CD and DVD Audio: this is called SACD, for Super Audio CD. While standard CDs encode in PCM (Pulse Code Modulation), SACD uses a new kind of encoding system called Direct Stream Digital (DSD). This system keeps filter adding down, and is less harmful to sound quality than PCM. Moreover, the sampling rate is much higher and can reach 2,822,400 samples per second. The catalogue of disks available is fairly extensive, but SACD means you have to have the player that goes with it, so that pushes prices up quite a lot. The last point to note is that, like DVD Audio, SACD can also be encoded on six channels to play a track in 5.1.

DVD Audio, Continued

To play a DVD Audio, the Audigy 2 has 5.1/ 6.1 decoding capacity and DACs compatible with 24 bit/ 96 kHz and 24 bit/ 192 kHz sound. The software package contains a DVD Audio Player which runs automatically when a DVD Audio is put in the DVD-ROM drive. By default, the player starts at the first track and you have to open the source selector if you want, say, to change from a stereo to a multi-channel track. Note that many DVD Audios have two layers: one with a 24 bit/ 192 kHz stereo track, and another with Dolby Digital or DTS 5.1 sound tracks.

The listening tests to compare the same album on CD and on DVD Audio -(we used "The Captain and Me" by the Doobie Brothers and Carl Orff's "Carmina Burana") showed definitely better quality in stereo mode. This is mainly due to the 24 bit/ 192 kHz encoding which provides unusually fine sound and, above all, a much clearer stereo image than does the 16 bit/ 44.1 kHz encoding of CD Audio. But beware; the advantage of DVD Audio depends on the quality of the speakers connected to the card. You will have a different effect with Megaworks 510D or Inspire 6700... and different again with hi-fi speakers.

It is important to note that as soon as the DVD Audio playback module is run, the card deactivates all the digital outputs, both on the card and on the input/ output rack. This is a restriction imposed by DVD Forum to prevent digital copying. This is pretty tiresome, especially if you own an external decoder and want to listen to your Dolby Digital or DTS tracks via the decoder and not via the card's software decoding system and analog outputs. Furthermore, it means you have to have two connections to your amplifier/ speakers, in case you need the digital outputs for the other uses. The quality of the analog outputs does, of course, mitigate this failing, but we hope this sort of restriction will be avoided in future. When you pay $199 for a sound card, you'd expect to be allowed to use all the connections.

EAX Advanced HD And 6.1 Sound In Games

Like the Audigy 1, the Audigy 2 is compatible with the DirectSound 3D, EAX 1.0, 2.0 and EAX Advanced HD 3D sound standards. The chip can manage up to four environments at the same time on 32 channels. It can also handle sources with different sampling rates, and, on top of that, can add a sound track encoded in Dolby Digital for things like background sound. Note the Audigy 2 supports up to 64 hardware-managed DS3D voices.

Here, in detail, are the strong points of EAX Advanced HD:

Multi Environment: In EAX 1.0 and 2.0, the environment effect depended on a given geometrical zone. But now each sound can have its own separate independent effect. The Audigy can manage and mix four different environments to give a real gain in lifelike results. Suppose you are standing still in a room; a sound of gunfire will be affected by the size of this room and the nature of its walls and floor, whereas the sound of gunfire coming from the next room, say a corridor, will be affected by the nature of that one.
Environment Morphing: This is one of the most significant developments in the EAX Advanced HD, formerly known as Dynamic Morphing. In the EAX 2.0, each environment was assigned a given place in a game and there was no mixing in particular when changing from, say, indoors to out. But with Dynamic Morphing, environments can merge in some places or one will dominate in others as the person moves around.
Environment Panning: This is a complement to Environment Morphing since it is used to add an environment giving the impression of a place about to come, such as a cellar or tunnel.
Environment Reflection: With this effect, sounds are not only transmitted by the source, but also redirected by the environment. Primary reflections and reverberations are controlled the way the Aureal A3D 2.0 did it some years ago.
Environment Filtering: Less explicit than the effects described above, Environment Filtering contains a series of data to hone and control the differences in tone between environments.

With regard to games, the most important new feature of the Audigy 2 is that you can play in 6.1 with any DS3D game. The result in GTA 3, Soldier of Fortune II: Double Helix, or Dungeon Siege is certainly convincing with a definite gain in sound immersion for the player. Positioning as such may sometimes be a bit fuzzy, but this is a rare occurrence. Games like Dungeon Siege with a music background gain hugely from the center surround channel. DirectX 9 is going to make 5.1 games the norm, and it is more than likely that 6.1 3D sound managed by EAX will soon be part of games.

3D Benchmarks

Here are the benchmark results from Audio Winbench, Half Life and Dungeon Siege. There's no more to add: Creative Labs is still CPU champion in applications using DS3D.

THX, ASIO And SB 1394

The Audigy 2 is the first multimedia sound card to be awarded THX certification. This must be a good thing, except that nobody at THX or Creative Labs could (or would?) tell us what that means for a sound card. When asked "What are the technical improvements made to the Audigy 2 to obtain THX certification?'' Creative Labs answered:

"THX certification is kept purposely very secretive so that product manufacturers cannot 'claim' THX compatibility unless it has actually been tested. It is highly unlikely that we would release data on what we had to change to get it as this simply tells our competitors the areas that they need to focus on."

To find out more about THX and Audigy 2, see the interview with Franco de Bonis.

ASIO 16/ 48 Drivers

Though the Audigy 2 has 24 bit/ 96 kHz compatibility, the ASIO drivers on the CD are ASIO 1.0 and not ASIO 2.0. They are limited to 16 bits/ 48 kHz for recording, so there is no difference with the Audigy 1. And the effects engine is in 48 kHz only. So you can do 24 bit/ 96 kHz recording but not stay in this resolution to apply effects because if you do, the flow will be resampled in 16 bits/ 48 kHz. You can resample it in 24 bits/ 96 kHz later, but you'll have all the quality defects that resampling implies. With regard to latency times, we noticed no special improvement compared to the Audigy 1, which was, in any case, quite up to the mark in this respect. So you can work with latency ranging from 10 to 15 ms on an Athlon XP1800+. We should just add that with ASIO multimedia drivers, you can do 24 bit/ 96 kHz recording, but you will lose the advantage of the very short latency time.

Musicians who would have liked to use the Audigy 2 and ASIO 2.0 drivers will not be completely disappointed, because in early 2003 Creative Labs plans to release an Audigy 2 Platinum eX with a completely redesigned external input/ output rack and a card with 24 bit/ 96 kHz compatibility in all these areas.

The SB1394 Is Still There

Like the fist Audigy, the SB1394 port on the card and on the facing for the Platinum are used to plug and play peripheral devices requiring fast data transfer up to 400 Mbps. Peripherals with this standard are coming in thick and fast. There are DVD camcorders and external burners, and much more. Another advantage is that you can network up to 63 PCs. In practice, this function is more likely to be used for games networks on two, three or four workstations.

We tested the Audigy 2 SB1394 port with an external hard disk and a CD-RW burner, with no trouble at all. The peak transfer rate we found was 7 MB/s, which is adequate but a bit below dedicated IEEE1394 controllers.

Audigy 2: Drivers

For the control panel and drivers, Creative Labs has gone for continuity and offers a raft of modules built around a core in three parts: EAX Control Panel, Speaker Settings, Surround Mixer Audio HQ. They have also included a speaker calibrator.

The EAX Control Panel contains all the options linked to DSP effects and Advanced HD software modules, such as Time Scaling, CMSS and CMSS 3D, as well as Audio Clean Up. We found Audio Clean Up very efficient in our tests, especially for noise reduction. You can use it for playing/ recording vinyl disks, but also for MP3s of middling to poor quality.

Audigy 2: Drivers, Continued

Creative has also come up with a new module called Mediasource, which contains the accesses to all the modules and some services. The DVD Audio Player has a rather well-designed interface, and displays all the information needed for playback.

Creative Labs Inspire 6700

Inspire 6700s are the first 6.1 PC speakers on the market. We ran our tests on a set of Megaworks 510D and 210D for the center surround channel, then on Inspire 6700s, which are supposed to be the perfect match for the Audigy 2.

They consist of five speakers with 8 RMS watts each, a center channel of 20 RMS watts, and a subwoofer of 22 RMS watts. The bandwidth is stated as ranging from 40 Hz to 20 kHz with a signal-to-noise ratio of 75 dB. The connections are all at the back of the subwoofer. There are three analog inputs, one of which is a triple combination for powering the center channel, subwoofer and center surround channel. Creative supplies a special cable for connection to an Audigy 2. If you have another card like the Fortissimo III 7.1 with four separate analog outputs, you'll have to dig into your pocket and set your mind to connecting the 6700 properly to your sound card. The Inspire 6700 has a switch to change from real 6.1 mode to emulated 6.1 mode and back, so you can use these speakers with a 5.1 card of Audigy 1 or other type and benefit from the center surround channel. The sound from the 5.1 surround channels is then mixed to the center channel. The result is quite good for music and some movies, but, as usual, you lose in 3D positioning. Creative has also taken pains with the remote control, which, though still wired, has an overall volume control and another for the low frequencies, plus a headphone input.

The subjective listening tests showed that Creative Labs has taken trouble with quality compared to the Inspire 5300. High frequencies have been overhauled and are much clearer and truer and saturation less noticeable when you turn up the volume. Medium ones have also improved; they are quite detectable but a bit less marked, so as not to drown out the other frequencies. The subwoofer uses SLAM technology and turns out deep, percussive low frequencies, but does not really reach the floor of 40 Hz claimed. We found it a bit under 50 Hz, which is not to be sniffed at. The stereo image and distribution are very adequate. In short, Inspire 6700s are excellent 6.1 speakers with a good quality/ price ratio. That said, though there is no doubt as to their intrinsic quality, we do wonder whether they are the "perfect match" for the Audigy 2. Don't forget that Creative Labs' new sound card restores sound of a quality far beyond what has ever existed in multimedia sound cards, so it deserves something a bit more effective, more like hi-fi. Anyway, don't worry, in early 2003 Creative Labs is bringing out a top-range Megaworks 6.1 speaker system at the price you would expect. It all comes down to money, and if you don't want to go mad, Inspire 6700 is a perfectly adequate solution.

Interview With Franco De Bonis, Worldwide Audio Sales/ Marketing Manager

Q: Are there major changes in the Audigy 2 DSP compared to the Audigy?

Is the better quality observed mainly due to DACs and other components changes, or is it due to improvement of the DSP?

Although loosely based on the original design, the Audigy 2 silicon has been improved over the Audigy. There are more gates in the chip to handle specific enhanced features. For instance, it was upgraded to support a clean 24 bit/ 96kHz and 24 bit/ 192kHz path, you will find that the Reverb algorithms are greatly improved, as is the performance of EAX ADVANCED HD in that we can now support 64 3D hardware voices. This improves overall gaming audio quality and performance. However, as you have observed, the biggest improvements in quality are clearly due to our implementation of extremely high quality components, such as the multi-channel DAC and ADC.

Q: To what kind of users is the Audigy 2 aimed?

Sound Blaster Audigy 2 is aimed at the PC users who are looking for a quality audio experience in whatever they do. Not just quality playback, but quality performance, too. Whether a gamer, music lover, musician, or MP3 enthusiast, Audigy 2 provides the features and quality for the best experience on the PC.

Q: What would you say to a gamer that already has, let's say, an nForce

motherboard with analog and digital ouputs, to convince him that an Audigy 2 would enhance his gaming time?

This is simple and obvious. Nothing can beat the experience of playing an EAX ADVANCED HD enabled game on a Sound Blaster Audigy 2! Not only does EAX ADVANCED HD vastly improve the gaming experience, but, coupled with 6.1 outputs, you really have a whole new gaming experience! Now, you have to remember that the nForce was originally developed for the X-Box. This means that the technology was developed for the audio to be played through the audio system in someone's living room (like every other console out there). Because of this, it achieves multi-channel audio playback by encoding the audio stream into Dolby Digital in real-time, which then travels to the external decoder to be decoded and played out. This achieves multi-channel audio but inherently adds latency into the playback of the audio stream, which for certain types of games is not a problem, but for any title that requires precise syncing of audio with the action, it is not a good experience.

In addition, there are other issues with the nForce, which our implementation resolves. A quick example is that we can decode Dolby Digital in our driver, giving users the freedom to choose any software DVD player, and we will be able to deliver multi-channel playback. With the nForce, a user must use the software DVD player that ships with the solution, as it is this software that the Dolby decodes. This means that, as titles appear with Dolby Digital encoded music, we will be able to decode that stream, mix it together with the DS3D/ EAX stream, and play it out. This is not possible on the nForce.

Finally, in talking to our customers, we have found that nobody is just a "gamer." Anyone who plays games on the PC has other interests, too. Whether it's simply MP3 playback or he or she is a real audio enthusiast who wants to experience DVD-Audio, or wants to watch Dolby Digital EX movies, or record audio and music, or even just wants to make home movies using a DV camera through our SB1394/ FireWire interface, Sound Blaster Audigy enables all of these. Our competitors provide a good experience in one area, but cannot match our performance or deliver in every area.

Q: The Audigy 2 DSP and the effects engine are still working internally in 48 KHz, is there any plan in the future to get a full 24 bits DSP without resampling?

There are always plans to improve our technology more and more. This is one of many areas we are considering based on user requirements, etc.

Q: You chose to support Dolby Digital EX but not DTS; do you think DTS

is not interesting, or is it just a matter of cost?

There are a number of issues to define/ resolve in supporting any technology. One is user requirement and the value it adds to a product. We are constantly appraising this and will react accordingly. Secondly are the business and contractual aspects. If the two can come together, then the technology can be rolled out. DTS may be an area of support for the future, dependent on user requirement and business clearance.

Q: The digital outputs are disabled during DVD Audio playback, are there

any plans to add more Digital Right Management and copy limitations to the Audigy 2 or any future product?

At Creative we don't look at it as adding "limitations" to our technology. We wanted to add DVD-Audio, which we feel (and I am sure all your readers will agree) adds a massive benefit to our product line. However, DVD-Audio incorporates certain copy-protection features that MUST be in place before support of the format is allowed. This is not unique to our card. Even standard DVD-Audio players are not allowed any form of "bit-for-bit" digital output while playing DVD-Audio. Some solutions use proprietary digital connections to deliver the digital content to their amp, etc., which means that you can't plug the digital output into a digital recording device.

Therefore as an "Enabler," we evaluate the benefit of a format against the limitations to the user. For instance, we also support WMA. This has requirements to support their DRM implementation, which we do. Remember that all these technologies do NOT stop you from making personal copies of unprotected media. They simply protect that content using the protection methods of the format.

In short, will we ever add generic "Copy-Protection" technologies to our products that stop users doing what they want with their music/ audio? No.

Will we ever add more formats that may incorporate stringent copy-protection technologies to protect itself? Most definitely, if the format is desirable to our users.

Finally, although there may be very stringent copy-protection formats, it is normally in the field of protecting "exact" digital copies. There is normally flexibility where analog/ low quality copies wish to be made. For instance, the DVD-Audio format does give some flexibility in the areas of 16 bit/ 44.1kHz Digital outputs, or for making analog copies. It was not possible to enable this from day one, but we will work to expose this and provide as much flexibility to our users as we move forward.

Interview With Franco De Bonis, Continued

Q: Audigy 2 offers full support of 24/ 96 for playback and recording,

excellent overall sound quality, DVD Audio support and Dolby Digital EX decoding; what's next?

I think a built-in microwave and coffee machine would be awesome ;-) Seriously, I can't answer this question, but rest assured that Creative is committed to showing the world that Sound Blaster can deliver features that make a real difference to the audio playback of a PC in terms of quality as well as enhancement, and to enable users to do new and amazing things with audio.

Only last week I visited our group of top engineers in Scotts Valley. We call this group the "ATC," which stands for "Advanced Technology Center." I work for Creative and you could say that I should be used to it all, yet I was amazed at the technologies that I witnessed. Some of the stuff will not be ready for at least 12 to 18 months. This just proves that there is far more to audio than CD or MP3 playback!

Q: The THX certification of the Audigy 2 seems rather unclear to most

of the users when it come to soundcards, can you tell us a bit more about it?

OK, I can see how some people may not understand the relationship between THX and the PC. Therefore, for a full explanation, allow me to start from the very beginning.

THX started their Quality Certification campaign in Cinemas. However, they didn't just certify the audio systems in the cinemas. To THX, quality audio starts at the recording stage. Therefore, they incorporated programs that would certify the recording devices used during filmmaking and the studios used to process the audio tracks. This is why you will often see movies that carry the THX logo. It basically means that if you watch a "THX" audio certified movie in a THX certified cinema, you are guaranteed a quality audio experience.

