When I sold PC hardware, I'd try to find the right fit for a customer's needs and pricepoint. Way back then, that often meant selling systems with relatively-inexpensive Cyrix or AMD CPUs and more RAM instead of systems with more-expensive Intel CPUs that had less RAM at any given price -- because those were good tradeoffs to make. By extension, I did a very small part to help foster competition.

But gamers drive the bulk of non-datacenter GPU sales and they don't necessarily act that way.

Having observed their behavior for decades, I feel confident in saying that they broadly promote whatever the top dog is today (whether they can afford to be in that club or not), and aren't shy about punching down on those who suggest a less-performant option regardless of its fitness for a particular purpose.

Or at least: The ones who behave this way sure do manage to be loud about it. (And in propaganda, loudness counts.)

I suspect they'll be fawning over nVidia for as long as nVidia keeps producing what is perceived to be the fastest thing, even if it is made from pure unobtanium.

Speaking of sound cards, I distinctly remember the Sound Blaster Audigy being the very last discrete sound card my dad obtained before we stuck with AC’97, and later the HDA codec audio solution on the motherboard.

I do vaguely recall the kX drivers you mentioned, but I’m pretty sure we stuck with whatever came stock from Creative Labs, for better or for worse. Also… that SB16 emulation under DOS for the Live! and Audigy series cards was not great, having been a carry over from the ENSONIQ days. The fact that I needed EMM386 to use it was a bit of a buzzkill.

On the K6-II+ system we had, we used an AWE64 Gold on the good ol’ ISA bus. Probably my favorite sound card of all time, followed by the Aureal Vortex 2.

For the YMF724: I really don't remember that part of it, but I'd like to think that if it had SPDIF built out that I really would have paid attention to that detail. The only reason I went through the horrors of using the cheap-at-every-expense CMI8738 Zoltrix card was to get SPDIF to feed an external DAC (and finally live in silence), and if the YMF724 I had included it then my memories would be shaped differently. :)

And I'm usually pretty good with model numbers, but it's possible that this card really didn't have one. Back then, I got a lot of hardware from an amazing shop that sold things in literal white boxes -- stuff that they'd buy in bulk from Taiwan or wherever and stock on the shelves in simple white boxes with a card (in a static bag) inside. No book, no driver disk.

These boxes had a description literally pasted onto them; sometimes black-and-white, and sometimes copied on one of those fancy new color copiers, sometimes with jumper settings if appropriate -- and sometimes without. Some of the parts were name-brand (I bought a Diamond SpeedStar V330 from there with its minty nVidia Riva128 -- that one had a color label), but other times they were approximately as generic as anything could ever be.

Or, I'd pick up stuff even cheaper from the Dayton Hamvention. There were huge quantities of astoundingly-cheap computer parts of questionable origin moving through that show.

But no, no SPDIF on that device that I recall. It may have been on the board as a JST or something, but if it was then I absolutely never used it.

I do remember that bit about the EMU8k's SPDIF output -- my CT3670 had that, too. IIRC it was TTL-level and not galvanically-isolated or protected in any way, on a 2-pin 0.1" header. IIRC, it didn't even have the 75 Ohm terminating resistor that should have been there. I was disappointed by the fact that it only output audio data from the EMU8k, since that part didn't handle PCM audio.

But! There was a software project way back then that abused the EMU8k to do it anyway: Load up the sample RAM with some PCM, and play it. Repeat over and over again with just the right timing (loading samples in advance, and clearing the ones that have been used), give it a device name, and bingo-bango: A person can play a high-latency MP3 over SPDIF on their SoundBlaster AWE-equivalent.

I was never able to make it work, but I sure did admire the hack value. :)

That ESI Juli@ is an a very clever bit of kit and I've not ever seen one before. I'm a bit in awe of the flexibility of it; the flip-card business is brilliant. There's got to be applications where that kind of thing could be used in the resurgent analog synth world.

It's very different, but for some reason it reminds me of the Lexicon Core 2 we used in a studio from 1999 until 2002 or so. This had its (sadly unbalanced) 4 inputs and 8 outputs on an external breakout box, and we gave it another 8 channels in each direction by plugging it into an ADAT machine. That was an odd configuration, and bouncing through the hardware reverb on the card was even odder.

The Core 2 did not work with the then-cutting-edge Athlon box we built for it and that was a real bummer -- we spent a lot of money on that rig, and I spent a ton of time troubleshooting it before giving up. (We then spent a lot more money replacing that board with a slotted Pentium 3.)

ALSA, OSS, PulseAudio: Yeah, all of those. I paid for OSS fairly early on, and that was also always very simple to make work -- and it did work great as long as a person only did one thing at a time. I really enjoyed the flexibility of ALSA -- it let me plug in things like software mixers, so I could hear a "ding" while I was playing an MP3. And I liked the network transparency of PulseAudio ("it's kind of like X, but for sound!") but nobody else really seemed interested in that aspect around that time.

If I had to pick just one as a favorite, it would definitely be OSS: The concept of one sound card with exactly one program that completely owned the hardware until it was done with it allowed for some very precise dealings, just like with MS-DOS. It felt familiar, plain, and robust.

You?

That’s the biggest issue with MIDI. No matter the equipment you had, you were never sure what the musician intended the composition to sound like, unless they explictly mentioned the exact synth used in the metadata, like a Yamaha XG synth or a Roland SoundCanvas. I really appreciated how compact the file sizes were, but I can definitely understand sticking with PCM formats off audio CD or even WAV/AIFF/MP3 back then, depending on the application.

So possible fun tidbit about SPDIF. Coaxial SPDIF, despite seeming more old school compared to its optical TOSLINK counterpart, could achieve higher bit depth and frequencies (sometimes up to 24-bit/192 kHz!!) whereas TOSLINK was officially limited to 16-bit/48 kHz, with manufacturers pushing as high as 24-bit/96 kHz off spec. Perfectly fine for your average music enjoyer of the time, but still an interesting limitation.

On mention of DAT and MD, those were two formats I would have loved to get into, if they weren’t so compromised due to RIAA shenanigans or too pricey. Such is life I suppose.

Yeah I’d say overall, I haven’t touched SPDIF in a long while myself. My current TV uses an eARC over HDMI soundbar setup and my PC connects using good old fashioned 3.5mm audio jacks.