Today I will look at an interesting earnings for musicians and I'll tell you what it is audio stocks, how they can be used to make money on the Internet for people related to music and sound recording. I once already talked about how people who are interested in photography and photography can make money. computer graphics, so, audio stocks (audio banks) are about the same, only for musicians and sound engineers. All details are further in the article.

What are audio stocks?

So, what are audio stocks? These are specialized sites that sell various kinds of musical fragments (so-called samples), sound effects and entire pieces of music. They are bought to be used in arrangements, in advertising, computer games and applications, presentations, movie trailers, or for any other purposes. At the same time, anyone can become a seller of such musical products: create them, put them up for sale on audio stocks and make money from it.

The main criterion: the fragments put up for sale must be of high quality and absolutely unique, that is, not used anywhere before. If the sale of a non-unique sample is detected, its author will be blocked, and he will lose the opportunity to use this audio stock to earn money.

Earning money for musicians on audio stocks is suitable for those who have more or less decent musical equipment, understand recording programs, have a high-quality musical instrument and, of course, have the talent for creating new musical fragments and compositions.

How to make money on audio stocks?

The algorithm for making money on audio stocks is quite simple and is as follows:

1. You register on such a site and study its rules. In many cases, you will first need to pass a certain test-exam, which will confirm that you have read the rules and understand what you are going to do.
2. You record a certain number of sounds, samples, melodies, finished works in good quality.
3. You put them up for sale on an audio stock in the desired category. On some sites you can set any price you want, on others it is determined by moderators.
4. The posted recording is moderated, then processed with special filters and displayed for listening in reduced quality (bitrate), with a “watermark” (a phrase repeated throughout the entire playing period after a certain time) - in this form potential listeners will listen to it. buyers.
5. If a buyer wants to buy a recording, he makes a payment, which goes to you minus the audio stock exchange commission (usually the commission is at least 20%, in many cases more). After this, the buyer has the opportunity to download the recording in original quality and without a watermark.
6. Typically, the same entry can be purchased an unlimited number of times.
7. Funds from sales accumulated in your personal account can be withdrawn through payment systems with which the audiostock cooperates.

Here are a few useful tips about how musicians can make their earnings on audio stocks as high as possible.

1. First you need to work on the rating - it, as elsewhere in similar areas, is of no small importance. An author with a high rating will sell records more often and at higher prices. To earn this rating, you will have to make a certain number of sales at a low price.
2. Be sure to analyze the general pricing policy of the audio stock: at what price tracks similar to yours are sold. And try to comply with it, while distinguishing yourself from your competitors.
3. The more records you put up for sale, the more you can earn. However, pay attention to what sells best (according to your own statistics and general audio stock statistics) and try to record tracks in exactly this format.

List of audio stocks for making money.

It is better to practice earning money from audio stocks for musicians on foreign platforms, because, firstly, there is more target audience(the whole world), secondly, the prices are higher. Of course, this will require at least some knowledge English language, however, now there is very good online translators, which will help you understand all the unclear points. It is worth noting that there are also Russian-language versions of world audio stocks; it’s just that certain points will still require reading and writing in English.

1. audiojungle.net(perhaps the largest and most popular audio stock);
2. pond5.com
3. 123rf.com(simultaneously photo bank, video bank and audio bank);
4. luckstock.com

How much can you earn from audio stocks?

Surely everyone is interested in the question: how much can you earn on audio stocks. The answer is simple: as in absolutely any business, it depends on the level of skill and experience of the musician in this type of income. That is, “mountains of gold” will not immediately fall from the sky to you. But if you seriously engage in this type of income, you can reach a very good level of income, say, $1000 a month or more.

Average authors who put up about a hundred popular tracks for sale earn $300-500 a month. Beginners, naturally, have less, but very experienced professionals – significantly more: several thousand dollars a month. At first, you can practice making money on audio stocks as an additional source of income, and if everything goes well, then turn it into your main one.

Earning money from audio stocks is also interesting because all sales take place in dollars, which means that income is well protected from inflation and devaluation. And after creating and uploading for sale large quantities tracks, this type of income turns into: you can do nothing, receiving income from audio products already put up for sale. Of course, if you don’t want to increase this income, if that’s enough for you.

Now you know what audio stocks are and how musicians can make money on the Internet. If you are interested in this option, choose an audio stock, carefully study its rules and try your hand. In any case, you will not lose anything from this, and you can get a new and promising source of income.

That's all. I wish you successful earnings. Join the number of regular readers to always be aware of useful and important information in the field of improving financial literacy and personal finance management. See you again on the pages of the site!