In the late 80s, a new phenomenon happened that started to greatly reduce cinema customer attendance. VHS swept across the world, and more and more people started watching movies at home. In response to this, THX wanted to port their quality audio experience into the home, so they started the same certification program for home-audio amplifiers, etc.

In the late 90s, THX started to expand the program to the PC, in recognition of the massive growth of PC-based recording products and the expected huge installed base of DVD-Video playback. Creative's Sound Blaster Audigy 2 is the first stand-alone sound card to achieve THX certification. The testing methodology is extremely stringent and very well protected to ensure that no audio device supplier can "claim" THX without having been tested and officially certified by them.

In essence, what this delivers to our users is an assurance of quality from the recording itself to the playback, whichever platform that may be. The folks at THX have put their stamp of approval on Sound Blaster Audigy 2, which makes the user's decision to buy our product that much easier.

Conclusion

With the Audigy 2, Creative has shown how skilled it is in multimedia sound cards, and has gone even further into product versatility. The Audigy 2 is a total success both for its features and its sound restoration capacity. We cannot say it enough: its converters and analog outputs are a model of their kind for most non-professional usage. And promoting DVD Audio is another good point, though it means others in the PC and hi-fi industry should work at making this support as affordable as CD Audio. Dolby Digital EX and the capacity to restore sound in 6.1 is also very welcome, though we would have liked DTS decoding, if only in 5.1. Most Home Cinema buffs will agree that more quality is better than more channels, though they are not mutually exclusive. Apart from this detail, the Audigy 2 is without any doubt a must-have multimedia sound card.

But this quality and all this innovation come at a price, literally, which is what you will pay for the card. Not everyone can afford to shell out $199 just because they feel like it. For someone who only plays games, the Audigy 2 is the very best sound card. But they will only be using a small portion of its capacities: the EAX Advanced HD, CPU performance and surround sound quality. All the other functions, however attractive, make it work out to be very expensive. So, our gamers would be better off with the Audigy 1, which has all the advantages of the Audigy 2 in games, with a slightly lower sound quality. On the other hand, if you use your PC for playing music or watching DVDs (as gamers may do), then you have no reason to hesitate, provided you use speakers worthy of the Audigy 2. And you will be satisfied with the Audigy 2 Platinum and its IR remote control and digital inputs/ outputs. Amateur musicians will also love its converters, the full 24 bit/ 96 kHz support and the ASIO drivers.

Creative Labs MuVo: The Singing Diskette

Stéphane Kauffmann — Fri, 13 Sep 2002 19:08:34 +0000

A Different Vision For A Personal Stereo

No one would argue with the fact that the digital personal stereo with memory represents the ultimate solution for listening to music while on the move. The MP3 personal stereo with memory represents the obvious choice for listening when you are out and about. There are no moving parts, so the device is largely shockproof and does not wear out. This means that it can happily be used while playing sports or working out, no matter how strenuously. Ill-treating the personal stereo is not a problem either because of its sturdy construction.

Another advantage is that the absence of any kind of mechanism and the economical power consumption means that it can be highly miniaturized, so it is light as a feather and has an enviable battery life. The device is almost the size of a credit card and weighs less than 3 1/2 ounces (100 grams), with more than ten hours continuous listening (standard). In fact, more and more manufacturers of personal stereos are opting for rechargeable batteries, although it's ridiculous. In view of the low energy consumption, a single AAA battery is sufficient. It only weighs a few grams, you can buy one anywhere, and it means you don't have to shlep a charger along with all your other stuff.

A few miserable party-poopers who are finicky music-lovers will always claim that MP3 reproduction is not good enough and that an audiophile would not be satisfied with the inferior quality. These arguments should be summarily dismissed. It's true that MP3 compression does not offer perfect results, especially as music quality varies considerably with this type of sound. But nevertheless, when listening on the move in conditions that are far from ideal, MP3 is perfectly acceptable.

Too Expensive, My Friend

The real hindrance to this type of personal stereo is the price. The bottom line is that for quite a short listening time you have to fork out quite a hefty wad. There are two reasons for this. As the name implies, the device uses flash memory for storing the tunes, and this type of memory is still too pricey, even though it is gradually getting cheaper.

The other reason is that manufacturers have an irritating habit of always entering the market at the top end. Let me explain: they begin by marketing top-of-the range, super-expensive items fitted with every conceivable gadget, in order to make as a big a profit as possible before bringing them down to a mass market level. Well, this is a vicious circle. The product is too highly priced so the public rejects it, and sales are low because everyone is waiting for an economical model worthy of the name.

Where Should Manufacturers Be Economizing?

They should certainly not stint on memory size. 64 MB, or an hour of high quality music, represents the strict minimum. Of course, it's easy to change tunes by plugging into the PC, but you wouldn't want to do that every single morning while on vacation or on a trip. For one thing, your computer may not be within reach. 128 MB represents an ideal compromise because two hours of listening means you can create a collection of your favorite pieces and not get tired of them within a few days. Obviously, 256 MB would be ideal, but you'll have to wait for a while for that. Entry level models have limited memory, generally as low as 32 MB but that's not good enough.

So the rest of the cost comes from the extras. Manufacturers vie with each other to see who can offer the most. A wide LCD screen, remote controls on the headset wire, a second screen using the same remote, heaps of functions, rechargeable lithium battery, brushed metal finish - and who knows what else. The question remains, do we really need all of this? I claim that we don't, if it means paying such a high price. In view of the number of tunes available, advanced navigation is not really necessary. Displaying the name of the tune is useful but not indispensable. In general, you know what you're listening to, as was the case for CDs for so many years. The power consumption is so low that a simple alkaline battery is quite sufficient. And what's the point of having a remote control when the device itself is miniaturized and within easy reach of your hand? For all these reasons, I have come to the conclusion that in order to get us to buy personal stereos with memory, all the makers need to do is remain within an acceptable price range.

The MuVo Response

Creative Labs started off from this premise, telling itself it needed to work on the essentials in order to reduce the costs. The MuVo has 64 MB of memory (a 128 MB version is marketed in the United States and may eventually reach Europe), and uses a single AAA battery. Its functions consist of just the basics. As a result, it is tiny and very light (28 grams). You really can take it anywhere. Even if you are wearing nothing but a tiny tanga on the beach, you could slip its elastic strap around your waist! Yet despite this, Creative Labs have not stinted on the audio quality.

The sound quality is perfectly comparable to that of other brand name personal stereos. The MuVo replays samples with natural sound and without losing any of the registers. The sound is slightly rounded toward the low notes and that's a good decision to make because listening with the earphones, the high notes tend to sound louder than the low notes. The headset that comes with the stereo is well-made and has not cut down on the spectrum, ensuring that every musical instrument can be heard accurately. On the other hand, it tends to veer toward the sharps. In any case, if I may give you a word of advice, whenever you need to listen with earphones, buy the Sennheiser MX500 ($17.95). They are high-fidelity and reproduce the sound evenly.

But back to the MuVo. The functions are limited to the strict minimum: start/stop, next/previous item, volume and carrying strap. Frankly, that's plenty. An equalizer is the only luxury that one might miss. The only other feature is a light that shows green when the MuVo is in play mode, orange when the battery is charging and red when the power supply has run out or when the MuVo is connected to a PC. The single battery offers a lifespan of continuous listening that we measured at 10 hours. That is really good performance and if you look at battery price, it's really not expensive and means you won't have to pack a charger in your suitcase for your next trip.

Two Birds With One Stone

But Creative Labs didn't stop being creative there (terrible pun!). They said to themselves that if a drive needs a USB connector why not integrate a USB socket as well and make it a USB key. So you just have to slide the white tab to disconnect it from the battery housing and you have a USB key.

Tiny as it is, all you need do is connect your MuVo to a PC running Windows XP or Millennium and it will recognize the device without any special drivers. A driver is supplied for Windows 98. Better still, when it runs under XP, if you activate the command, as soon as it is connected the contents window opens. The MuVo then acts like a hard drive. You can then drag the files of your choice on or off it. So it acts like a super-diskette that will enable you to transport document and image files and game updates. Even when it's being used as an MP3 player, you don't need one of those complicated utilities to upload files to the device. All you have to do is copy the MP3 or WMA files, and once the battery housing is reconnected, you can listen to them. It would be hard to make it simpler!

Of course, this is not the most high-speed USB key on the market but the transfer time is acceptable. It takes 45 seconds to load 10 MB. The quickest keys, such as the Disk On Key, do this in 15 seconds. Loading the full 60.4 MB of the formatted MuVo will thus take around 5 minutes, depending on the number of files. That's still quite acceptable.

A Brilliant Idea

The suggested retail price of the MuVo 64 is $149 (179 euros), but you'll find them being sold on the Internet in the United States for $115. You'll have to wait for it to become available in Europe, because it is unlikely to be marketed before the end of September. It would have been nice if the product had been less expensive, but quite honestly, the product is a stroke of genius.

The idea of having a miniature, fast super-diskette that can be used as a portable hard drive for transporting data during the week, and, at the same time, serves as a miniature MP3 reader for the weekend, is an intelligent combination of uses, something that is long overdue. Of course, it may not have a high-fidelity, top-of-the-range sound, but in view of the versatility and the cost, that's a price well worth paying.

Specifications

Name	MuVo
Manufacturer	Creative Labs
Functions	USB key and MP3 reader
Music Formats	MP3 and WMA
Memory Size	64 MB
Connection	USB
Weight	28 grams
Power supply	1 AAA battery
Accessories	Earphones,Carrying loop
S.R.P.	US$149 (179 euros)

Raising PC Audio Standards To Hi-Fi Levels: Audiotrak Maya 7.1 Gold and CARDamp

Patrick Schmid — Fri, 30 Nov 2001 18:06:33 +0000

Introduction

The future seems to be a bit uncertain for sound card manufacturers. Only a few years ago, any computer that was meant to play sound had to be equipped with a sound card - today, most motherboards come with basic sound features, making it difficult for the industry to develop affordable alternatives that are able to provide real benefits.

Some of you may still remember the good old Adlib synthesizer cards that were the first companions we had in our early computer gaming days. After that, Creative Labs dominated the sound market, thanks to its Sound Blaster standard. Creative's development path for Sound Blaster was relentless. The first Sound Blaster (8 Bit mono) was soon replaced by Sound Blaster 2.0 (8 Bit stereo). Sound Blaster 16 (16 Bit stereo) followed, and than was enhanced by MIDI capabilities and surround sound (AWE32, 64, PCI128, SB Live!), and now we have the highly touted Sound Blaster Audigy .

Today, the required hardware for sound output can be put into a tiny chip, namely the AC97 codec. Usually, the CPU has to process most of the data load - but at today's performance level, that's not an issue.

So why should one buy a dedicated sound card if on-board solutions provide satisfactory features? We will take a look at some of the advantages of an add-on card, such as multi-channel inputs and outputs and a high dynamic range.

Audiotrak is one company that focuses on an issue that all sound cards suffer from: the power deficit. Usually, integrated amplifiers at 2-3 W output are just about good enough to attach headphones or to connect the computer to your stereo, but you are on your own if you want to attach two hi-fi speakers directly. You can either go and buy a computer speaker system or take a look at CARDamp - it could help you out.

On-Board Sound Vs. Dedicated PCI Sound Card

The Audigy - Creative's latest sound chip model.

Though AC97 codecs support multiple sound channels and high sampling rates, and additionally have excellent compatibility due to support for Microsoft's Windows Driver Model, they are still lacking in quality. Users that primarily want to hear application or Windows sounds and listen to a MP3 file or CD from time to time won't benefit from an additional sound board.

But those who like to listen to orchestral music or similar types of music at high volume will appreciate sound hardware with a high signal-to-noise ratio. In addition, all advanced sound boards come with support for at least four speakers - the Maya 7.1 Gold actually supports eight (seven speakers plus subwoofer). Both factors will noticeably increase the sound experience.

Dedicated sound boards also come with several line-in and line-out ports, either analog or digital (coax or optical), ensuring perfect connectivity to other sound hardware (CD or Minidisc player, DVD player) - yet the main application for line inputs might be simple music recording. Thanks to digital audio extraction software today, you don't need to attach a CD player to your sound card line-in in order to record music. Instead, you can simply "grab" audio data to wave files on your hard drive without any loss of quality.

Many people tend to think that dedicated sound cards put less of a burden on the CPU, which is simply not true. Sophisticated sound effects and multi-channel output definitely consume more performance. And when simple stereo output is required, the differences are too insignificant to be worth mentioning.

The Maya 7.1 Gold: A First Class Sound Board

The Maya 7.1 Gold comes with a short manual, a driver disk and a CD with Power DVD 3.0. Unfortunately, there is no special software that would allow you to enable or to configure special features. Instead, the whole sound card is based on the Enhanced Windows Driver Model - which makes sure that it will work under all common Windows operating systems (Windows 98 SE, Windows ME, Windows 2000, Windows XP) and all applications that settle on that.

Installing the card is very easy. After plugging it into a free PCI slot, Windows will detect the new hardware and ask you for the appropriate driver. The system needs to be restarted before you can use the Maya 7.1.

The Maya 7.1 Gold: A First Class Sound Board, Continued

Here you can see the back side of the Maya 7.1 Gold with its various connectors. Each 1/8" minijacket is a stereo connector (for two channels each). You have a total of eight analog outputs and two analog inputs plus a microphone input. At the right side you can see the digital (optical) output - still covered by the cap protecting it. This digital output can of course be used to loop any DTS/AC3 signal to Dolby Digital and/or DTS devices (5.1 or 6.1). Don't worry if you don't have optical inputs at your receiver or amplifier: The Maya 7.1 also comes with a coaxial TOSLINK output which is placed on the sound board. You will have to make use of a small adapter module in order to have that output accessible from the back of your computer. Audiotrak is currently working on this module which should be available soon for below $30.

Reading the technical specifications (see the link below) you will see that Maya 7.1 is trimmed for high quality output rather than input - the input AD converter works at 18 Bits, while the DA converter for output is a 20 Bits type.

Here's the connector "panel" which is placed on the upper side of the Maya 7.1 Gold. There are the CD and AUX line-ins, digital line in and out (for AC3/DTS use as explained before).

CARDamp: Change Your Computer Into A Stereo!

Some of you may ask, what's this for? Simple. The CARDamp will add the features of a small amplifier to your computer. Simply install it into any free slot (it won't use a PCI slot, it just needs an empty slot, attach the power cable (standard 5.25" power plug from your power supply) and connect the line-out of your sound card (Maya 7.1 Gold or any other model) with the cinch line-in of the CARDamp. Now, you only need two hi-fi speakers. A pair of cables (2m each) are included.

In addition, you will get a short manual plus installation instructions as well as a y-cable to attach the CARDamp to your power supply. Though the amplifier "only" provides 2x 20 Watts, Audiotrak recommends a power supply with at least 300 W.

That's the amplifier board. The upper two connectors are for cinch input, the lower two for speaker output (left, right).

Specifications (taken From The Audiotrak Website)

Maya 7.1 Gold

2 analog in, 8 analog out
micro in
internal aux and CD input
G9 connector (6 channel analog out)
TOSLINK digital optical output
Sample rates between 8 and 48 KHz
5.1 channel surround support
7.1 channel surround ready
Enhanced Windows Driver Model based
18 Bit AD converter and 20 Bit DA converter
90 dB(A) dynamic range

CARDamp

2x 20 Watts output
THD: Less than 0.05%
Frequency response: 15 Hz to 50 KHz
Efficiency: 85%
Cinch input to connect to sound card
1/4" phone jack outputs for connecting speakers
300 W computer power supply recommended

Conclusion

At a price of $129 for the Maya 7.1 Gold and $99 for the CARDamp, these two components are not very expensive. Though Maya does not come with lots of fancy features, it offers many ressources including line inputs and outputs as well as support for Surround Sound.

Some people may ask "Why didn't they implement a Dolby Digital 5.1 decoder?" The Maya 7.1 Gold is ready for native multi-channel surround sound (as supported by Power DVD 3 which is included), but does not support Dolby Digital directly. Instead, Audiotrak favors the approach of looping the AC3 or DTS signal through the digital output (optical or coax) directly to a Dolby Digital decoder or receiver. That's usually the best way.

At a dynamic range of 90 db(A), Maya provides some of the clearest signal quality of all sound cards available. On-board AC97 solutions usually provide between 75 and 85 dB(A), which is simply not enough for everybody who wants crystal clear recording or playback at almost all volume levels.

The CARDamp, on the other hand, is an add-on that does not have anything to do with the sound card. You could basically use it to attach even a Discman or any other device that can be attached via cinch cable. The normal use is, of course, looping the line-out signal of your sound card into the CARDamp in order to make use of monitor speakers rather than using any sophisticated PC speaker system or expensive stereos. 2x 20 Watts should be enough for home use, and the sound quality is pretty good as long as you do not exceed approximately 3/4 of the possible amplification power.

