Earning money on a sound card. How to choose the right sound card

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 a 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 acoustic systems and amplification, high-quality sound sources (it’s unlikely to cost a lot to listen to mp3), high-quality switching (not to be confused with “audiophile”, just good switching without perversion is enough), competent frequency synchronization sampling (if there are digital connections) and so on.

I know of cases where people managed to get high quality sound using an old SoundBlaster Live! and Yamaha NS-10M speakers with a household amplifier. But it also happened otherwise, 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 banal sound, 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 then justify the 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 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 a 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 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 is an internal card, then it is inserted directly into the slot on 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 - without enough for normal operation virtual control You won't be left with your sound card.

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 audio 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 bus bandwidth when operating on high frequencies sampling.

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

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

When purchasing a sound card, you should pay attention to some details. The most optimal high quality sound works only in conjunction speaker system with optical or digital interface. Support for Dolby Digital or analogue noise reduction is also welcome. But it is always necessary to take into account that high-quality pure sound will only be obtained when using a normal source, i.e. It makes no sense to buy a super high-quality sound card if you have simple stereo speakers.

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

The highest sound quality and volume will be experienced by cards with the EAX ADVANCED HD or EAX function. This feature will also allow you to experience modern effects in the latest games.

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

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

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

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

Replacement today sound device- This is an effective opportunity to improve and modernize your computer. A new, improved, more optimized sound card that supports the latest modern standards will open up new sound possibilities.

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

Becoming an entrepreneur these days is not that difficult, and with the help of the Internet you can find all the necessary equipment and establish useful connections.

The main thing is to choose a niche that you are good at, for example, music. Recording studios are in great demand, because many people want to try themselves as a singer or record their songs.

Business – recording studio

You can save a lot of money at the start if you open a studio at home. To do this, you will need to allocate a separate room and furnish it with the necessary equipment.

High-quality sound recording will require serious expenses for the purchase of equipment; you will definitely have to buy:

• microphones;
• studio screens;
• headphones;
• columns;
• software;
• powerful computer;
• high quality sound card.

There are also a lot of little things that must be in a recording studio. Allocate at least 200,000 rubles for the purchase of all this, look for and compare prices in different stores, sometimes the cost of almost identical equipment is very different.

How much can you earn in a recording studio?

Your studio's income will depend on many factors. You will set the prices yourself, here is an example of the price list of one of the companies:

You can use this data for your business too. As you can see, a recording studio can provide a huge number of different services and this must be indicated in the price list.

To set up the equipment, call specialists; it’s not that expensive, but you’ll have everything installed correctly. Also, keep in mind that the settings are adjusted differently for different genres of music.

If things go well right away, you can recoup the costs in a few months. Modern people spend a lot of time on the Internet, so you need to create a website for your studio. Don't you understand this? Contact freelancers on Weblancer, there are many professional webmasters ready to help you.

Also, the Internet is great for distributing advertising. You can order it on different sites:

1. (media advertising);
2. (advertising line);
3. (advertising in social networks);
4. (contextual advertising).

Sound on our computer has now become an absolute necessity. If 10-15 years ago it was rare to find a PC with a sound card, since they were generally very expensive and people saved as much as they could, now, on the contrary, a device without sound is inferior and inconvenient to use. And it’s not surprising - after all, so much of our cybernetic life now depends on sound! Movies, games, and even sound alerts on a large number of sites and in operating systems. Where would we be without a sound card?

However, now there are so many different options that the problem arises - which card will be better? Which one should you buy and install to make it as convenient as possible? After all, there are both cheap ones with not the best, but passable sound, and expensive ones especially for musicians. You should think and thoroughly understand the issue.

What types of sound cards are there?

When purchasing, you should first decide which card you need. Because when choosing, you can come across different form factors. And here you already need to know whether there is somewhere to install it on your PC or not and you will need to buy a card with a USB connector. So, there are three types of sound cards:

Such a card must be installed directly into the connector on the motherboard. It does not take up space and is the most convenient - it will be problematic for something to catch or break it. However, even with this positioning, interference may occur.

The internal part, similar to the first device, must be inserted into a special connector on the motherboard inside the case. However, it is connected to an external unit, through which it is most convenient to control the capabilities of the sound card. Thanks to this block, the card has no interference.