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

Let me make a reservation right away: the article will not give a universal answer for all situations. It will also be useless if you are right now standing in front of a store window in the throes of choice, and the salesperson is frantically convincing you to buy “the best and newest model.” This article is needed in order to:

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

Why do you need a sound card?

First, let's find out why you are buying. sound card. There are not many main options, let’s look at each of them in more detail:

• For listening to music at home.
• For organizing a budget home recording studio.
• To create arrangements followed by work in a professional studio.
• For professional audio work.

Listening to music

Since I mainly deal with professional equipment, I’m unlikely to be able to give detailed recommendations regarding household and multimedia tasks. Moreover, not everything depends on the sound card.

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

I know of cases where people were able to get high-quality sound using an old SoundBlaster Live! and Yamaha NS-10M speakers with a household amplifier. But it also happened differently, when huge amounts of money were invested in equipment, highly paid “specialists” were invited to install and configure it, and in the end the result was terrible sound due to banality, confusion with channels or incorrect placement of speakers.

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

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

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

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

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

Sound card for home recording studio

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

• Microphone preamp. If the preamp is not included in the sound card, you will have to buy it separately, and it can be expensive. And since in such cases the goal is not to obtain top-quality sound, the built-in preamp will be sufficient for most situations.
• Analog inputs. You need at least two of them. To record a microphone or guitar you will need one, and for some synthesizer parts you need a stereo pair. Of course, if there are more inputs, this is only a plus: in this case, it will be possible, for example, to simultaneously record a voice with accompaniment on a synthesizer, or even record a small group of performers.
• Analogue outputs. There are also at least two outputs for connecting (speakers). But not all sound cards have analog outputs. If the device does not have them, you will have to additionally purchase a DAC (digital-to-analog converter), and this is an extra expense.
• MIDI interface. It will come in handy if you want keyboard variety. Using the MIDI interface, you can connect an external MIDI keyboard or external tone generators. However, a midi interface can always be purchased as a separate device, but to get started it is convenient to have at least one pair of midi connectors directly on the sound card.

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

There is one more nuance. It is almost guaranteed that after some time you will find many shortcomings in the chosen model and decide to exchange it for something more expensive. And you will have to sell the old one at a significant discount. Therefore, to begin with, take what solves your problems at the lowest price.

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

Working with arrangements

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

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

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

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

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

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

And a few more words about working in MIDI. Regardless of which tone generators you choose - hardware, virtual or DSP - it is best, from the point of view of the final sound, to do all the work in MIDI, without converting parts to audio. An entire paragraph of my book “Musicmaker Academy” is devoted to this, and, most likely, after a while it will be published on the blog (so as not to miss it, don’t forget to subscribe). But I will still present some main points here.

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

Of course, this method also has certain limitations:

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

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

Professional sound card for recording

Choosing a professional audio card for working with sound - a holivar question. Everyone knows about the existence of two “opposing” camps, desperately proving to each other that they are right without the prospect of a truce. Why is a truce impossible? Yes, because as soon as a supporter of one camp changes his opinion, his former “comrades-in-arms” immediately recognize him as either a “sectarian” or “deaf.”

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

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

Of course, a lot of water has passed under the bridge since then; manufacturers and software developers have learned, if not to completely eliminate some problems, then at least to minimize the damage from them. For example, previously, in the event of a sudden crash of some Nuendo, you could say goodbye to an unsaved project and start work from scratch. Now all sorts of autosaves or crash files have been invented that allow you to restore a project with virtually no loss. The power of processors and the amount of memory on computers have also become much more significant.

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

To combat such sound troubles, musicians are forced to resort to crutches - numerous and on almost every track. While helping to solve a problem locally, these techniques additionally increase the load on the processor, aggravating the situation as a whole..

I won’t hide it, many claim that all this is fiction, and that “numerous tests have proven that all DAWs sound the same,” and for denying this postulate on some “profile” music forums they even ban you. But let's be objective:

• Testing in real working conditions was always carried out by “friends of acquaintances”, and not by those who claim it themselves.
• Most often the tests boiled down to simple summation even without taking into account intermediate values panorama and balance settings, not to mention more subtle interventions.
• Even if ten people don’t hear something, but one does, you shouldn’t consider that one person to be an inventor. It is very likely that just his hearing is the most trained and clear.

But continuing conversations on this topic will inevitably lead to butting heads and conflicts, so I kindly ask you to refrain from holivars in the comments. If I find the strength in the foreseeable future, I will still publish a serious test of various recording systems that I personally conducted with a detailed analysis of the results. To avoid missing this material, you can subscribe to the blog.