More information can be found on the Audiotrak website.

http://www.audiotrak.net/eng/index.html

More Than A SoundBlaster

David Stellmack — Tue, 25 Sep 2001 19:06:07 +0000

Introduction

The world of sound cards took a big hit last year when Aureal Semiconductor, Inc. went into Bankruptcy Court in April. Aureal, who had been in litigation with Creative Labs over alleged patent infringement, obtained a favorable ruling in December 1999, which vindicated Aureal from patent infringement claims. However, even this favorable ruling did not save Aureal from assimilation by what they could only consider at the time to be "The Borg."

Aureal was Creative Lab's main competitor in the sound card market. After Creative Labs purchased Aureal's assets from the Bankruptcy Trustee, one of the main sources for OEM sound card chipsets dried up. Subsequent to its purchase of Aureal, Creative has said that it does not plan any additional drivers or support for Aureal owners. Aureal produced several great chipsets, but they always seemed to have problems with drivers that were never quite resolved. Many people still feel that Aureal's 3D positional audio A3D technology was far ahead of anything else that has been developed so far. Microsoft has developed new Aureal drivers that will be included with Windows XP. However, Microsoft only included basic functionality at best, which will not compare to the drivers and control panels that have been developed for the majority of sound cards today.

With Aureal gone, several sound card manufacturers have had to look elsewhere for chipsets. With the introduction of new products from Creative Labs that build upon their success in the sound card market, anyone considering products other than a Sound Blaster sound card will not have many options. Most dealers devote the vast majority of their shelf space to the Creative Labs products.

Many people have asked me, "Why would I use anything other than a Sound Blaster?" People continue to tell me, "The Creative Lab's Sound Blaster is the standard in sound cards, and if all you need is basic audio functions, just save a few bucks by buying a motherboard that has integrated audio." It is true that most new motherboards do offer basic integrated audio (as an option in many cases), and that for many users this is more than enough. Another solution that is becoming more prevalent due to the inclusion of CNR and AMR slots in current motherboard technology is to use one of these slots to host a sound card, but this opens an entirely new can of worms. However, if you still want audio performance and features, then you must look beyond integrated audio or CNR/AMR technology.

CNR/AMR Audio Issues

The introduction of CNR and AMR slots on the motherboard were supposed to help vendors lower costs and develop sound cards to use these slots, but so far very little has happened with regard to these slots. Battles among system makers and developers have not yielded a clear standard between the CNR and AMR technologies. Some motherboards have the CNR slot, while other motherboards continue to use the AMR slot, and still other motherboards do not offer either of these technologies. If this is confusing to you, you are not alone. If you need only basic sound, are not overly concerned about performance, and your motherboard happens to have one of these slots, this is an option, but finding a compatible card for your CNR/AMR slot could present a challenge.

One of the sound cards that use the CNR slot is Analog Devices' SoundMAX card, using Analog Devices' AD1885 coder/decoder (CODEC). The specifications for the SoundMAX using the CNR are: 1024-voice wave table, environmental reverb and multi-channel extensions supporting up to 6 channels of playback for 5.1 Dolby Digital, EAX and A3D. Recently, Guillemot announced a new collaboration with Analog Devices on the development and marketing of new CNR audio cards based on the SoundMAX technology. We will have to wait to see what this collaboration yields. But prior to moving to a sound card that supports the CNR or AMR technology, I think the first question to be considered is the following: "Will this move create another WinModem type CPU performance hit that I can afford?" Since CNR and AMR technology are not the focus of this article, we will save this discussion for another time. However, I wanted to include in this discussion what other sound card technology is currently available for CNR/AMR.

Cirrus Logic SoundFusion DSP

Sound card vendors got a big boost late last year when Cirrus Logic introduced the new CS4630 SoundFusion DSP. Turtle Beach chose the CS4630 DSP for use in its new Santa Cruz sound card. Guillemot, through their Hercules line, is using the CS4630 in the Game Theater XP. Guillemot is also using the Cirrus Logic CS4624 DSP in the Hercules branded Gamesurround Fortissimo II. Some motherboard vendors are using the SoundFusion DSPs for integrated audio on several motherboards.

The Cirrus Logic CS4630 SoundFusion DSP is an upgrade to the CS4624 PCI audio accelerator. With support for legacy compatibility modes, the CS4630 enables real mode DOS compatibility within PCI-only audio subsystems. This device, combined with application and driver software, provides a complete system solution for hardware acceleration of Microsoft's DirectSound, DirectSound3D, DirectInput, and Wavetable Synthesis. The CS4630 is based on the Cirrus Logic CrystalClear Stream Processor (SP) DSP core. The SP core is optimized for digital audio processing, and is powerful enough to handle complex signal processing tasks such as Sensaura 3D, 4-channel output, and hardware wavetable synthesis. The SP core, is supported by a bus mastering PCI 2.1 interface and a built-in dedicated DMA engine, with hardware scatter-gather support. These support functions ensure transfer of audio data streams to and from host-based memory buffers, providing maximum performance and minimal host CPU loading.

Most of the major features of the CS4630 are also found in the CS4624. The biggest difference between the CS4630 and the CS4624, from what I can understand, is that the CS4630 uses a 128-stream DMA interface and has 420 MIPs SLIMD DSP architecture with increased internal memory. The CS4624, on the other hand, uses a 96-stream DMA interface and has 300 MIPS SLIMD DSP architecture.

Fortemedia FM801-AU

Another chipset that OEMs are now using for sound cards is based on the Fortemedia FM801-AU chipset. Long time motherboard manufacturer Abit chose the FM801-AU for use on its new AU10 sound card to make its entrance into the sound card market. You can also find the FM801-AU chipset in the Jaton SonicWave SR4 and SR6.

The FM801-AU uses an HSP (host-based signal processing) hardware/software architecture. The FM801-AU offers support for Direct Sound, WaveTable, and Direct 3D positional audio. Because the FM801-AU is an HSP solution, like a WinModem it requires the CPU to do part of the processing. The FM801-AU offers PCI 2.2 interface with bus master including scatter-and-gathering capabilities, Real Mode DOS Sound Blaster support, built in music synthesis for Adlib compatibility, built in sample rate converter with digital mixer, multiple speaker support, S/PDIFF digital output, Direct Input support, MPU-401 port, 64 voice software wavetable, and HSP synamic 3-D positional audio support.

Although we intended to review at least one card based on the Fortemedia FM801-AU chipset, we were unable to obtain a card for review before this article ran. I felt that it was important to include some background on the FM801-AU, but I can't offer any comment as to its performance on our benchmarks. We hope to receive a card based on the FM801-AU in a future article.

Philips ThunderBird Avenger

Philips has introduced the ThunderBird Avenger DSP and has released three sound cards using this DSP. The Acoustic Edge, Seismic Edge, and Rhythmic Edge round out the three offerings from Philips. From my understanding, the ThunderBird Avenger DSP, which is also known as the SAA7785, is available for OEMs to build sound cards upon, but to the best of our knowledge, none have materialized to date. This leaves Philips as the only one building sound cards around this chipset.

The SAA7785 ThunderBird Avenger, armed with QSound's advanced QMSS, transforms ordinary stereo games, movies and music to 5.1 speaker output. An integrated S/PDIF OUT connects to audio equipment and S/PDIF IN support provides digital connection from a CD player or other digital audio equipment. The ThunderBird Avenger supports redirection of up to 5.1 streams from PCI to USB or IEEE 1394 devices, full hardware acceleration of DirectSound, 3D audio, music synthesis and gameport functions. Philips also claims to have an industry-leading low CPU consumption using the ThunderBird Avenger. The ThunderBird Avenger offers second generation ActiMedia programmable DSP architecture. The ThunderBird Avenger supports the following standards: 2/4/5.1 speaker/headphone 3D algorithms, Qsound3Dinteractive positional 3D, QsoundMulti-Speaker System, Qsound Environment Modeling, I3D Level 2.0, EAX 1.0/2.0 Compatible and Qxpander stereo-to-3D remapping. The ThunderBird Avenger offers processing up to 512 simultaneous inputs, including 356 DirectSound streams and up to 96 concurrent CD quality 3D streams. It also offers 64 voice hardware wavetable.

Creative's Sound Blaster Dominance

Creative Labs has been making sound cards in their Sound Blaster product line for a long time. If you visit the sound card section at your local retailer, you will note that Creative Labs Sound Blaster products dominate most of the shelf space. This is due, in part, to the fact that Creative offers a complete line of sound card solutions for nearly every application and budget. The down side of this near monopoly of retail shelf space by Creative is that other sound card companies find it difficult to compete with Creative.

Creative currently claims a 70% market share in the sound card market, with a claimed installed user base of over 120 million Sound Blaster users. With this kind of dominant market share it is easy to understand why most people choose Creative for their sound card. Creative also owns Digicom Systems, Inc., E-mu Systems, Inc., Ensoniq, Cambridge SoundWorks, and the assets of Aureal.

Creative's Sound Blaster Live! Platinum 5.1 is powered by the EMU10K1 DSP that was developed by E-mu Systems. The EMU10K1 is unique in the fact that the firmware on board the DSP can be updated. This allows Creative to re-program or upgrade the DSP if and when new features become available. Creative has announced a new DSP called the Audigy. It is still a little early to know much about the Audigy beyond what has been posted on Creative's web site. What we do know about it is that it utilizes 32 bit Multi-Effects DSP that will use Creative's EAX Advanced HD, and Creative claims that it has four times the processing power of the EMU10K1. Due to the limited amount of information available, at this time I do not recommend that you put off the purchase of a new sound card based on the initial reports on the Audigy DSP.

Creative's EMU10K1

Creative's EMU10K1 has a 64-voice hardware polyphony with E-mu's patented 8-point interpolation technology. The EMU10K1 will support up to 1024 voices polyphony with multi-timbre capability. The EMU10K1 includes real-time digital effects support for effects like reverb, chorus, flanger, pitch shifter, and distortion across any audio source. It uses Dolby Digital 5.1 decoding to 5.1 speaker channels in both analog and digital modes and supports Creative's Multi Speaker Surround, which allows any mono or stereo source to be placed in 360 audio space. It employs hardware based EAX effects using user selectable DSP modes that can simulate acoustic environments.

One other issue important to consider with the purchase of any sound card is how many IRQs the card will use and whether the card use can use any IRQ. The general rule of thumb is that a sound card that offers DOS Mode Sound Blaster Emulation is going to require two IRQs: one IRQ for the card itself, and a virtual IRQ that is devoted to the Sound Blaster emulation mode. On my PC, I don't run any DOS based software that requires a sound card and I don't use the DOS Mode Sound Blaster Emulation, because it steals an IRQ that I could devote to something else. Some sound cards make this process easier than others; some cards will refuse to run without the DOS Sound Blaster Mode Emulation being active. Generally, the process of disabling the DOS Mode Sound Blaster Emulation isn't very well documented. While I have always felt that if you are not playing games under DOS, the card makers should make it easy to get rid of the DOS mode support, I am sorry to report that this isn't always the case.

Windows XP And Microsoft's Audio Support

With so many companies exiting the computer business, we attempted to get a clear direction from each company on the status of Windows XP driver support. In some cases, this was very easy because these companies already have beta Windows XP drivers posted on their web sites. In other instances, Windows XP has a basic function driver that is included with Windows XP itself. The majority of the time, a Windows XP basic function driver isn't going to provide all of the features that were included with the sound card's control panel application. Future driver support is important as well, so we did our best to answer that question. One other issue to consider is that, in some cases, the manufacturers only provide a basic functionality in the driver. This was the case in Windows NT Workstation 4.0 with the cards that supported that OS. No card in this review claimed to offer direct Linux support. Although it is possible to use some of these cards with Linux, we didn't really examine which ones will run under Linux.

With so many sound standards to support, it seems amazing that all of these cards support most of the popular standards. But do they? Microsoft developed Direct Sound 3D (or DS3D) to provide simple positional audio. DS3D does allow the use of extensions, unlike Direct3D. If your sound card doesn't have direct support DS3D, Microsoft has provided a simple software 3D sound engine, but it is very CPU intensive. This software 3D sound engine really isn't that good at placing sound, in my opinion, and it is for this reason that most software publishers choose to use 3D sound engines such as A3D or EAX. It is very important to note that just because a sound card claims to support DS3D, this does not mean that the sound card will not bog down your CPU for 3D sound processing. With DS3D, sound streams are converted into algorithms that the sound card manufacturer or chipset developer has licensed or developed. These algorithms are often better at placing the 3D sound and most often use less CPU.

What complicates the issue even more is that most sound cards can't accelerate more than a fixed number of 3D sound streams, and once these streams are exhausted the sound card reverts to using the MS engine with non-3D sound. Many cards support other sound formats by way of conversion. Support of A3D 1.x is done by converting the A3D 1.X calls to DS3D. This will work in most, but not all, A3D 1.X games. With Aureal no longer around to offer developer support for the A3D API, it will most likely die, so this will not be a major issue in the future.

Now that we have presented a general overview of all of these DSP technologies and a basic understanding of how Direct Sound 3D processes sound, let's look at a few cards and see if it really is worth considering anything other than a Sound Blaster sound card.

The Cards

Creative Labs - Sound Blaster Live! Platinum 5.1

The Creative Labs Sound Blaster Live! Platinum 5.1, or the SBLP, as I like to call it, is fast becoming one of the most popular sound cards of all time. The Sound Blaster Live! Platinum is available in a variety of configurations and packages to suit almost any consumer taste.

Although we only look at the SBLP in this review, it should be noted that all of the "Live!" Sound Blaster series cards are based on this board. The major differences are with the software bundle and the included extra features such as the Live! Drive with IR support. It is possible to purchase a Sound Blaster Live! and upgrade it with the Live! Drive. However, here is a point I can't stress enough: make sure that you get a card that is upgradeable, because from what I am told, while some of the OEM or white box cards have the Live! Drive IR connector on the card, the Live! Drive connector is disabled.

Purchasing just an upgradeable Sound Blaster Live! and upgrading it later will not save you any money; in fact it might cost you more in the end when shipping is added in to the cost. This option does lessen the initial cost of the Sound Blaster Live! and does provide future expandability that many sound cards lack. As far as performance, we didn't see any performance difference between Sound Blaster Live! cards with the Live! Drive and cards without the Live! Drive. So, this is something to take into consideration before you make your purchase.

Data Transfer Specification	PCI 2.1 Bus Mastering
Audio Processor (DSP)	EMU10K1 DSP
Audio Standards Compatibility	Microsoft DirectSound, Microsoft DirectSound 3D, EAX 1.0, EAX 2.0, and A3D 1.0
Legacy DOS Support	Yes, Legacy DOS/Sound Blaster Support
Wavetable Synthesizer	64-voice hardware polyphony - 64 hardware and 1024 PCI wave-table synthesis - Uses SoundFont technology for user-definable wave-table sample sets; includes 2 MB, 4 MB and 8 MB sets.
External Connector Configuration	On the card bracket: Analog/Digital Output, Analog Line In, Mic, Speaker/Headphones Output, Rear Output, Joystick/Midi - On Live! Drive 5.25" bay device: Optical TOSLINK S/PDIF In & Out, RCA S/PDIF In & Out, 1/4" Headphones Jack, Headphone Volume Control, 1/4" Line In/Mic In Jack, RCA Auxiliary In, Infrared Receiver, Midi In/Out, and Line In/Mic In Switch/with Mic Gain Control.
Operating Systems Supported	Windows 95/98/ME/NT 4/2000, DOS
Status Of Windows XP Drivers	Native Basic Live! Support - Advanced Driver Support for XP in development.
Special Features	Live! Drive IR and Infrared Remote Control, Real Time Digital Effects
Software Included With The Card	Audio HQ, MiniDisc Center, Launcher with Live! Task, Keytar, Mixer/Surround Mixer, Rythmania, Creative PlayCenter 2, Creative WaveStudio, Creative MediaRing Talk, Creative Recorder, Sound Blaster Live! Tour, Live! Ware Demonstration, SoundFont Sample Banks, MV3 Sample Clip, Steinberg's Cubasis VST, WaveLab Lite, ReCycle Lite, Mixman Studio, PixMaker, PixScreen, Kool Karaoke, Parody Parrot, Game Commander SE, MDK2, Deus Ex, Thief II: The Metal Age, and Unreal Tournament.
Suggested Retail Price - US	$199 US

Creative Labs - Sound Blaster Live! Platinum 5.1, Continued

After opening the box containing the SBLP, you will notice that unlike many retail box items that contain mostly box, the SBLP packaging is loaded with all kinds of goodies. The software bundle alone might be worth the cost of the card (which, incidentally, isn't cheap). The Sound Blaster is the most expensive card in this review, but it also enjoys the status of having the most inclusive software bundle in the review. The retail cost of the four included games almost covers half the cost of the card alone.

