First post, by raymangold
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Alright let's just get straight to it.
The 'Adlib Gold 1000' is a bit unusual and does NOT behave like a Sound Blaster 16 when it comes to OPL3 output; I naively was expecting it to, though. Even *without* the surround sound module, the card will do a lot of unexpected and tangible things with the OPL3 chip and its oversampling 'buddy' chip that Yamaha designed, but apparently only AdLib (!) implemented... I could be wrong but I haven't seen any others. Here's the primary output section with a Philips amp, and some other things-- I haven't figured out what the takamisawa relay is for-- but it awfully sounds like a voodoo 1 snapping into glide:
==Sound Comparison==
Here are a few basic comparisons with a recapped SB16 C1770 that both demonstrate how the AdLib Gold has extra emphasis on both the high and low frequencies, implements oversampling, and how it'll do (sometimes) a stereo pan effect which almost sounds like chorus. It depends how the panning and instruments are set together, so again, it's not constant.
!!Advanced apologies for some slight noise in the adlib gold recordings, looks like I need to increase the special line-in capacitors on my recording computer to a higher uF (since the adlib gold is so quiet in the PS/2E, the line-in listening volume is at max and it picks up some subtle artefacts as a result)!!
#1 Canyon.MID
Adlib Gold: https://vimeo.com/102437526
SB16: https://vimeo.com/102437527
#2 MOUSE (Sami Wilenius’ FM King)
Adlib Gold: https://vimeo.com/102437530
SB16: https://vimeo.com/102437845
#3 Descent GAME08.MID
Adlib Gold: https://vimeo.com/102437528
SB16: https://vimeo.com/102437529
#4 Vesper's Theme (Ultima)
Adlib Gold: https://vimeo.com/102437846
SB16: https://vimeo.com/102437847
So I hope the above examples show the contrast well. The Adlib Gold is actually one of [the] best OPL3 cards in that it has YMZ oversampling and also due to the VERY good filter pronounces sounds that are otherwise filtered out by every other OPL3 card (the Creative cards are some of the worst offenders though; it can be rectified somewhat by a *complete* recap with quality electrolytics and film caps-- but you'll still have an 'improper' output because it was never designed properly to *begin* with). Mind you some songs don’t take the Adlib Gold’s frequency sensitivity into consideration so you’ll end up with very sharp high pitched sounds—if you can hear that high. I have NOT heard any other OPL3 card get the filtering that precise; it really was an 'audiophile' card before such a thing was popular.
I know some may think an adlib gold lacking the surround sound module isn't desirable, but the aforementioned points make it one of the ultimate OPL3 cards-- so it's definitely worth it in my books. I have conflicting thoughts as to the precise rarity of these cards. I’m sure we can expect one to pop up on ebay every five years or so? As to the amount made—well the cards look hand soldered (and done very well!), so probably only a hundred or so I would imagine? However with such a low number would be surprising as so many games supported them… so I honestly want to say more than that. I have a feeling many of the cards have long since been recycled.
==But OPL3 Synthesis is crappy, get a sampler==
Another common complaint I hear over-and-over is how 'crappy' FM Synthesis sounds. OPL3 / OPL2 FM synthesis is fan-freaking-tastic! Asides from OPL3 being a *real* synthesizer with dynamic parameters, there has been some very nice music crafted for it. Sure the sound set used for MIDI files are sometimes lacking—but it’s a synthesizer, not a sampler… it’s not supposed to sound realistic.
As a side note: the MT-32 is a little more than just a sampler as it combines samples with actual waveform generation like the D-50. Of course Roland didn’t implement this for the sake of waveform generation, but because of the limitations of sample synthesis at the time. Soon as said limitations were overcome they quickly dumped real synthesis. Pity… LAS was a lot of fun. At least the AIRA series is getting back to real synthesis again.
==Conclusion==
If anyone has any requests let me know and I can get around to it. I was never expecting the adlib gold to do what it did, but it was sure interesting to discover all of that.
A final note, the old tantalums on the adlib freaked me out; I was just expecting one of them to explode. The caps are drying out a little too, affecting the sound. I removed the tantalums first:
Use a Hakko to get them out. The card was quite easy to work with—make sure the leads are fully desoldered, don’t yank a capacitor out or you’ll pull / move the solder pads. Please don’t do that… AND YES!! That is *glitter* in the solder mask. I have never seen glitter solder mask before. Looks very nice.
==Additional OPL Samples==
I’ll be uploading some more OPL3 samples later for those who aren’t convinced FM Synthesis / OPL3 is ‘good’. I have a few specifics in mind. Again this is waveform synthesis, if one has expectations for a symphonic orchestra; go see a real symphonic orchestra. This is electronic music. I do enjoy some soundcanvas here and there (and especially MT-32), but I like OPL3 too. I find the more options I have and the more synthesis possibilities, the more enjoyable everything is.
I never got around to it, but I was going to record the DOSBox emulation to compare to the adlib gold (to show how it lacks YMZ emulation like the SB16).