They are not installed inside the computer case, but are taken outside. They must be connected using a special cable. Such cards do not have interference. Very often they are bought to connect to laptops, since others simply cannot be installed there.

Sound card connection type

Directly correlates with the selected card type. External and internal cards They differ radically in the way they connect to a PC, but even in the same class there are different connectors. So before purchasing, it is advisable to find out which slot on the motherboard (in the case of a desktop PC) or on the device case will be allocated for the sound card.

The most common options are:

• PCI is the most common standard input, found in desktop computers.
• PCI-E (Express) is an improved version of it, which is much faster than the previous one.
• PCMCIA (PC-Card) is a slot in a laptop to which you can connect a variety of peripheral devices.
• ExpressCard is an improved version of the laptop connector; data is transferred through it much faster.
• USB is the simplest connection for an external sound card, which can be used as a desktop computer, and with a laptop.
• IEEE 1394 - made specifically for connecting an external sound card. Optimal because data will be transferred as quickly as possible (compared to USB).

What to rely on when choosing a sound card?

You should start by selecting an audio recording with which the card will be checked. Music experts recommend using high-quality classical recordings for testing, but this depends on the user's preference. However, one hearing analysis is not enough; you need to additionally know some parameters that you should rely on when choosing:

• Signal/noise ratio. It is measured in decibels and determines how the power of signals and noise at the input/output of the device will correlate. It is important to remember one relationship - the higher the number of decibels, the lower the noise level will be in the end.
• Nonlinear distortion factor. When purchasing a card, you need to choose one with this parameter as small as possible. Ideally, no more than one hundredth of a percent. This percentage shows how much the signal will be degraded during recovery.
• Sampling frequency. It is advisable that the card outputs no less than a strictly defined parameter for music and movies, otherwise the quality will be quite poor. You need at least 44.1 kHz for music and 192 kHz for film.
• Multichannel sound. The most modern standard is the 7.1 sound circuit, which provides the most complete and multifaceted sound in music, films and games. However, not all speakers and headphones support it, just like previous version 5.1.
• Card capacity. It must be at least 20 bits, otherwise the sound quality will not be the best.
• Own memory. Preferably at least 4 MB, which will be quite enough.
  Availability of support for technologies such as Dolby Digital, DTS Digital Surround, EAX Advanced HD. These technologies are highly desirable for those who enjoy watching immersive movies and playing modern computer games.

It is very important to remember the following - when buying a high-quality sound card, you should never skimp on the quality of your speakers or headphones! A premium sound card does not guarantee that the sound will be as good as in the user's dreams. To do this, you also need sufficient overall, as well as good device output of this sound. Never and under no circumstances will speakers from the transition for 200 rubles and in-ear headphones from the same be able to reveal the potential of a good card.

There are several different sound schemes available to provide sound quality. Ideally, a good ratio of speakers, subwoofer and sound design will provide excellent surround sound.

So, the sound scheme is usually shown as two numbers. There are several of them: 2, 2.1, 4.0, 4.1, 5.1, 6.1, 7.1. This two-character digital code is simple and clear. The first number indicates how many total speakers can be connected to the device, and the second number indicates how many subwoofers. If you correctly place the speakers around you and adjust their sound, the result will be simply magnificent. Some expensive headphones can handle modern sound designs, but they cost accordingly and pack a ton of speakers.

The maximum number of connectors will never hurt, since it is unknown what will happen to this card in the future.

However, you should always rely on the necessary minimum. Without it, working with sound can be somewhat problematic. Typically, the card contains the following inputs/outputs:

• The connector for connecting to the device with which it will be used is the main one, since without it the audio card will not work.
• Outputs for speakers and subwoofer - there are front and rear. The subwoofer and center channel are allocated a separate connector.
• A microphone output is very useful if you are going to record sound, or if you just love .
• Headphone output – as a rule, a speaker output is used instead, but it is advisable to have a separate one.
• Line output – you can connect any audio equipment through it, which is useful for people involved in music.
• Optical S/PDIF output – through this you can transmit multi-channel audio to an external amplifier.

Making money from sounds is described in sufficient detail on thematic sites dedicated to working on the Internet. This type of business, a little strange at first glance, but profitable, according to some users, guarantees any person significant earnings with simple actions.

Dear reader! Our articles talk about typical ways to resolve legal issues, but each case is unique.