The biggest feature of the SBLP is the included Live! Drive IR. This is a break-out device that gives you additional input and output, and places them in the front of the computer so that they are easy to get to. Also included with the Live! Drive IR is the Infrared Remote Control, which allows you to control your computer from a distance. Using the included remote and Creative's software bundle, you can handle such tasks as changing MP3 tracks or advancing your DVD, all from the remote. Only Creative offers the remote control option on its Live! Drive, so if this is something you must have, Creative is your only source for this feature.

The Live! Drive IR mounts in any 5.25" drive bay and will accept rails if necessary. Because it mounts into the front of the computer, the position of the Live! Drive IR is very important. Mounted too high in the bay, you can be faced with cables that are plugged into the unit hanging in front of your CD-ROM or DVD-ROM units, which can cause a real mess if you open the tray. Also, mounting the unit in a full tower case can present problems because the specialized ribbon cable that is used to connect the Live! Drive IR to the Sound Blaster Live! might not be long enough to reach the card if it is in one of your far PCI slots. If you plan to use the Live! Drive IR frequently and you work with a lot of 5.25" devices that have removable media, you will need to take this into consideration when installing the Live! Drive.

Use of the Live! Drive IR is a logical choice for the budding musician. Its front inputs for line, mic, and midi make it a logical choice. Be aware that the midi jacks on the front of the Live Drive are the smaller din jacks and may require a converter if your midi device doesn't offer direct support. Plugging a guitar into the Live! Drive IR enables the Sound Blaster Live! to apply real time effects processing to any input device, which can replace the pedal boards for some musicians who are just starting out.

I found the manual included to be basic, but better in some ways than manuals included with other products in our review. It was good in some areas, and average in others. However, the bottom line with the manual is that it is still going to take some time for you to install and hook up your system. This should be expected, and depending on the user level, this might present a big problem, or no problem, depending on the installer's level of expertise and patience.

Installing the included software and drivers can also take some time. Because of the vast amount of software included with the bundle, it can take as long as fifteen minutes just to install the drivers and the suggested included software. I have never been one to complain about getting something for free, but in this case, Creative supplies so much software that can do so many things, it could take weeks (and yes, I do mean weeks) to explore all of the included Creative applications. One positive aspect is that Creative uses a fairly common interface between the applications, which may help lessen the learning curve.

Creative Labs - Sound Blaster Live! Platinum 5.1, Continued

Including a large software bundle isn't without its problems. During the first testing process, we found a few situations where the PlayCenter application, as well as the Launcher, randomly crashed for no apparent reason. Although they seemed to operate fine after a reboot, it was disconcerting that they crashed. Installing all of these applications will also take a toll on your system resources, and it was for this reason that we installed a driver-only configuration to run our benchmark tests.

Another issue to be aware of is that the SBLP does require the use of two IRQs in the configuration. You may or may not have to reserve an IRQ in the BIOS for use by the SBLP. This, of course, will depend on your motherboard and configuration. As we discussed earlier in this article, the SBLP uses one IRQ for the PCI card itself and one for the Sound Blaster DOS mode emulation. It is possible to disable the DOS mode emulation, but this can create more than a few problems, so I don't suggest it.

One of the best features of the SBLP is native EAX support. Like many other users, when comparing the EAX technology to the A3D technology, I still prefer the richer and more full A3D technology. I feel, in most cases, that EAX lacks the 3D sound positional depth that A3D provides. Because the SBLP does have native EAX support, you will notice that it does very well on the UTBENCH 3D audio test, which is to be expected. I look for the new EAX HD standard to be included with the Audigy to improve upon the original EAX technology and should provide better sound and performance. Overall, I would rate the EAX technology to be good, but not as good as A3D.

When playing DVDs, the SBLP really indicated why so many people choose this card. Using the included DVD application and the IR remote, I was able to pause and play the DVD without using the mouse or the keyboard. This is a very nice feature. The DVD pass through worked well and I found no issues when plugged into my home receiver in both the Dolby Digital and DTS sound modes. When using speakers connected to the PC, it is possible to reconfigure the digital jack on the bracket of the card to output the center channel as well as the subwoofer if you are not using a digital connection.

When playing games with the SBLP, I found no compatibility issues and found the sound to be very smooth. Overall, it sounded very good. When playing MP3 files, or any audio for that matter, it had a very powerful low end. This is always a favorable sign for me, as I like any sound card that is really able to put the "boom" into the low end.

Overall, I think the SBLP card is an excellent choice and lives up to Creative's reputation. It includes a great software bundle and supports almost everything you could want in a sound card. Many of the issues about this card focus on the price of the card itself. It was the most expensive card in this review, but with the release of the Audigy you can expect the price of the card to drop. With the massive included software bundle it will continue to be a good card to purchase with a new machine, as you get so many applications for the new or first time user. However, some users may prefer to look at other options, as cost might continue to be a factor.

Hercules - Gamesurround Fortissimo II

Guillemot, owner of the Hercules brand name, has been in the sound card business for some time now. Guillemot has wanted to expand further into the sound card market, and Guillemot placed several bids in an attempt to purchase the assets of Aureal. Guillemot has, in the past, released such cards as the Maxi Sound Muse, Maxi Studio Isis XL, and the original Maxi Sound Fortissimo. While these cards were popular in some circles, with the introduction of the new Hercules branded cards, Guillemot looks to make a big splash in the sound card market.

When announced a few months ago, it appeared that the Gamesurround Fortissimo II was going to be the "hands down" sound card of choice for many people. The Gamesurround Fortissimo II does offer an impressive array of features at a price that could make it a future market leader. What I think Guillemot has done particularly well is that it has combined many of the best features of the Sound Blaster Live with the Live Drive, and they have marketed the product in a more affordable package. (The biggest complaint that I continue to hear about the Sound Blaster Live and the Live Drive is that it costs too much.)

Data Transfer Specification	PCI 2.1 Bus Mastering
Audio Processor (DSP)	Cirrus Logic SoundFusion CS4624
Audio Standards Compatibility	Sensaura based 3D positional Audio with support for Microsoft DirectSound 3D, EAX 1.0, EAX 2.0, A3D 1.0, I3DL2, MacroFX, MultiDrive, ZoomFX, EnvironmentFX, Compatible with Dolby Surround
Legacy DOS Support	Yes, Legacy DOS/Sound Blaster Support
Wavetable Synthesizer	DSP accelerated engine for unlimited number of voices (64-voice hardware)8 MB General MIDI/GS sample setGM (General Midi) and Yamaha XG compatible
External Connector Configuration	Analog din with: mic in, headphones, front and rear speakers - Line in, and S/PDIF In & Out using TOSLINK connectors.
Operating Systems Supported	Windows 95/98/ME/2000
Status Of Windows XP Drivers	Windows XP Driver In Development
Special Features	Uses unique single din cable configuration for connecting the analog inputs
Software Included With The Card	Gamesurround Fortissimo II control panel, Game Commander 2 Special Edition, Storm, Acid Xpress, MusicMatch Jukebox, Siren Jukebox Xpress, Media Station, Yamaha XG Player, Kool karaoke Lite, Power DVD 3.0 (4 channels)
Suggested Retail Price - US	$60 US

Hercules - Gamesurround Fortissimo II, Continued

I think everyone would agree that the most important feature of the Sound Blaster Live was the introduction of the Live Drive. Guillemot attempted to address the shortcoming of many sound cards with the introduction of its unique single cable solution that plugs into a din connector on the back of the card, and then splits out into four 1/8" input jacks. This provides a place to plug in a microphone, headphones, and front and rear speakers. The card's bracket includes a line in connector and S/PDIF TOSLINK input and S/PDIF TOSLINK output connectors.

Adding the S/PDIF TOSLINK connectors also allows output to a 5.1 channel receiver or speaker device accepting S/PDIF TOSLINK connections. The TOSLINK connections can also be used to connect to digital devices, such as a Mini Disc player. This allows digital output of MP3s directly to Mini Disc. I am told this is a very popular option in Japan and the UK. The TOSLINK output can be used to connect directly to your home theater receiver to output DVDs to your home theater digital surround sound system.

The manual included with the Gamesurround Fortissimo II is translated into four languages: English, French, Spanish and Portuguese. The manual contains about fourteen pages in each language and covers the General Specifications of the sound card itself, physical hardware installation, driver installation for 95/98/98SE/ME/2000, Software Installation, and Sound Board Configuration. I found the manual to be very basic, at best. The pictures and screen shots in the manual are small and hard to read. In fact, some of the screen shots are so small that if you are looking at them for guidance to help you, you will literally need a magnifying glass. The Software Installation section of the manual does not really provide much information about the installation of the applications, instead it suggests that you refer to the online HTML documentation included with the CD.

I would have preferred that Guillemot included a more complete description of the included applications, so the user could more intelligently choose which applications to install. In the Soundboard Configuration section, Guillemot only devotes one short page on the configuration of the sound card and doesn't review all of the settings included with the Gamesurround Fortissimo II control panel. If you are having a configuration issue with the Gamesurround Fortissimo II, don't look for the manual to offer for much support in resolving your configuration problem.

The installation of the sound card and software under both Windows 98SE and Windows 2000 occurred without problems. It is important to note that the Gamesurround Fortissimo II does not include drivers for Windows NT Workstation 4.0. The Gamesurround Fortissimo II offers an impressive control panel that allows user control over all aspects of the card. It was also easy to use the control panel to disable the real mode DOS compatibility mode support under Windows 98. Once completed, the card only uses one IRQ, and with the DOS compatibility mode enabled, it reserves a second IRQ for this mode, which in most cases will set itself to share on a Serial COM port. This is a very nice feature. The Gamesurround Fortissimo II card was flexible in IRQ assignment and even ran well on IRQ 12. Since I was using a USB mouse, this IRQ 12 was free.

Hercules - Gamesurround Fortissimo II, Continued

The sound quality of the Gamesurround Fortissimo II sound card was exceptional. I found the card's 3D audio support to work well. I had no compatibility issues with the 3D audio in Quake III and Unreal, which are two games that I think make some of the best use of the 3D positional audio. Also, the separation of the audio between channels was good.

The software bundled with the card seemed to be to be more "shovel ware" than anything else. Most of the programs that were included with the card I had already purchased, or had little or no use for.

As part of our testing I played more than a few MP3s using Music Match Jukebox with the Gamesurround Fortissimo II, and the card seems to decode well and provide a rich and full sound. I also tested the card's ability to pass through Dolby Digital information from DVD, and found no problems with this. This sound card seemed to work well with a variety of test DVDs. Of course, this card doesn't replace all of the functions of the Sound Blaster with Live Drive sound card, but Guillemot includes a good level of features for the cost of its card.

In the four tests I ran using both Quake III and Unreal Tournament/UTBENCH the Gamesurround Fortissimo II was able to best the other cards tests in three out of the four tests. This was simply amazing considering the cost of the card, but one must not loose sight of the fact that this card does offer a little less audio processing power and audio resolution that some of the cards we are comparing it with. It is important to note that this card only has 32 hardware voices and 64 voice wavetable.

Guillemot does offer a more complete answer to the Live Drive with the external rack design in the Hercules Game Theater XP, which we look at later in this review. One thing to remember about this card is that if you take your computer to a LAN party and want to play it through headphones, you must take the din cable with you. I don't think that this is a big deal, but, if you lose the din cable, you will be forced to get another one, since the card is basically worthless without it. Guillemot told us that you can purchase a replacement din cable by calling the Customer Service number in the manual. Still, I think that they could have added a second headphone jack to the bracket of the card to allow you to leave your DIN cable at home. The Gamesurround Fortissimo II card has excellent performance, great sound, rock solid drivers, and a wide range of compatibility. If you are looking for a full featured card at an attractive price, it doesn't get much better than this.

Hercules - Game Theater XP

The Hercules Game Theater XP sound card by Guillemot takes aim squarely at the Sound Blaster Live with Live Drive sound card. The design of the Game Theater XP is unique in the fact that Guillemot used an external breakout box. This external breakout box is an interesting way of adding all of the additional inputs and outputs that are provided by competitor Creative's Live Drive.

The external breakout box that Hercules calls the "External Rack" adds both new function and features when compared to the Creative Live Drive.

Data Transfer Specification	PCI 2.1 Bus Mastering
Audio Processor (DSP)	Cirrus Logic SoundFusion CS4630
Audio Standards Compatibility	Sensaura based 3D positional Audio with support for Microsoft DirectSound 3D, EAX 1.0, EAX 2.0, A3D 1.0, I3DL2, MacroFX, MultiDrive, ZoomFX, EnvironmentFX, Compatible with Dolby Surround
Legacy DOS Support	Yes, Legacy DOS/Sound Blaster Support
Wavetable Synthesizer	DSP accelerated engine for unlimited number of voices (64-voice hardware)8 MB General MIDI/GS sample setGM (General Midi) and Yamaha XG compatible
External Connector Configuration	DB44 connector on the back of the sound card to connect to external rack. Connectors on the external rack include: head phones w/volume control, mic input, joystick port, 4 USB ports, RCA line inputs, 5.1 RCA speaker outputs with separate sub and center channel outputs, 2 front/rear combined mini jack speaker outputs, RCA and Toslink digital input/output, midi din in/out, and DB44 connector to connect to sound card.
Operating Systems Supported	Windows 95/98/ME/2000
Status Of Windows XP Drivers	Windows XP Driver In Development
Special Features	Unique External Rack to handle just about ever input and output on the planet!
Software Included With The Card	Game Theater XP control panel, Sensaura Virtual Ear, Gameloft package (includes several game demos), PowerDVD 2/4/6 channel version, MusicMatch Jukebox, Yamaha Soft Synthesizer S-YXG50, Sonic Foundry ACID Xpress and SIREN, Koolkaraoke Lite, Magix playR Jukebox.
Suggested Retail Price - US	$150 US

Hercules - Game Theater XP, Continued

When you first pick up the Game Theater XP, the first thing that you will notice is that the box is heavy. Weighing in at more than five pounds, this is no light weight product. Most of the weight comes from the well constructed External Rack which is in fact made of metal, something that is becoming more rare in the plastic world of today. Some of the weight also can be attributed to the large shielded DB-44 cable that connects the External Rack to the Game Theater XP card itself.

The manual included with the Game Theater XP is translated into three languages: English, French, and Spanish. It contains about fourteen pages in each language and covers the General Specifications of the sound card itself, physical hardware installation, driver installation for 95/98/98SE/ME/2000, Software Installation, and Sound Board Configuration. As with the manual that was included with the Gamesurround Fortissimo II, I found the manual to be very basic at best, which is unfortunate, because this is a more complex product than the Gamesurround Fortissimo II, and I really felt that the manual should have gone into more depth. Like the Gamesurround Fortissimo II manual, the pictures and screen shots in the manual are small and hard to read. In fact, some of the screen shots are so small that if you are looking at them for guidance to help you, you will also, literally, need a magnifying glass. The Software Installation section of the manual does not really provide much information about the installation of the applications; instead, it refers you to the online HTML documentation included with the CD.

The bracket of the card itself only has a DB-44 connector that runs between the External Rack and the card. This means that if you want to output any kind of sound at all out of your PC, you must have the External Rack connected to the card. I guess this works in most situations, but I really think that Guillemot missed the mark here. I would have really liked for them to include perhaps a second headphone output, or even a second standard speaker output on the bracket of the card. If you take your computer to a LAN party or anywhere, for that matter, the External Rack and cable is just one more thing to have to carry, so the convenience of the External Rack does come at a small cost.

Something that Guillemot did get right was to include a four port un-powered USB hub into the External Rack. Once you run the included USB cable from the External Rack to your PC, you now have the use of four USB ports for any un-powered USB device that you wish to plug into these ports. Creative should take a lesson here and try to incorporate this into a future design of the Live! Drive. If you are a big USB user with limited ports, this can save you the $20 cost of a four port USB hub.

When you see the staggering array of connectors on the Game Theater XP, you will notice that Guillemot didn't leave anything out. The External Rack features input and output connectors on both the back and front of the External Rack, which allows you to hide some of those cables. This is, of course, in stark contrast to the Live! Drive, which almost forces you to have some cables running out of the front of your PC. In normal situations, as we stated in the Live! Review, this isn't an issue because the cables might not be in long-term use, but if they are, they can get in the way of other 3.5" and 5.25" devices in the other bays. This can also be a pain with 3.5" and 5.25" devices that have removable media. With the design of the Game Theater XP's External Rack, you can keep those devices connected to your PC long term and not have to worry about a mess of cables spewing from the front of your PC.