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

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

Sound card device

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

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

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

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

Line input– input for receiving signals from any sources and instruments, except microphones. You can connect the outputs of synthesizers, drum machines, mixing consoles, tape recorders, guitar and universal preamps, and so on to such inputs. Most often, linear inputs are represented by TS or TRS connectors, but there are other options.

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

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

Preamplifier(preamp) sound card - a node necessary to amplify a weak microphone signal. If there is no built-in preamplifier for recording a microphone, you will have to purchase a separate external one. But if you don’t plan to write a microphone, it’s better to save money on this, especially since the built-in preamps usually do not shine with quality.

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

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

It happens that the card does not have analog interfaces at all, only digital ones. This is done in order not to impose unnecessary unnecessary options on the user. Professionals usually prefer to assemble systems in a modular manner rather than buying all-in-one systems at once. In some cases, specialists work without analog connections at all, and the sound goes to analog only after a digital amplifier directly to the speakers. It is logical that in such a situation, overpaying for built-in analog inputs and outputs will be unnecessary.

Klok (Word Clock, Superclock) – a special connector for synchronizing audio streams. If your work uses digital connections, incorrect synchronization can lead to audio loss.

MIDI interface– allows you to connect synthesizers, MIDI keyboards or sound modules to the card via MIDI. Most often represented by at least two connectors (ports) - MIDI IN And MIDI OUT(a “through” pore is also possible MIDI THRU). But serious work still requires a larger number of ports; in these cases, it is wiser to purchase an external midi interface.

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

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

Drivers– utilities necessary for interaction between a computer and a sound card. Most often, multimedia sound cards operate on standard universal sound driver ASIO. In some cases, manufacturers offer additional drivers.

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

These are all the main components and modules that are mainly found in sound cards. Sometimes you may come across other elements - connectors for connecting special extensions, etc. But when it comes to such things, the musician already has experience and is able to understand and sort out the options himself.

Sound card characteristics

Sampling frequency and bit depth

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

Delay

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

In some cases, the delay makes work uncomfortable and sometimes even impossible. But the better the sound card, the lower its latency. Modern sound cards have made significant strides towards reducing latency, but as I said, it is impossible to completely eliminate it. Many modern programs produce delay compensation after recording, so in some cases you may not even know about its existence.

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

Full Duplex mode

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

You may also encounter problems when working with cards using older versions of the USB protocol. This may be due to insufficient throughput buses when operating at high sampling rates.

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

Noise level

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

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

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

And yet, the stated characteristics do not always correspond to reality, so if you are really serious about your choice, be sure to pay attention to reviews from real users.

Frequency range and frequency response

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

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

The frequency response and frequency range are usually indicated for each type of input and output of a sound card.

Dynamic range

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

How manufacturers are deceiving us

• Demonstrate high sample rate and bit depth performance (e.g. 192 kHz/24 bit) no indication of filter quality, used in converters (many old 18-20 bit devices work much better).
• Claimed wide frequency range without correction for permissible deviation when measuring (a fair range of 20-18000 Hz is better than a wider range with deviations of 3-5 dB).
• Not all DSP systems are truly resource independent. If I/O is controlled by the central processor computer, such a system remains native even despite the presence of specialized processors (DSP) for processing the work of plug-ins.
• If you know that the older version of the hardware and software complex runs on its own hardware, then Don't expect identical sound when running the same program on cheap sound cards. For example, ProTools running on M-Audio is completely different from ProTools running on proprietary TDM hardware.
• If you see that the description of a $1000 card states that it uses the highest quality microphone preamps (or “Class A” preamps) or top-end converters (ADC, DAC converters), remember that You can't buy a real one for $1000 « class A» preamplifier, not really a top converter. Even for one channel.
• Consoles PRO or STUDIO in the names of sound cards is just a set of letters, and not a guarantee of “professional” or “studio” quality.

Lifehack for the most patient

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

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

Approach your choice thoughtfully and consciously, don’t freeze with your mouth open at the sight of advertising posters, PR articles in music magazines and enticing slogans on websites.

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

If you have any questions, ask them in the comments here or in my

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Anyone who owns a computer or laptop has at least once used it to listen to music, watch a movie, or talk to family via Skype or Viber. This opportunity has become an integral part of the life of any computer user, but he has no idea how it works. So we’ll talk further about the sound card, which is responsible for these processes and capabilities. You will find out why you need a sound card and what it does and how it reproduces sound.

An audio card is a chipset or expansion card for creating sound that can be played through headphones, speakers or loudspeakers, and for recording it using a microphone.

Operating principle

Typically, audio cards use a digital-to-analog converter to convert audio signals from digital to analog. They are output to any acoustic and sound-reproducing devices, be it speakers, headphones, etc. Modern advanced units include not one sound chip, but several, which is done to ensure the highest possible data speed and perform several functions simultaneously.