If you want to know how to solve exactly your problem - contact the online consultant form on the right or call by phone.

It's fast and free!

To begin with, the user is asked to go through a simple registration procedure, after which he can start recording absolutely any sounds on a voice recorder and uploading them to the Internet. Instructions related to this are usually published on the server itself. After this, money should arrive in the wallet of the person who made the download.

However, it is worth noting that sites that have information about this type of earnings usually talk about it only in general terms. And in order to delve deeper into the details of this process, a potential employee is invited to purchase a training course for a symbolic price. Having warned that after some time the information will become significantly more expensive.

Earnings from regular sounds 1800 rubles per month

On the Internet, making money from sounds is advertised as a unique method that allows anyone to earn at least 1,800 rubles a day. However, is this really so?

Despite the fact that the colorful descriptions of the videos promise anyone who buys the course a fabulous and almost instant profit, you should not be unequivocal about materials of this type. And the money spent on purchasing the course most often turns into empty investments.

The system itself operates on the principle of a regular financial pyramid, in which only those who have attracted into it can count on making a profit. maximum quantity newcomers.

Despite the obvious disadvantages of the method of making money from sounds described above, honest methods of making money still exist. In particular, these include recording and selling original tracks, as well as dubbing for videos posted on various video hosting sites.

Voice acting or sound replacement in YouTube videos

You can discover the opportunity to earn pretty good money with video voice-overs by mastering the translation of subtitles for foreign videos:

After you insert your subtitles into the video, you can safely upload it to your channel. In order for it to appear more often in the results of user queries, be sure to create a short but succinct description for it, and also do not forget to include keywords.

In order to increase your chances of earning money, try to add such videos to your channel at least three to four times a week - this will allow you to gain an audience and significantly strengthen your position.

Important! After you have uploaded the video to your channel, do not forget to provide a link to the original video. Failure to comply with this rule will inevitably result in your account being blocked for copyright infringement.

The procedure itself is quite simple, but in order for your translated videos to be successful, you will need:

1. Good linguistic sense(despite the fact that today it is enough to use any machine translator, you can only make the text readable if you have the skills to work with the text).
2. Developed vocabulary, allowing you to make speech more lively and interesting.

By providing high-quality voice-overs for videos, you can negotiate with official sources, obtaining from them the right to use their materials. In return, you can offer them a share of the profits, or, alternatively, advertising the official channel and posting links to it.

Selling music

The following way of earning money is perfect for those who are confident in their musical skills and have good composing abilities or at least good taste:

1. If you have a fairly clear idea about a training course or musical instrument, you can easily write a recommendation for it or make a corresponding video. By recommending it on your website or on social networks, you can attract the attention of users to it. And as a result, count on fairly stable profits.
2. Another way to earn money that musicians should pay attention to is audio stocks. If you are already recording music of fairly high quality, you can start creating it for servers with similar content and make money on those who need royalty-free compositions from time to time.
3. Today, musicians no longer need to contact labels to sell their own works. Tracks can be sold directly through special services. This will save you from the need to deduct considerable sums, and will also allow you to establish yourself favorably to potential buyers. Among the most popular virtual stores where you can successfully sell your songs are Amazon MP3, Beatport, and iTunes.
4. Mixing other people's compositions is also a profitable way to earn money for musicians. If you have sound engineering skills, it will not be difficult for you to find clients to create a portfolio and then successfully use it to attract more and more new customers.
5. You can also try to make money by selling and selling discs, as well as paraphernalia with the symbols of your group, etc.

Helper services

Mainly these include:

iStockPhoto

Amazon MP3

How much can you earn?

The amount of earnings from music depends, first of all, on:

1. Which way of earning money would you prefer?
2. How high quality and in demand will your final product be?
3. How will the promotion of your works on the Internet work correctly?
4. How well is your portfolio designed?
5. And, of course, how seriously do you take the matter?

If all conditions are met, earnings from music can be at least $400-500 per month.

Today, there are quite a lot of videos floating around the Internet, where people who have completed training courses share how they managed to earn a lot of money simply by uploading voice recordings to the Internet. However, whenever possible, give preference to less profitable, but proven methods.

Despite the fact that making money on music does not guarantee you instant profit and astronomical sums of money, people with considerable experience in this matter claim that at first the amount of earnings can be several hundred dollars. Of course, if the user himself makes the necessary efforts.