Hercules - Game Theater XP, Continued

The Game Theater XP control panel is, in many ways, very much like both the Turtle Beach Santa Cruz and Gamesurround Fortissimo II. This should not surprise anyone, because it also features a Crystal Audio DSP. I found the control panel to be complete and easy to use. It worked very well and it was easy to understand.

During the MP3 tests of this card, I was very surprised by the amount of peak CPU usage that the Game Theater XP showed during the tests. While playing our test tracks, the CPU would continue to stay around 10% to 12% and then shoot up to a high of 21%. We searched through the system for extra programs running and looked for possible reasons that the card did this, but found nothing to indicate a reason for this. It should be noted that we used the updated drivers from the web site and perhaps this driver has some sort of a bug that is causing this problem. We didn't have this issue when re-testing the card with the enclosed "older" drivers, but keeping with our testing methodology, we only used the newest drivers, so the score will have to stand. (Using the older driver the MP3 playback CPU utilization was between 11% to 15% which I consider to be about right for this card.)

The overall sound of the card was excellent! The card had a wide sound field with nice, crisp high end. The card has a good low end range, and I found the performance to be excellent with just about everything that I listened to. The only problem with all of this was that the Turtle Beach Santa Cruz, which is based on the same 4630 DSP, sounded the same to me. When playing DVDs, I experienced no problems and everything worked well and caused no issues. The DVD pass through was fine and worked as advertised.

When comparing the Game Theater XP to the Sound Blaster Live! Platinum 5.1, they are both very close, and yet very different. I found that I liked the external rack of the Game Theater XP better than the Live! Drive IR, but I did miss the remote provided by the Live! Drive IR. If cost is a major factor in your choice, then the Game Theater XP will be the ultimate winner with a price that is some $50 lower that the Sound Blaster Live! Platinum 5.1, but the Game Theater XP doesn't have the amount of bundled applications that the Sound Blaster Live! Platinum 5.1 has. If you look at the overall performance of the card, as well as the included input/output options, this makes the Game Theater XP an attractive choice.

Philips - Acoustic Edge

I really didn't know what to expect when I opened the box containing the Philips Acoustic Edge. From the look of the specifications on the box, it might be one of the best secrets in sound card technology. (Of course, what manufacturers don't make these kind of claims on the box?) As explained earlier in the review, only Philips is currently producing cards based on the Philips SAA7785 ThunderBird Avenger DSP. Philips does offer two additional cards based on the ThunderBird Avenger DSP, which are the Seismic Edge and the Rhythmic Edge. We did not look at the Seismic Edge and the Rhythmic Edge in this article. Both of these cards offer different feature sets from the Acoustic Edge, which is the top sound card in this product line.

After opening the Philips Acoustic Edge box, I found a very nice package containing a quick start guide, user's manual, driver CD, Power DVD, two din connector cables, and of course, the sound card itself. Philips deserves a lot of credit for providing an easy to use Quick Start Guide that was placed right on top of the card itself, designed to get you up and running quickly, while at the same time acknowledging that most users don't read the manual. Good packing design often tends to be overlooked in reviews, but I feel it is worth mentioning here. I really like the way that the Philips organized and packaged the Acoustic Edge.

Data Transfer Specification	PCI 2.1 Bus Mastering
Audio Processor (DSP)	Thunderbird AvengerTM DSP - SAA7785
Audio Standards Compatibility	QMSS: Surround processing, Qsurround: virtual 5.1 playback, Qsound 3Dinteractive, EAX 1.0, EAX 2.0, A3D 1.0, DirectSound 3D, DirectSound
Legacy DOS Support	Yes, Legacy DOS/Sound Blaster Support
Wavetable Synthesizer	576 Voice Software WaveTable Synthesizer Support (5.9 MB sample set)
External Connector Configuration	Uses dual din cables providing analog outputs on the first cable in a mini jack format for center/sub, front, and rear. Second din cable provides S/PDIF digital in and out on coax RCA connectors. Mic In, Line In, and Midi/Game Port are located on the card bracket.
Operating Systems Supported	Windows 95/98/ME/NT 4/2000, DOS
Status Of Windows XP Drivers	XP Driver In Development
Special Features	Qsound Support
Software Included With The Card	Philips Acoustic Edge Control Panel, Siren Xpress, AudioPix, Acid Xpress, PowerDVD 3.0, Yamaha XG50
Suggested Retail Price - US	$100

Philips also went "outside the box" with its design of the Acoustic Edge, in that they use a dual din cable design on this sound card to provide all of the connectors needed. Although it is similar in some respects to the din cable that Guillemot uses on the Hercules Gamesurround Fortissimo II, it is quite different in its dual cable design. Basically, Philips elected to use one din cable for the analog line outs and the other din cable for S/PDIF RCA style in and out. On the card bracket itself there are 3.5mm jacks for the line in and mic. The bracket also includes a standard game/midi port, which can be configured for an analog or digital joystick/game pad. It is important to note that the Acoustic Edge does not have any TOSLINK connectors, so if you want to connect a TOSLINK only device to the Acoustic Edge, you will have to do it via the S/PDIF RCA connectors using a converter of some sort.

Previously, I mentioned the superior packaging that Philips uses on the Acoustic Edge. This great organization design carries over to the user's manual as well. The manual that is included with the Acoustic Edge is, by far, the best user's manual of all of the sound cards tested. The manual is easy to read and understand, and is well laid out for both expert and novice. It answers a comprehensive list of questions, as well as provides clear diagrams and screen shots to walk you through almost any process required. Another special feature of the Acoustic Edge sound card packaging is the three-part installation video guide on the included Acoustic Edge CD. Of course, most users will not have to look at this to install the sound card, but the videos and the excellent Quick Start Guide do make this a sound card that you could give to even a novice to install. Philips earns very high marks for the excellent documentation included with the Acoustic Edge.

Philips - Acoustic Edge, Continued

The Acoustic Edge Control Panel is split into seven tabs that run along the top of the Panel. These tabs are labeled: Utilities, Settings, S/PDIF, Effects, MIDI, Speaker Test, and Information. Each panel is well laid out and didn't seem to be missing anything that was obvious to me. One option that was of particular interest to me was located on the MIDI tab described as "H/W Wavetabe Voices" - it has two options - "Better Gaming" and "Better Polyphony." The default of "Better Gaming" is the option that we used to test with. I did find that, as you would guess, with the "Better Polyphony" option enabled, we did take a small performance hit, but I honestly didn't notice much a of difference between the two. The Acoustic Edge Control Panel was easy to use, and very visual in nature, which in my book is a good thing. I also liked the way Philips included several "DEFAULT" buttons on many of the pages, which helps you return that tab to its default settings with the click of a button. If you are new to tweaking a sound card, you will find this helpful, as you can do a lot of "before and after" testing very quickly.

Once you install the included software, you will appreciate the fact that Philips spent a lot of time creating customized Philips "skins" for much of the included applications and software. This customized Philips look is different from any other sound card in this review, except for the Creative Sound Blaster. In doing this, Philips attempts to achieve a look and feel that is very much the same between applications. It is different, and whether you like it or not is really up to you, but I found that it the more I used and tested this card it kind of grew on me. After the card was installed, I found the sound to be very rich and full. At times, I even found the sound to be overly clear, but I didn't consider this lack of distortion to be a bad thing. In positional audio modes, I found the separation to be excellent and the sound to be very good.

During my testing of the Acoustic Edge sound card, I discovered a problem with Windows 98SE, which would not allow AC3/DTS DVD pass through feature of the Acoustic Edge to operate. On their web site, Philips provides a link to a Microsoft Quick Engineering Fix that will apply a patch to resolve this issue as follows: QFE269601 applies a fix that permits operation of the Philips DVD AC3/DTS Passthrough feature when using Win98SE and Philips Sound Card WDM drivers. However, without this patch, this AC3/DTS DVD Passthrough feature is grayed out and is inoperable.

During the benchmark testing of the card using the newest drivers, we found some cause for concern. In both of the Quake III and UTBENCH tests, the Philips finished dead last. (So much for the Philips claim of the lowest CPU utilization.) Not so fast, though, because the Philips finished first on the MP3 test with lowest score of only 7%, which was very impressive. It seems as if the card does very well in non-gaming situations, but doesn't do well in gaming situations with the current driver set.

It was very hard not to like this card due to the impressive array of features included with the card. Other sound card makers could learn a few things from Philips in the packaging and bundling of the card. I found the sound to be down right incredible, but issues with the driver performance in gaming situations gives me cause for concern. The SAA7785 ThunderBird Avenger DSP does appear to be quite powerful and has a bounty of potential, but Philips really needs to allocate resources to improve the drivers, as I feel right now the performance hit is just too great for such an otherwise impressive sounding card.

Turtle Beach - Santa Cruz

Turtle Beach has been in the sound card business for many years. In some ways, Turtle Beach has been known as more of a software company due to their relationship with Voyetra, which acquired Turtle Beach in 1996, and became the company we know today, as Voyetra Turtle Beach.

Over the years, they have offered a variety of sound cards. Most of the more recent cards were based on the Aureal Vortex 1 and Vortex 2 chipsets. The Santa Cruz sound card represents the first new design from Turtle Beach that is not based on an Aureal chipset.

I consider the Santa Cruz sound card to be a more conservative approach to sound card design when compared with some of the competition. Santa Cruz has stayed away from break out boxes and Live Drives, and has produced a solid sound card targeted at the game markets, as well as audiophile PC sound enthusiasts.

It is important to note that through a co-marketing agreement the Santa Cruz is also re-branded as the VideoLogic Sonic Fury. Through this arrangement, Turtle Beach markets the VideoLogic line of speakers, while VideoLogic markets the re-branded Santa Cruz.

Data Transfer Specification	PCI 2.1 Bus Mastering
Audio Processor (DSP)	Cirrus Logic SoundFusion CS4630
Audio Standards Compatibility	Sensaura based 3D positional Audio with support for Microsoft DirectSound 3D, EAX 1.0, EAX 2.0, A3D 1.0, I3DL2, MacroFX, MultiDrive, ZoomFX, EnvironmentFX, Compatible with Dolby Surround.
Legacy DOS Support	Yes, Legacy DOS/Sound Blaster Support
Wavetable Synthesizer	64-voice hardware polyphony with up to 1024 software voices. 8 MB DLS synthesizer sample set.
External Connector Configuration	Mic In, Line In, Front Speaker Output, Rear Output, Game Port/Midi Connector. Versa Jack.
Operating Systems Supported	Windows 95/98/ME/NT 4/2000, DOS
Status Of Windows XP Drivers	XP Driver Posted On Web Site
Special Features	1/8" stereo mini-phone jack that can be used as analog line output, headphones output, digital output or analog line input. Can be reconfigured from the Santa Cruz control panel. Wave Table header and Upgrade header for future expansion.
Software Included With The Card	Santa Cruz Control Panel, Audio Station 4.0, Voyetra's Digital Orchestrator, MIDI Orchestrator 32, Sound Check For Santa Cruz, Audio View 32, Sensaura Player Demo, and Voyetra Product Demos.
Suggested Retail Price - US	$80

Turtle Beach - Santa Cruz, Continued

The Santa Cruz sound card offers three important features that I think are lacking in other sound cards reviewed in this article: the interesting Versa Jack, the wave table header, and the Santa Cruz upgrade header allowing for future expansion.

The Versa Jack is a 1/8" stereo mini-phone jack that can be use in any of the following configurations: analog line input, analog line output, headphones output, and digital output. This is controlled in the Santa Cruz Control Panel. It is easy to control: reconfigure the Versa Jack for the new mode, plug in the new device in, and it's ready to go.

While wave tables are not as popular as they once were, the Santa Cruz sound card allows you to plug in a wave table upgrade card into the wave table header. This provides the ability to add more sound sample sets to your Santa Cruz card. This used to be almost a standard feature, but many companies apparently felt that not enough people were using this option to justify continuing this option on their sound cards. Many people still have old wave table upgrades that they would like to use, and this is especially true for those people using their sound cards with their music gear. Turtle Beach offers the Cancun FX wavetable daughter board that is Roland GS compatible with 4 MB of wavetable samples. (We did not use the Cancun FX in our testing of the Santa Cruz sound card.)

The Santa Cruz Upgrade Header is a mystery at the moment. We do not have any clue what plans Turtle Beach may have to make use of this option. However, I like to have the ability to upgrade a sound card. We have seen a connector like this before, enabled to provide additional output configurations as well as to add more jacks. It isn't likely that the Upgrade Header will upgrade the card to the next generation, but it might provide a solid upgrade to additional features. The Santa Cruz is the only sound card we seen which provides any kind of an upgrade path. (If Turtle Beach reads this, it would be nice to consider offering some sort of external or internal input/output rack that could be connected using this connector.)

The manual included with the Santa Cruz, entitled "Getting Started Guide," is just what the title implies, nothing more. The twenty-five page manual provides a very brief overview of the Specifications of the Santa Cruz, Installation, Using The Santa Cruz Control Panel, and External Connections. I found the installation section to be informative for installing the card, but I didn't like the fact that there were no screen shots of the driver install process. I think users have far more problems with the driver install process than anything else. The manual does mention the Santa Cruz Sound Check Utility that is included with the card, and provides an example of its use. This utility is one of the best sound card troubleshooting utilities that I have seen. It can test with the hardware and software configuration of the sound card to ensure that all is installed correctly. Turtle Beach should focus more attention on this utility, as it can be a real time saver.

Turtle Beach does not do an adequate job in the Control Panel section of the manual explaining the specific functions in the Turtle Beach control panel, but instead refers you to the online help function in the Control Panel application. The External Connections section of the manual is well presented, using a grid format for the use and potential uses for each jack. I found this information very helpful. Overall, I would rate the Turtle Beach Santa Cruz user's manual as average. The addition of a few screen shots to help you along would improve this manual considerably.

Turtle Beach - Santa Cruz, Continued

The installation of the software from the enclosed driver CD requires the use of the serial number that is on the jacket of the disc. I am not a fan of this requirement at all. If you lose the serial number, you are hosed, and out of luck. For anyone purchasing the Turtle Beach Santa Cruz sound card, I highly recommend writing the serial number on the inside of the user's manual. (When I downloaded the new updated drivers from the web, and ran the install package, I was not prompted for a serial number, so I felt this was a nice improvement.)

The Santa Cruz control panel is split into six tabs that run across the top of it. They are Main, Mixer, EQ, Effects, Synth, and Other. I found the control panel for the Santa Cruz easy to use, and very similar in both features and options to the Game Theater XP control panel. As far as providing more help on the use of the Santa Cruz Control Panel, Turtle Beach only included a Windows help file, full of questions and answers more than anything else. I found when I asked the help file for more information on the Versa Jack, it was more than happy to bring up some additional info that told me what I needed to know about using the jack. I don't have a problem with this approach, but this function covers what used to be the purpose for the manual.

As for the performance of the Santa Cruz, it was near the middle of the pack in most all of our tests, but it was a consistent performer with good scores and good sound. As said in the Game Theater XP review, I could not really tell the difference between the two cards. If I had been subjected to one of those blind listening tests, I would have not known which card was which. I am not saying that this is a bad thing, I just want to let you know how closely alike the cards sound. Like the Game Theater XP, the Santa Cruz's overall sound was excellent! The card had a wide sound field with nice, crisp high end. The card has a good low end range, and I found the performance to be excellent with just about everything that I listened to.

The Santa Cruz is a nice card with great performance. It provides a good level of performance and value for the price. I like the idea of the Versa Jack and found it to work well in every situation, although you might need a specific cable to interface to your setup, but even that should not be too much of a problem. I thought that including both the upgrade header and the wave table header provided that extra something new that was lacking in other cards. If you don't need the function and features of an internal or external rack, then this is a great card to consider with stable drivers and good performance.

Test Setup

Hardware
CPU	Pentium III 1 GHz Coppermine Socket 370
Motherboard	Asus CUSL2-C-BPBlack Pearl Special EditionBIOS 1007
Memory	256 MB Micron PC133 RAM CL2 (OEM)
Graphics Card	Gainward GeForce2 Pro/450 64 MB DDR - CARDEXpert
Hard Disk	IBM 40GXP - IC35L040AVER0741.17 GB7200 RPMATA-100
CD-ROM	Sony 52X CD-ROM Drive CDU5211(Replaced With Asus 12X DVD Rom For DVD tests)
CD-RW	Asus CDW-1210R - 12X/10X/32X CDRW
Network Card	3C905C-TX Network Interface Card
Add On	Asus iPannel Basic (Removed From Our Final Testing Configuration - Read on to find out why.)
Case	Antec SX1030 Mid Tower Case With Antec PP-352X 350 watt Power Supply
Speakers	Altec Lansing ADA880W Dolby Digital Speaker System
Drivers
Creative Labs Sound Blaster Live ! Platinum 5.1	Version SBL5-WEB-W1-US
Hercules Gamesurround Fortissimo II	Version 1.0 (From Enclosed CD)
Hercules Game Theater XP	Version 2.02
Philips Acoustic Edge	Version 2.59
Turtle Beach Santa Cruz	Version 4081
Aureal SQ2500	Version 2048

So, How Did We Benchmark These Cards ?