Types of cards

There are two types of audio cards - integrated and discrete. External ones are connected via FileWire or USB. Internal when assembling a computer by attaching expansion slots inside the system unit.

The main disadvantage of embedded devices is the huge risk of poor-quality PC power supply, that is, power surges and failure of the power supply. External ones are more practical, which is explained by external volume controls. Moreover, a unit of this type can work with both laptop computer, and with a laptop or netbook.

In the case of an integrated card, its functions are performed by a processor that processes signals and converts sound. The discrete card has a personal sound processor, and some models even have their own memory.

So why do you need an external sound card if you have a built-in one? It's simple, with its help you can achieve the highest quality and clearest sound, as well as gain access to a number of important settings.

Where is it?

Often the audio device is included in an expansion slot, connected through an external port, or integrated into the motherboard. As for the latter option, this makes the assembly much cheaper and faster than an expansion card with an imperceptible loss in sound quality. Some devices are needed only for audio professionals or for use in the event of an integrated failure.

The unit is installed on a modern motherboard in PCI and PCIe slots. Standard card for a computer has an interface, access to it is possible on the rear panel, where there are various input and output ports, as well as on the sides and top of the case, which depends on the individual structure of the PC.

For computers that are upgraded at replacement level hard drive or increasing RAM, you can use a discrete audio device that connects via standard USB port.

Software

Typically, the audio card comes with proprietary software on a special disk, or it can be downloaded from the manufacturer’s official website. However, you should not worry about this, since modern operating systems automatically detect and load drivers for any components, including sound cards.

Moreover, such software allows each user to do the maximum fine settings and use a range of tools for editing, recording, etc.

Sound Features

Dolby Digital and DTS Digital Surround are surround sound standards used in the DVD format. If the PC is equipped with an audio card that supports the same standards, then the sound is reproduced without any distortion or noise, creating the effect of presence.

Today, the standards of audio devices for the highest quality reproduction of music and sounds are incredibly diverse. One of them, EAX and its improved version, EAX ADVANCED HD, guarantee excellent sound quality, which is achieved through the use of modern effects technologies.

Analog jacks 3.5mm

Almost all audio cards have a range of ports for connecting microphones, headphones, speakers and other auxiliary devices. But there are devices that have a larger number of output and input ports, designed for advanced users and their tasks.

Among the most common audio connectors are:

• Pink – audio output for microphone.
• Blue – linear.
• Green – output for headphones or speakers.
• Orange – for subwoofer or center channel.
• Black – for surround sound.
• Gray – for side speakers.

It is also worth mentioning the MIDI game port - this is a 15-pin connector designed for connecting additional devices.

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

1 error: Don't buy an internal sound card PCI type Express and the like, if you plan to use the board with a laptop or with a device that simply does not have a PCI slot. Even if you are the owner of a home PC, make sure there is a slot for the sound card you like. Such information can be found in the manual for motherboard or find such information on the Internet.

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

2 error: Do not buy a multi-channel sound card if there is no need for multiple inputs and outputs! On at the moment The choice of audio interfaces is varied and varied. First of all, you need to understand what the card is for.

If you are interested in high-quality wiretapping, look for a sound box with a minimum number of inputs and outputs, but with a high-quality Digital-to-Analog Converter. These can be any two-channel sound cards with a DAC from Cirus Logic or Texas Instruments.

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

3 error: Do not buy a sound card without phantom power for the microphone if you plan to record vocals or instruments using a studio condenser microphone. Remember, any condenser microphone requires phantom power to operate. Pay attention to this point when choosing!

4 error: Don't buy a sound card for multi-ohm dedicated headphones. At the moment, any modern sound card contains a built-in headphone amplifier that can “drive” headphones charged up to 300 Ohms. However, if you are going to use multi-ohm studio headphones with a built-in PCI-type sound card, make sure that they can play with this card - again, the manual or the Internet will help.

5 error: don't buy sound USB card 1.1 without implementing direct monitoring (hardware output of the input signal to the output, without digitization) if you are going to record vocals and simultaneously listen to what you are writing. Usually only sound cards equipped with high-speed USB port 2.0 USB 3.0 or FireWire capable of transmitting audio without noticeable delays during recording and monitoring. Implementing direct monitoring in the latter will also reduce the CPU load and mean more stable work devices.

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

6 error: Don't match your sound card to your microphone or vice versa. This technique is a myth invented and inflated on the Internet. To put it simply, the higher the quality of each component, the best result you will receive at the exit.

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

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

We will be glad if our advice will help you when choosing a sound card. Also, if you have any questions regarding your choice, please ask them at online consultations or by phone.

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