When testing the sound cards, we tried to test them in three ways that we felt would yield the best gauge of the card’s true "real world" performance. For the first test, we used Quake III and UTBench with and without the 3D audio option turned on ; for the second test, we look at the CPU utilization while decoding MP3 files. After running the gaming tests, many felt that due to lack of 3D audio support in the newest point releases of the game, that another test was in order. Read on to find out why.

We thought about including Audio WinBench 99, but decided against it because it didn’t give us as clear a picture of real world performance as the Quake III and UTBench results. ZD Lab’s Audio WinBench 99 really only focuses on two aspects of the testing, which are described below :

Audio WinBench 99 uses eight automated tests in the Audio CPU Utilization Tests. Four of the tests use Direct Sound, while the other four tests use Direct Sound 3D. Each test measures the amount of CPU that the sound subsystem uses for common operations, such as playing sounds at 22 kHz and 44.1 kHz, 8 bit and 16 bit from both static buffer and streaming buffer.

The Audio CPU Utilization Tests allow us to determine how much work the sound card is offloading from the processor, so that you know how much CPU is available for other tasks. If the card you have is truly a hardware accelerated sound card, the card does most of the mixing. If you have a sound card that doesn’t support hardware mixing, the processor will do most of the mixing, which means the percentage of processor usage will be much higher. With almost all Audio WinBench tests the data on CPU use was inconsequential, never rising above 4% for the worst case scenario. As a result, we ditched our Audio WinBench 99 results and decided to focus on some real world performance data.

After loading the test system with our base line Windows 98SE Ghost Image without any sound card or sound card drivers loaded, we proceeded to install the sound card for this test. We used the most current drivers provided on each manufacturer’s web site, if they were different from the ones provided on the driver CD that is shipped with each card. (We note the driver revisions for each card below.) Once the card was installed, we rebooted the PC and installed DirectX Version 8.0a. Once the DirectX 8.0a install was complete, we rebooted the PC again.

Quake 3

In our Quake III performance tests, we looked at what kind of performance each sound card had with the sound turned on. We looked at both the impact of just adding sound to the system when running Quake III, as well as the impact of turning on the 3D sound. To establish a base line to work from, we imaged our test system without a sound card installed and ran the standard demo001 tests using the 1.16 release of Quake III. As many of you know from Tom's past review of the Gainward GeForce2, this card is quite able to be over clocked, but for this test, we left the Gainward GeForce2 Pro/450 64 MB DDR at its default setting of 200 MHz core and 400 MHz memory. We used the Nvidia Detonator 3 reference drivers for Windows 98 for our testing.

The demos were run in using the standard Quake III settings in the 1024x768 resolution using the 32bit color setting. For reference purposes, when running the benchmark with no sound card installed, the system ran at 135.7 frames per second. With the sound card installed, no sound card was able to beat our base line score of 135.7 frames per second. When the 3D sound mode was engaged, the frames per second took another performance hit, but on some cards, not as much as one might expect. When looking at the performance graphs, scores closest to our base line score of 135.7 are better.

I realized after running these demos and collecting this testing data that in later patch point releases of Quake III, that id Software, the publisher of Quake III, has removed the 3D audio support. Although I never experienced any problems during my testing, from what I have been told, previous problems with the 3D audio support caused id Software to remove it. Since we didn't experience any problems, I felt it was important to include the testing data because it offers a good look at performance with a solid frame of reference from other tests we have done in the past. However, I still was not satisfied with the results - so enter UTBench.

UT Bench

After looking at the Quake III performance graphs, I felt we needed to make sure that our 3D audio performance numbers were good. I chose to use UTBench to verify this. Unreal Tournament Benchmark Utility is able to give us some additional insight to the 3D performance of each card.

The demos were run using the standard Unreal Tournament settings in the 1024x768 resolution using the 32bit color mode. For reference purposes, when running the benchmark with no sound card installed, the system ran at 45.07 average frames per second. With the sound card installed, no sound card was able to beat our UTBench base line score of 45.07 average frames per second. When the 3D sound mode was engaged the frames per second took another performance hit, but on some cards, not as much as might be expected. When looking at the performance graphs, scores closest to our base line score of 45.07 are better.

MP3 Encoding

In our MP3 decoding test, we attempt to find out if cards that claim to have acceleration during MP3 decoding live up to their claims, or if they are just marketing hype. I am not going to examine which cards or companies are claiming or suggesting this on their packaging and marketing materials, but we all felt that it was something that we should consider. To be fair, to the best of my knowledge no one has ever spelled out these claims.

The first problem that we found during our testing was a puzzling one. The Asus iPanel that was installed in our test system was causing all MP3 playback to stutter. Once the iPanel was removed, this problem would disappear. Of course, this was quite interesting, and has been documented on other sites. We found that simply removing the iPanel fixed the issue, but still made me unhappy. By using a new Beta version of the BIOS we were able to resolve the issue, but the iPanel would only then update once the mode button was pressed. I felt that this defeated the purpose of the iPanel, so we didn't use the Beta BIOS or the iPanel. This was an issue that really didn't have anything to do with our testing, but it was something that I thought I should mention.

To test the MP3 decoding, we used MusicMatch Jukebox Version 6.10.0178 and we encoded the entire "Human Clay" audio CD by the rock band, Creed. The Human Clay audio CD has eleven tracks with a total run time of 56:22. Once the audio CD was encoded at 128kbps and the MP3 files were stored on the hard disk, we tracked the CPU utilization while playing three of the MP3 files.

To give you some idea of this system's performance on MP3 encoding, as well as the CD-ROM drive's DAE capabilities, the system was able to encode the entire audio CD in a time of 6 minutes and 41 seconds. As the sound card really has no impact on the MP3 encoding process, I just wanted to report this to give you an idea of the system's performance level.

We used Active CPU 1.12 to track the CPU performance. We took tracks 1, 8, and 9 and loaded them into a MusicMatch play list. Once we loaded the play list, we then started the Active CPU program to monitor the CPU performance peaks. We reported the number as an average of the maximum CPU usage during the playing of these three tracks. When looking at the graph of CPU usage while playing a MP3 file, the lower the CPU usage the better. No card had a CPU usage score that was close to zero, which would indicate that the sound card's DSP was handling all of the MP3 decoding. No card had any problems playing the MP3 files. All of the cards did sound similar when playing these MP3 files.

It should, however, be noted that the Philips sound seemed a little more full than the other cards did. I did notice a difference and I liked that difference. The Sound Blaster Live also sounded very good and was very strong on the low end. The Game Theater XP and the Santa Cruz sounded very much the same to me, and Gamesurround Fortissimo II seemed to have a slightly tighter high end sound than the Game Theater XP and the Santa Cruz did.

What I Should Look For When Buying A Sound Card?

When considering the purchase of a sound card, there are a few questions that you might want to ask yourself to help you choose the right sound card. As was made clear by the review, not all cards are the same, and the features differ widely between cards.

Do I have a need for connectivity that an External Rack or the Live! Drive IR provide?
Can I make do with a card that supports a little bit less connectivity than an External Rack or a Live Drive would provide?
Are optical inputs and outputs a big feature in my choice of a sound card and do they have to be of a specific type?
Is cost a major factor in my choice of sound card?
Will the quality of the audio performance play a big choice in my purchase?
Does the software bundled in any of the sound cards appeal to me more than another without the extensive bundle of software?

Conclusion

As you have seen, sound cards were not a "one size fits all" solution. Therefore, what we chose to do was name an editor's choice in several different areas, so that you could choose what option works best for you.

If you need the flexibility of additional connections and are willing to live with the down side of having to take the External Rack with you if you move the system, the Hercules the Game Theater XP is the card for you. I felt that, for the money, it presented a little bit better sound and a little more flexibility feature wise than the Sound Blaster Live Platinum 5.1 with Live! Drive IR. I still wish that Hercules could have included the IR Remote feature as well as adding a headphone jack on the bracket of the card, the Game Theater XP did get a lot of things right with this card. The Sound Blaster Live Platinum 5.1 does finish a very close second, and does offer some unique features not found in other cards.

In what I would like to call the "mid range" category, the selection is pretty close. I think overall, the Turtle Beach Santa Cruz gets the nod over Philips and Creative. The Santa Cruz was not fancy, but it was stable performer, providing great audio quality and excellent performance for the price. The Creative Soundblaster Live without the Live! Drive IR also makes a fine choice in this price range, but the Santa Cruz just seems to have a little more oomph than the Creative did. As for Philips, I felt the Acoustic Edge was a fine effort, but they do need to work on tweaking the drivers in order to improve performance.

In the budget category, or what I like to call "the best bang for the buck", without question, the Hercules Gamesurround Fortissimo II hits the mark. It provides an excellent mix of features and performance for the money. The performance of the card was steady and was a true value, considering the fact that these cards are now showing up at local computer shows for as little as $43. Philips should not be overlooked, either, and although we didn't look at the Seismic Edge or the Rhythmic Edge, they feature the same DSP as the Acoustic Edge and can provide quite a deal for the money. The Hercules Gamesurround Fortissimo II was able to turn in the best score in both our Quake III and one of our UTBench tests. This only further proves that the Hercules is a very good performer for the money.

Well, there you have it: our first look at sound cards and sound card technology. Of course, this is by no means our last look at sound cards. We will look at the new Creative Audigy Platinum EX soon. Audigy is generating a lot of positive buzz. Also of note is that Guillemot is working on a new sound card for release. We don't know anything beyond the fact that it is in development. We have been told by Guillemot that they will submit it to us for testing as soon as it is finished. (Will the new Guillemot sound card be based on a new Crystal Audio chipset??) As always, we will also continue to refine and develop our sound card testing process and present another sound card round up soon.

Asus AGP-V6800 Deluxe and Creative Labs Annihilator Pro Review

Silvino Orozco — Thu, 06 Apr 2000 19:02:56 +0000

Introduction

Continuing with our coverage of GeForce based cards, we are now bringing you two new competitors to decide upon. Currently there are few decent choices as far as graphics chipsets go and an abundance of choices when it comes to boards based on the excellent GeForce chipset (reviewed last year in the article Full Review of NVIDIA's new GeForce 256 'GPU' ). This is a huge reason why we have done so many reviews on the different flavors available of this graphics chipset. Leading edge performance and features make this solution the most relevant solution on the market today for most gamers and performance buffs. In this latest installment we bring you the Asus AGP-V6800 Deluxe and the Creative Labs Annihilator Pro. Both boards are the GeForce DDR flavor from each company. We've previously reviewed the Asus AGP-V6600 Deluxe (GeForce SDR SGRAM) and Creative Labs Annihilator (GeForce SDR) and now it's time to take a look at their more powerful siblings.

The Companies

AsusTek (Asus) is one of the biggest names in the industry right now producing top-notch motherboards and graphics solutions. Their products have been synonymous with the words quality and performance but never left your billfold feeling too empty. Armed with a leading edge R&D team, Asus is able to provide customers with rock solid hardware and software utilities that are backed by a long history of good customer satisfaction. I don't know of many companies that I can honestly say do a better job than Asus.

Creative Labs came to us way back in the early 1990's offering this nifty sound card called the "Sound Blaster" that became ultra-popular with many consumers which propelled the company to expand its market to what we know now. This expansion in the "multimedia sector" included graphics solutions, web cams, DVD solutions, and other various multimedia upgrades. Although the latest audio solutions have been subject to much debate on their quality and compatibility, the graphics solutions offered have been regarded as a great "bang for the buck" solution. Not only has Creative been offering competitive hardware but took extra steps to offer customers software and utilities that would enhance their experience beyond what can be found in their competitors packages (i.e. Unified Driver, AGP utility, O/C Utilities).

The Features

The AGP-V6800 Deluxe comes with a number of features that are unique to the typical GeForce board. Its layout is a bit different from your average GeForce DDR board but that is to be expected since the card has the video in capability that adds various extra components. On the backside of the card you have VR-Glasses output, S-video input, HD15 monitor connection (the 'normal' monitor connection), S-video output and a composite out. The retail package (Deluxe version) includes these items in the box:

Manual
VR 3D Glasses
Video cables (S-video cable, Composite cable, S-video to composite cable)
Software Bundle (Asus DVD player, Ulead Video Studio SE, Rollcage, Drakan, CD game sampler)

The manual was noteworthy as it offered very detailed instructions for those who aren't too technically inclined with computers. Like many of their motherboard manuals, the V6800 manual offered useful information that shows you how to adjust various software settings or use their video capture software. It's not going to make the card faster but makes life easier when trying to use some of their proprietary software. The 3D Glasses haven't changed much since I last tried. The glasses work fairly well, however for those with corrective lenses the additional weight may be somewhat uncomfortable. The video cables are pretty standard. They could be picked up at the local video store, however, the fact that the card offers video-in is pretty cool (descent resolution you can capture at, I might add) although the card doesn't come with a video input device, you'll have to provide your own (web cam, video camera etc.). I also liked the fact that Asus provides a beta driver that stays somewhat near to NVIDIAs latest reference drivers if you feel the need to use them (as I did). I also was pleased with the various tweak and monitoring utilities that the card came with right ouf of the box. The Asus DVD player is the same standard player they've been shipping for some time now. As for the remaining software, a couple of free games and a CD sampler aren't too horrible but don't really interest me personally. Overall I would say the hardware and software features of the V6800 Deluxe were above average and the fact that the card comes with video out just adds extra appeal to this card.

The Features - Continued

The Creative Labs Annihilator Pro hardware-wise is just your basic DDR GeForce bundled with a few mediocre programs and utilities. Here is a list of what it came with:

Manual
Creative Drivers
NVIDIA High IQ CD Sampler
E-Colorific and 3Deep
InterVideo WinDVD
Evolva: Scout SE
Need For Speed 4 (Full version)
Dagoth Moor Zooligical Gardens (Technology Demo)

The software that the box shipped with, as you can see, isn't the most exciting bundle but that's not all you get. If you take a peek at what Creative is offering on their website, things change quiet a bit for the good. Browsing through the owners resources section of the Annihilator Pro section led me to a few utilities. I discovered the Creative Labs game launcher, overclocking utility, an AGP configuration utility and the ever intriguing Unified Driver (aka Glide wrapper). Each of these programs offered useful configuration abilities that should have come with the card, but at least something is available; period. The Game Launcher allows you to setup profiles for various games so that various D3D, OGL, Gamma or overclock settings are used when playing the game in question. The overclock utility is just what it sounds like but will hold settings in general (unlike the game launcher that does it per program). The AGP utility adds the ability to toggle things such as the AGP mode (1x, 2x, 4x), sideband addressing, AGP aperture size and the infamous "fast writes" option. The Unified Driver has been available from Creative for time now. This driver allows NVIDIA based cards (TNT, TNT2, GeForce) to run Glide based titles (albeit at a performance hit). The hardware might be average but the utilities Creative provides on their website is big plus in my book.

The Drivers

The drivers for the AGP-V6800 are basically the same as the AGP-V6600 aside from a few minor information differences. To take a deeper look at these drivers, please refer to the AGP-V6600 Deluxe Win98 drivers . Let's take a look at the Game Launcher software. Although it's not directly a part of the driver, it does add extra configuration ability.

This is the main Game Launcher window that lets you pick what program you care to configure.

After you've selected what program you wish to configure (in our case, Quake 3), You can pick just how or what you'd like to configure. Take a look at the available option windows.

The Drivers - Continued

There isn't anything too complicated about this program but it may have some uses if you have games that vary in settings that they run best at. You can also fine-tune those overclocking settings for the games that let you really push the limits while keeping the ones that aren't so friendly at normal levels.

The complete set of Creative drivers is identical to those we reviewed in our Annihilator review. If you'd like to refresh your memory as to what they offered, please refer back to our article Battle of the Titans: Creative Labs Annihilator vs. Leadtek WinFast GeForce 256 .

The 'Other' GeForce Boards

We're now up to nine GeForce cards reviewed and features that each offers are getting tough to remember so I've created a table containing some of the major features of each card for you to refer back to.

Graphics Card	Price*	Memory Type	Memory Size	Video-Out	Video-In
Absolute Multimedia Outrageous 3D	$265	6ns DDR SGRAM	32 MB	Yes.	No.
Asus AGP-V6600 Deluxe	$239	5ns SDR SGRAM	32 MB	Yes.	Yes.
Asus AGP-V6800 Deluxe	$299	6ns DDR SGRAM	32 MB	Yes.	Yes.
Creative Labs Annihilator	$209	5.5ns SDR SDRAM	32 MB	No.	No.
Creative Labs Annihilator Pro	$239	6ns DDR SGRAM	32 MB	No.	No.
ELSA Erazor X	$199	5.5ns SDR SDRAM	32 MB	No.	No.
ELSA Erazor X^2	$279	6ns DDR SGRAM	32 MB	Yes.	No.
Leadtek WinFast GeForce 256 SDR	$199	5ns SDR SDRAM	32 MB	Yes.	No.
Leadtek WinFast GeForce 256 DDR	$269	6ns DDR SGRAM	32 MB	Yes.	No.

* Researched street price. Prices may vary.

I researched the prices on the web and through local shops to come up with relatively reasonably low street prices that one could get the hardware for. You'll notice that the prices have changed pretty dramatically from the last time we looked at them. Being able to pick up a GeForce DDR for less than $240 is a promising sign for those who are on a tight budget.

The 'Other' GeForce Boards - Continued

For full detail on each card we're reviewed previously, refer back to these links:

Battle of the Titans: Creative Labs Annihilator vs. Leadtek WinFast GeForce 256
Asus AGP-V6600 Deluxe Review
Leadtek WinFast GeForce 256 DDR Review
ELSA Erazor X and Absolute Multimedia Outrageous 3D GeForce Review
ELSA Erazor X^2 GeForce Review

There are a couple of updates to these reviews that I wanted to share. Two cards, the Leadtek WinFast GeForce DDR and Absolute Multimedia O3D DDR, are now both shipping with improved version of their boards. Take a peek at the new versions of each below.

You'll notice that the cooling solution is a much improved on the newer board. You can see a picture of the older version right here .

The Leadtek board went from a normal cooling solution to this monster heat sink that's coupled with the same fan. I'm sure overclocking fans can appreciate this right out of the box. To see the old version, click here .

The Competition

The NVIDIA GeForce chipset based cards are great solutions available right now but just what else is out there at the moment and what might we be seeing in the near future? Let's take a look at each company at a glance.

3dfx has been unfortunate to have major delays on their latest product and has taken major flak from many of the online press for it. What seemed like a cool product months ago is now turning into average as folks like ATi and NVIDIA will soon be offering products that may be just as fast and offer the once unique features it had. On top of this, 3dfx's upcoming Voodoo4/5 cards do not have the T&L ability that everyone is moving to. I will give them credit that most software companies haven't moved onto the T&L bandwagon yet but by the time they ship, many people will be curious or interested in T&L that's coming soon and just might skip their product to go with something "safe" that supports it. I think the biggest thing that 3dfx has going for them in their upcoming cards is the fact that they promise killer fill-rates. We're of course assuming this so don't hold your breath. NVIDIA, ATi and Matrox were all gaining ground after all those delays. 3dfx will be showing what they've got to offer this month so we'll see.

The Rage Fury MAXX wasn't released long ago and is currently ATi's flagship graphics card. Although the card performance isn't too shabby, the cost for the performance have rated it a card I would pass on as there are so many better choices at the same price. However, the MAXX will probably be short lived as ATi recently released some information about their next generation product. It is said to have incredible fill-rates. T&L that is an improvement over what NVIDIA is currently offering, and a few other unique special effects. We should be seeing hardware in the coming weeks as well as a full-depth analysis of the graphics engine.

Bitboys are a new player in this area of well established players but is showing the hardcore graphics community some pretty promising technology as they plan to release detailed information on their product this month (supposedly). Extreme Bandwidth Architecture (XBA) is something that I'm really looking forward to as it's a change from the norm and promises to kick major behind. XBA is essentially imbedded DRAM into the graphics core. This gives the Bitboys the control to make the memory bus as wide as they'd like it to be (rumored to be 512-bit vs. the conventional 128-bit) and control over the speed at which the memory runs at since its internal. Granted there are limitations on the speed but such easy control over the memory bus width is going to give them killer memory bandwidth. The drawbacks? Well we've never seen a product from this company (keep in mind that they recently missed a self-set release date) and we're still waiting on more details so until they ship, it's all hype.

Matrox has been extremely quiet on what they're up to and unfortunately I have zero information on what's to come. As soon as I find out, however, you can bet you'll see a post.

Our current reigning champion of 3D, NVIDIA, hasn't been sitting back wasting the money you've been spending to buy their cards but has actually been improving the existing product. Rumor has it that we'll see the die shrink we never saw (less heat, more frequency), increased performance in the rendering pipelines (multi-texturing per pipeline and/or filtering), and rumored to have improved T&L ability due to popular demand. I can't give more detail than that but we'll see what's going on in the next few weeks.

One of the biggest flops in my opinion this past year (aside from RAMBUS) was the Savage 2000. I really don't appreciate the fact that their product hasn't lived up to many people's expectation because it puts so much pressure on the great press people and driver guys I know at S3. There has been much criticism about S3 technical support, that the card came up short on performance, T&L didn't ship enabled on the card and the list goes on. So what do we have to look forward to in the near future? An improved version of the S2000 from what I hear. I wonder if the S2000 T&L unit was just buggy in the first place and driver fixes were merely software workarounds. Maybe this next release will be the "working" T&L unit that has greater clock speeds and will allow S3 to compete as they had once hoped. Well, it had better be more than that because the competition is flexing much more than average hardware.

Overclocking

Finding the best setting for each card was gone by cycling Quake3 demo1 overnight. The temperature was taken at the end of the testing run when I checked to see if the system was still running. Both cards found their happiest setting at 135 MHz core/333 MHz memory running Quake3 all night like a champ. Anything more and I had unstable results within the first few minutes. Both also registered a 76 degree Celsius heat rating that was measured on the backside of the graphics chip. Results will vary card to card so don't be surprised if you can exceed the rather modest settings I achieved.

Benchmark Setup

Hardware Information
CPU	PIII 866
Motherboard (BIOS rev.)	Intel OR840 (BIOS OR840700.86E.0219.803.0003081415)
Memory	2 Modules of 128 MB 800 MHz RDRAM
Network	Netgear FA310TX
Driver Information
3dfx Voodoo3 3500	4.12.01.1222
Asus AGP-V6800 Deluxe	4.12.01.0375
Creative Labs Annihilator Pro	4.12.01.2204.02.0353
Matrox G400 MAX	4.12.01.1520
S3 Viper II	4.12.01.9002-9.10.21
Environment Settings
OS Version	Windows 98 SE 4.10.2222 A
DirectX Version	7.0
Quake 3 Arena	Retail versioncommand line = +set cd_nocd 1 +set s_initsound 0
Shogo	V2.14Advanced Settings = disable sound, disable music, disable movies, disable joysticks,enable optimized surfaces, enable triple buffering, enable single-pass multi-texturingHigh Detail Settings = enabledFortress Demo
Descent III	Retail versionSettings = -nosound -nomusic -nonetwork -timetest
3DMark 2000	16-bit settings = 16 bit textures, 16-bit Z-buffer, triple buffering32-bit settings = 32-bit textures, 24-bit Z-buffer, triple bufferingAll test were done with high detail only.

Benchmark Expectations And Notes

I expect both GeForce based cards to dominate the tests over the competing chipsets (notice we used the latest drivers) and that the Asus V6800 will have a slight advantage as its driver is based on a reference driver that is quiet a bit newer than what the Creative Labs Annihilator Pro comes with. This advantage may be more apparent in some resolution more than others.

You've probably noticed by now that we've upped our test platform to something much more powerful than before. As far as graphics card concerned, this platform is the best test bed for comparing graphic boards as it provides the latest AGP technologies and supports the fastest available processors. This choice was made to offer pure graphics analysis. Future articles may offer supplemental information that will compare the effects of slower platforms on various graphics solutions but from now on, our standard graphics test suite will use this platform.

Much of our test suite is getting a bit dated as most of the boards are able to achieve very high framerates in various tests so I've removed a few that I felt were way too easy. Keep an eye out for an addition to our benchmark suite next review, as we'll most likely have an addition or two from recently released games.

Benchmark Results - Shogo

Here we have both GeForce boards sticking side by side as they maintain a nice lead in front of the other chipsets. Obviously all the cards perform well enough at this mode but we're still in a really low resolution. Remember, at low resolution, fill-rate isn't a factor and the performance is much more limited by the platform performance.

The Asus V6800 has taken a slight lead over the Annihilator Pro but we are likely seeing this due to the Asus board having the driver built on a later reference driver.

The V6800 maintains a 5% lead over the Annihilator while they both stomp on the other cards. The VD3 3500 played the demo back but missing most of the textures so the score was defaulted to a 0.

Benchmark Results - Descent 3 DirectX

Descent 3 at this resolution isn't giving most of the boards any problems. We see that the GeForce cards are still tied up top while the G400 MAX and VD3 3500 aren't too far behind. The S2000 managed to score a decent result but it pales when compared to any of the other cards in its class.

The V6800 once again is showing us that it has a performance advantage over the Annihilator thanks to the drivers. You'll notice the competition has dropped off considerably from the other chipsets.

Here we have the V6800 once again pulling into the lead as the Annihilator comes up short. The remaining cards have trouble keeping in the same ballpark as the fill-rate demands increased.

Benchmark Results - Descent 3 OpenGL

Our competing GeForce boards are tied up top while the other cards obviously don't have an OpenGL ICD that is solid all around. The Viper II was missing a heavy amount of textures so it defaulted to a 0 score.

The Annihilator shows a slight lead but at that framerate, that advantage is within an acceptable margin of error so it can't really be considered much of an advantage.

In OpenGL it appears that the slight advantage that Asus had is gone as the Annihilator and V6800 basically tied on each test.

Benchmark Results - Quake 3 Arena High Quality

Now that we're in OpenGL again, the cards are performing identically again. The G400 MAX provides a fairly decent result as the S2000 offers mediocre performance. The VD3 3500 was unable to run in 32-bit color mode.

Things are still tied up top with the GeForce boards as I expected but what does strike me is the sad performance of the S2000. I thought they prided in high resolution/color performance. I hardly call 30 FPS something to be proud about when the competition is providing nearly double that.

Hammering the cards at 1600x1200 in high quality brings all the cards to their knees. Notice how well the G400 MAX did, not too shabby.

Benchmark Results - 3DMark 2000 Game1 16-bit Color

The test GeForce cards are side by side as they pass up all the competition without much trouble.

Although both GeForce boards are tied up to, the competition is too far behind. This is a bit surprising.

None of the scores were acceptable but you can see that the GeForce boards are still consistently tying for the top spots while the competition struggles to keep anywhere near them.

Benchmark Results - 3DMark 2000 Game 1 32-bit Color

Just when it looked like the V6800 had the superior DX driver, the Annihilator starts putting some ground between the two. Use of the reference driver would probably be the best for performance all around.

One of the highest settings in our 3DMark testing brings all our scores to less than an acceptable 30 FPS. Both GeForce boards do manage to tie up top.

Unfortunately neither GeForce card was able to run in this mode. Although the G400 MAX didn't provide at least 30 FPS, at least it was able to complete the benchmark in this mode.

After looking back at the results, I still feel that the GeForce DDR based boards are king of the hill when it comes to performance. The performance difference between the two GeForce boards themselves is pretty negligible as both tied for the lead several times and they each took a brief lead at some points. After seeing both cards provide different results in the same test by merely switching APIs, I feel that the software driver is what is providing the performance differences between the two. If we had used the reference driver, I doubt there would be much variance in their scores.

Conclusion

Asus is offering a nice package in the AGP-V6800 as it has GeForce DDR performance, dependable quality, video in/out and ships with good drivers/utilities. However, if you want this excellent package, you're going to pay for what you get. At nearly $300, the card comes at a premium cost when the price is compared to other GeForce DDR cards. The video in feature is where most would decide between this fine card and the less expensive alternatives.

Creative Labs supplies consumers with a basic GeForce DDR board that performs just as good as they come while also offering a few interesting utilities and drivers on their website. The biggest drawback is the lack of video in/out support. Bar that drawback, it's hard to ignore going with the Annihilator Pro for the killer price.

For me the biggest factors in choosing the best GeForce card are pretty basic. I want the best performance for a good price. I'm not really into using video on my machine for anything. Pairing the reference NVIDIA drivers with any of the boards we have reviewed in the past will give you the best performance and stability you can get so software isn't an issue. With this in mind and the latest street prices, my current choice for best GeForce board would be the Creative Labs Annihilator Pro. With the ability to have the best performance available at a mere $239 and the option to use Creative's various utilities, I find the Annihilator Pro to be an excellent bargain. Let's hope that we see the same type of competition around when the NV15 series (the upcoming graphics chipset from NVIDIA) comes out, as it will greatly benefit consumers.

The Voodoo2 3D Chip from 3Dfx

Thomas Pabst — Thu, 12 Mar 1998 18:00:59 +0000

Introduction

Finally the waiting seems to be over, after Creative Labs did the first shipment of their 3D Blaster Voodoo2 with the 3Dfx Voodoo2 Chip, more and more companies will start launching their Voodoo2 products as well now. The Voodoo2 seems to be one of the most anticipated computer hardware products of all time, there was certainly never anything like this in the graphics sector before.

You have certainly followed all the announcements, statements and comments about Voodoo2 products in the press, particularly the race between Creative Labs and Diamond getting to market first. Creative Labs won that race by quite a distance, but still it's almost impossible getting the hands on a 3D Blaster Voodoo2 unless you are very lucky. Many rumors came up explaining the shortage of this product, the one that said Creative would have technical problems with the boards is only one of these rumors that lack any kind of truth behind them. The reason why you can still not really get these boards is simply because 3Dfx is only now starting to ramp up the production of the Voodoo2 chip and Creative can only produce boards after they got a 'drop' of chips delivered from 3Dfx. Diamond is about to launch their Monster 3D II board now and it could be that there will be more of these boards available now, simply because Diamond was waiting to get a large stock of boards before they planned shipping for the first time. The situation will be reaching normal state within the next 4 to 6 weeks, so that you don't have to back order and pre-pay Voodoo2 boards anymore pretty soon.

Now since people are starting to have these boards in their systems and others are contemplating buying one, there's quite a demand for information about this product. Which board is best? What performance can I expect? How compatible will Voodoo2 be? Does overclocking make sense? .... All these questions want to be answered and this article is supposed to help you understand a bit more about the Voodoo2 and the first boards equipped with it.

The Performance Of Voodoo2 - The High Impact Of The CPU

Most of you will certainly now it, the Voodoo2 offers 3D performance far above everything you've seen so far in the PC 3D gaming market. At this time it's absolutely save to say that Voodoo2 is faster than any other 3D gaming solution on the market. However, how much faster it is and what it takes to get the most out of it is still something to be evaluated.

The Voodoo2 is pretty much the first ever 3D chip which shows you the limitations of your CPU in a severe fashion. Whilst in the past the 3D accelerator used to be the bottleneck in 3D gaming performance, now with the Voodoo2 the bottleneck is the CPU in most of the cases. Testing shows that it takes at least a Pentium II 266 to see a significant impact of the Voodoo2 performance in game benchmarks and this only in case of high resolutions. At 640x480 most games won't let the Voodoo2 show it's full performance even in a Pentium II 300 system, which means that most likely even the upcoming Pentium II 400 will maybe only just deliver enough CPU power to max out the Voodoo2 . The K6 3D is the only Socket 7 candidate that could take the Voodoo2 closer to its limits, no currently available Socket 7 CPU is able to supply enough CPU power to really use the vast 3D force of the Voodoo2 .

You may be wondering what I am going on about, so I will try explaining this issue to you. As you could already read in my article 3D Accelerator Benchmarks - CPU Scaling of 3D Graphic Chips , there are two important things that determine the 3D performance of a system. First the CPU has to calculate the basic 3D geometry of a game scene, which is a procedure that requires a lot of floating point calculations. This is why systems with 6x86MX CPUs are having a some problems with 3D gaming, while offering an amazing integer performance, the floating point performance is pretty low. This geometry data is sent to the 3D accelerator which now does the rendering. This can be done in several steps, triangle setup, one or more rendering passes ... As you old see in above mentioned article, you can get to the state where the CPU can supply the geometry data to the 3D accelerator as fast as it wants, the 3 accelerator is just only able to process up to a certain amount of that data and the CPU has to wait until the 3D accelerator is finished before sending the next scene data. In this case you will not experience much or any increase in frame rate even when using a much faster CPU.

As you can imagine, there's also the possibility that it could be the other way around. the Quantum3D Obsidian 100SB with it's vast 3D performance based on up to 6 3Dfx Voodoo chips (instead of 2 in the normal Voodoo boards) already showed this phenomenon, the Voodoo2 cards show it even more severely. In this case the 3D accelerator is waiting for the CPU to deliver the geometry data. This means that e.g. overclocking the 3D accelerator chip will not improve 3D performance at all, because the 3D accelerator chip is simply waiting more clock cycles for the 3d geometry data from the CPU. You can also see the surprising effect that frame rate would not drop at all when switching to higher resolutions and adding another Voodoo2 board for SLI will not increase frame rate either, but offer you an even higher resolution at the same frame rate as the lowest resolution.

In the case of the Voodoo2 you will require at least a Pentium II 266 to start seeing a significant difference in frame rate between 640x480 and 800x600 frame rate, in case of two boards in SLI configuration a Pentium II 333 isn't even fast enough showing a frame rate difference between 640x480 and 800x600. This shows that the frame rate could be a lot higher at 640x480 if the Voodoo2 would get enough data from the CPU. 800x600 and more is occupying the Voodoo2 more, so the time of waiting for the CPU is less.

This is of course not the case for all games. It depends on how many calculations the CPU has got to do before it can send the data to the 3D chip. Actual games that do not require that much CPU power are Acclaim's Forsaken and Id's good old GLQuake. In case of GLQuake it only really shows in the pretty obsolete 'Timedemo demon ' benchmark, if you use heavy multiplayer benchmark demos like 'bigass1' the story is already different and this is most likely the case for Forsaken in network multi player mode as well. Games as Rage's Incoming or Id's Quake II are needing a lot of CPU power, so that above said is particularly valid for these games. The trend is going to more complex games though, which means that the effects of the CPU on Voodoo2 's frame rate will most likely get more rather than less, something you should consider when putting together a kick ass 3D gaming platform.

I'd also like to mention AGP in this context. AGP is supposed to offer us better or faster 3D experience. If you look at it closely though, you will see that this isn't the case at all currently. If the CPU can't deliver data to the 3D accelerator fast enough it doesn't really matter what kind of bus system is used transferring the data to the 3D chip. PCI is absolutely fast enough for that. Even in case of a Pentium II 400 or higher it's very unlikely that you will see much of a difference in 3D performance when using AGP instead of PCI. AGP is only having an advantage in case of texture transport from main memory, but if the texture is already in the on board memory of the 3D accelerator it doesn't come into account and receiving the texture data is only one of many steps of the rendering process of a 3D accelerator. I pretty much doubt that Voodoo2 is impacted by too slow texture transport when used as PCI solution at all, which is why I think it's about time dropping the discussion about a Voodoo2 AGP solution.

Please have a look at the benchmark results which back up the above said.

Overclocking Of The Voodoo2 - Does It Make Any Sense?

Since I found out how to overclock Voodoo2 boards and published it, you can find this information all over the web. However, it's questionable if there's any point in overclocking the Voodoo2 at all, since after all you're always taking a risk of system instability as well as even damage of the Voodoo2 board.

Simply said it's not really worth it unless you've got a really powerful CPU. If you understand the above said you will know why. It doesn't really matter how fast the Voodoo2 chip runs, if it has to wait for the CPU to complete its task anyway. You can see an impact of overclocking only when the Voodoo2 is the bottleneck rather than the CPU. Again this requires at least a Pentium II CPU, don't even bother about it as long as you've got a Socket 7 system.

Benchmark data that shows the effect of overclocking of the Voodoo2 can be found at the page 'Overclocking of the Vooodoo2 - What can we expect? '.

Reviews Of The Actual Boards

Lately I'm asked many times which Voodoo2 board out there is the best to get, which manufacturer is better? If you mean this in terms of performance I can give you two answers:

12 MB boards hardly show any improvement over 8 MB boards, regardless which actual game you're running. The hype with the additional texture memory having any significant impact on your gaming performance is pretty pointless. As long as the Voodoo2 is waiting for the geometry data from the CPU, it has got all the time in the world for downloading additional textures from main memory. Even in case of systems with fast CPUs the impact is minimal, the difference in rendering time between textures in local memory against textures loaded from main memory is unnoticeable in game play. I really doubt if this will change in the future, so please do me the favor and don't jump on the marketing hype train. I do admit that I would go for a 12 MB board just to make me feel better, but this does only make sense if there's no big price difference and you shouldn't be surprised if your neighbour's games run just as fast, although he's only got an 8 MB board.

In terms of performance, there is NO difference between the different graphic vendors at all. The base drivers are provided by 3Dfx and the vendors only make very small changes to it (as actually the case in most other 3D chips as well). This means that the drivers are pretty much all offering the same performance. From the speed point of view you should go with the cheapest board you can get.

This is different if you are looking for special features. Neither Diamond nor Creative Labs are offering e.g. 'video out' on their boards, so if you fancy that you may prefer getting a board from Canopus or Quantum3D. The other difference is overclocking stability. The vendors are using all the same kind of 25ns EDO memory, but some tiny difference in components used can decide if you can overclock the Voodoo2 board to e.g. 100 MHz or not. Now as said above, this isn't really an important issue, because overclocking doesn't make a lot of sense anyhow, but maybe this could help you making a buying decision. Diamond's Monster 3D II is for example running a lot more stable when overclocked than Creative Lab's 3D Blaster Voodoo2 . In some games the Creative board fails at 100 MHz within 5-10 minutes even when cooled.

OK, enough said, here are the reviews of Voodoo2 boards I've tested so far:

Review of Diamond's Monster 3D II 8 MB final Board

including SLI results

Review of Creative Lab's 3D Blaster Voodoo2

comparison to Diamond's pre-release Voodoo2 board

Pre-View of Diamond's Monster 3D II Pre-Release Board

the first on line review of a Voodoo2 board world wide

Creative Labs 3D Blaster Voodoo2

Thomas Pabst — Fri, 27 Feb 1998 18:00:58 +0000

Introduction

Creative won the race of which company will be first on the market with a Voodoo² 3D accelerator and after we've seen the performance of the pre-release Voodoo² card from Diamond, it's now time to check how well a final product will perform. The 3D Blaster Voodoo² comes with 12 MB of onboard memory, 4 MB frame buffer and 4 MB texture buffer for each of the two Texelfx2 units, making 12 MB altogether. This is 4 MB more than what Diamond is planning to put on their Monster 3D II card, which is only one of the reasons why Diamond and Creative didn't have anything better to do than throwing mud at each other in the press previous to the release date of the 3D Blaster Voodoo², with most of the weight on Diamond's side. Now, since Creative Labs started shipping their 12 MB Voodoo² board, Diamond changed their mind from 'offering a 12 MB solution shows that Creative doesn't have any idea of marketing ' to 'Powered by the Voodoo² graphics chipset from 3Dfx Interactive, the new 12 MB Monster 3D II will ship early in the second quarter of 1998 '. Isn't it always nice to see how people can suddenly change their minds? A similar thing must have happened within Creative though, because Electronic Boutique took pre-orders for 6 MB 3D Blaster Voodoo² boards back in January and suddenly Creative came up with the idea of selling 8 and 12 MB boards instead.

Anyway, we customers couldn't care less about this unpleasant soap opera between Diamond and Creative Labs, we want to know which product is best for our needs. One of the things that are of major interest is the difference between the 6, 8 and 12 MB versions of Voodoo² boards. The preview of Diamond's Monster 3D II already showed that the Voodoo² can run games at 800x600 just as fine as at the default of 640x480, so that it has to be considered as unwise producing a 6 MB board that won't allow you a resolution of 800x600. The difference between the 8 and the 12 MB version however is determined by the difference in texture buffer size, similar to the difference between Diamond's good old Monster 3D and Canopus' Pure3D Voodoo accelerators, where the Pure3D also comes with double the texture memory. Tests showed that there was hardly any game so far, that would be able taking any significant advantage of the 2 MB more texture RAM and hence there's now the question if the 12 MB Voodoo² cards are mainly a marketing gag or if we really get additional performance for additional money.

The Box

The 3D Blaster Voodoo² comes without any game bundle. In the box you'll find a CD with the latest drivers, a pass through cable which is significantly thinner than the one shipped with Diamond Voodoo and Voodoo² boards and a SLI cable that allows you to hook up two 3D Blasters together, enabling either double performance at the same resolution or higher resolution at sustained performance. In my box there was also a blue piece of paper which said that the SLI cable is too long, 3" instead of 1.5", which could be the reason for trouble in SLI mode. I guess that Creative Labs will solve that problem finally, but it shows how desperate Creative must have been shipping this product as early as possible, even when they would have to include a too long SLI cable.

The small manual is straight forward, showing you how to plug in the card, how to connect the pass through cable from the 2D graphics card to the 3D Blaster and how to hook up two 3D Blasters for SLI mode. The installation for Windows 95 is straight forward and the CD includes also DirectX 5 and drivers for Windows NT.

Running The 3D Blaster Voodoo²

One day before the official launch of the 3D Blaster Voodoo² diamond announced that they've found a heat flaw in the Voodoo² reference design, being the cause of crashes under higher temperature. Creative as well as 3Dfx weren't very happy about that, Creative because they thought it was directly targeted at the 3D Blaster launch day and 3Dfx because Diamond wouldn't tell them where exactly the problem is for obvious reasons. Creative is using exactly 3Dfx' reference design, so if there is a bug in the board it show up in my tests. I did not come across any crashes caused by the 3D Blaster although I really strained it, putting a plastic bag around the system to get it hot as well as several night runs of Quake and Quake2 in my own system, which is a dual Pentium II 300 box with a Permedia 2 card and 2 Seagate Cheetah drives, so you can imagine that this box is really hot inside. I can not say that the 3D Blaster Voodoo² has shown any instability.

Creative Labs are not supplying their own drivers, they rather supply you with the reference drivers from 3Dfx. This is completely fair enough, after all the 3D Blaster is the reference design as well. The D3D drivers used were 4.10.01.0052-RC1 (release candidate 1), thus pretty much the first official drivers. WinGlide was version 2.5.

If you want to run a Voodoo² board at maximum performance you've got to do some minimal tweaks. Voodoo card owners are used to put some "SET SST_..." commands in either the autoexec.bat or in some special game batch files. The most common thing with Voodoo was to disable the 'Wait for vertical retrace", commands "SET FX_GLIDE_SWAPINTERVAL=0" for Glide games and "SET SST_SWAP_EN_WAIT_ON_VSYNC=0" for D3D games. These times are over now, you can change these and a few more settings in the display properties directly. This is how I would recommend to change the settings and these are the settings I used for testing.

Overclocking

All the owners of a Voodoo card know it, there was a simple way of overclocking the Voodoo to higher clocks than the default of 50 MHz and this was improving the performance by a pretty significant amount. You simply put 'SET SST_GRXCLK=...' in the autoexec.bat or a special game batch file and you changed the clock frequency of the Voodoo chip(s). It's not quite that simple with the Voodoo², but it's still possible. 3Dfx changed the variables from DOS environment variables to string variables within the Windows 95 registry, which was a wise decision. Hence you've got to edit your Windows 95 registry, one of the things that many people are afraid of. I just recommend backing up the registry previous to any change, which btw goes easiest by just copying the 'system.dat' and 'user.dat' in the Windows directory to a save one.

Start the Registry Editor , choose 'Edit ', 'Find ' and search for 'SSTV2 '.
This will lead you directly to where you've got to be, 'HKEY_LOCAL_MACHINE\SOFTWARE\3Dfx Interactive\Voodoo²\ '.
This key has got 2 subkeys, by the name of 'HKEY_LOCAL_MACHINE\SOFTWARE\3Dfx Interactive\Voodoo²\D3D ' and 'HKEY_LOCAL_MACHINE\SOFTWARE\3Dfx Interactive\Voodoo²\Glide '. You will have to work with both if you want to change the clock speed of the Voodoo² for Direct3D as well as Glide games.
Now right click on either one of these two keys, select 'New ' and then 'String Value '. Call that new variable 'SSTV2_GRXCLK '.
Double click on the new variable you just added and enter the clock speed you want the Voodoo² to run at in decimals.
Default is '90' for 90 MHz, so you obviously want to get higher. Please be aware of the risk of overheating and maybe even destroying your Voodoo² board, I won't take any liability. I don't think that overclocking the Voodoo² is necessary and it doesn't give you that much of a performance increase as well.

While I'm writing these lines I hear that someone has already programmed a overclocking utility based on my Voodoo² overclocking comments at Voodoo Extreme .

Benchmarking

I ran the benchmarks only on two systems so far, I will add more soon though. The tests were run on

Pentium II 300 system
Abit LX6 motherboard
64 MB SDRAM
Quantum Fireball SE 4.3 GB EIDE HDD
Windows 95 OSR 2.1

and on

Pentium MMX 200 system
Elitegroup P5SD-B motherboard
64 MB SDRAM
Quantum Fireball SE 4.3 GB EIDE HDD
Windows 95 OSR 2.1
SIS GART driver rev. 1.1

The settings of Creative's 3D Blaster Voodoo² as well as of Diamond's Monster 3D II pre-release board were as shown above, the Voodoo² clock frequency was 90 MHz for both boards. The RIVA AGP reference board was running with NVIDIA's latest reference drivers, including their beta OpenGL ICD. ATI's Xpert@Play AGP ran with the latest 'turbo' drivers (build 2312) and all the other cards ran the latest drivers to date (Feb 27, 1998). The refresh rate for all 2D/3D combo cards was 120 Hz for 640x480 and 100 Hz for 800x600. The 3Dfx cards used the usual 60 Hz refresh rate in both resolutions.

INCOMING

INCOMING from Rage is a stunning looking game that really needs some kick ass hardware if you want to run it smoothly. You need at least 30 fps if you want to be able enjoying the game, so you definitely need a powerful CPU or a very good 3D accelerator, especially if you want to take advantage of higher resolutions. Here some more new screen shots from Voodoo Extreme : shot1 shot2 shot3

The two Voodoo² cards are ruling this benchmark quite clearly in the P II 300 system, but you can see that the game requires so much CPU power that even with a Pentium MMX 200 the differences between Voodoo² cards and its competitors get pretty tiny.

800x600 is the resolution Voodoo² boards love. It's hard to believe, but in case of the Pentium MMX system The Voodoo² cards run it even faster at 800x600 than at 640x480. This should be another prove that there's no point in building 6 MB Voodoo² boards, you really want to use the high performance of Voodoo² at 800x600. Note the tiny difference between the 12 MB 3D Blaster Voodoo² and the 8 MB Monster 3D II.

FORSAKEN

Forsaken is a great looking game in Descent style. Opposite to Incoming it does not require much CPU power for running it smoothly, so even owners of K6 and 6x86MX CPUs have got a chance of enjoying this game.

Voodoo² rules, the Obsidian from Quantum3D is right behind it. Again you won't find a difference between the 3D Blaster and the Monster 3D II.

800x600 makes the lead of the Voodoo² boards even clearer, again no real difference between the 12 and the 8 MB board.

TUROK

Turok is a 1st person shooter with nice and colorful graphics. This benchmark is using the downloadable demo of Turok, not the actual game. for some strange reason the game scores much higher frame rates so don't compare them with these ones here.

Turok is also not as CPU consuming, that nothing really changes between the P II 300 and the P200 MMX system, except an overall decrease in framerate.

QUAKE II

I don't think I've got much to say about Quake II. Quake II wants FPU, that's why K6 and particularly 6x86MX CPUs have a significant disadvantage in playability.

The picture is again as we know it. The two Voodoo² boards are scoring higher than anything else and there's as good as no difference between the 12 and the 8 MB version.

800x600 makes the lead of the Voodoo² boards even more obvious, again no visible reason to favorize the 12 MB 3D Blaster Voodoo² over the Monster 3D II.

Conclusion

There is no doubt that 3D accelerators with the 3Dfx Voodoo² chip are scoring best in all of the benchmarks. We also saw that Voodoo² can show it's real superiority at the 800x600 resolution. That's why we don't want 6 MB Voodoo² boards which restrict us to only 640x480. The benchmarks also show that you rather have a fast Pentium II system if you want to push the Voodoo² to the edge.

Hundreds of you asked me if the 12 MB 3D Blaster Voodoo² is any better than the 8 MB Monster 3D II. The answer is certainly not 'yes', I don't want to put a clear 'no' here as well though. Since the day when AGP was launched we are listening to those stories of games which are using so much larger textures, thus requiring AGP. What I've seen of G-Police hasn't impressed me and I wonder if high resolution textures on low resolution rendered polygons are looking so much better. What I expect are objects consisting of a lot more polygons, as e.g. Incoming shows. If eventually there should be a point in using really large textures there will also be a point of using 8 MB texture memory rather than 4 MB on a Voodoo² board. For now it doesn't give you much of an advantage though and by the day when these games are out we can probably already expect the next generation 3D chips on the market. A 12 MB Voodoo² board is something for people who want to have the possibly fastest and who don't care about the additional cost. However, the 'normal Joe' will most likely be just as happy with an 8 MB Voodoo board. Creative Labs will supply both versions and so will Diamond.

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