Tresh's Firinsquad heeft een review van de Diamond MX300.
Hier wat A3D stuff:
Before I get into how all of this effects our games, I'd like mention how A3D 2.0 compares to the Creative SBLive!'s EAX sound API. EAX is also about simulating environmental effects on sound. However, where A3D 2.0 actually calculates the sound waves via wavetracing and using the 3D level geometry, EAX relies on canned presets and variables. For example, instead of passing in the geometry of a room to A3D 2.0, you would simply approximate the geometry by picking an EAX preset that's close, or adjusting EAX parameters. This is quite a bit easier to implement since it's less work for developers. However, it does not take into account real reflections, occlusions, or other subtleties of how a level would affect the sound.
On to the good stuff. A3D 2.0 is great in theory, but how does it sound in real games? Although there are a couple dozen A3D and DirectSound games on the market in which you are guaranteed to get very good 3D sound positioning effects with the MX300, there are only three A3D 2.0 games currently available. Those three games are Half-Life, Motorhead, and Recoil (included with the MX300). Technically, Motorhead hasn't been released in the US yet, but owners of certain video cards and steering wheels do have access to a copy of this great game. You will need to install the latest 2.2 patch, which enables both A3D 1.x and A3D 2.0 support. The really good news is that Half-Life supports A3D 2.0 out of the box with no patches at all. Honestly, you couldn't wish for a bigger showcase title to show off an advanced audio API-Half-Life is easily a contender for game of the year.
Once you've fired up Half-Life or Motorhead (with patch) and enabled A3D 2.0, you're in for a real treat. (I must admit I didn't bother to test Recoil, since I played the demo and was unimpressed). The best way to describe the effect is that all of the sounds in the games become much more dynamic. Rather than having a bunch of 3D sound sources hanging in space, you'll now notice that as you move through the level, all of the sounds are constantly changing depending on where they are, where you are, and what's in the level.
For example, driving into a tunnel is a dramatic experience with A3D 2.0-you can hear the tunnel approach, and the sound rapidly compresses as you enter. The effect is subtle, but very gratifying. With A3D 1.x in use, the tunnel becomes a simple filter which you can clearly hear turn on as you enter and turn off as you exit. Under A3D 2.0, the change is much more subtle and pleasing. Similarly, I noticed that when there was a wall on the right side of the track, I could hear more engine echo on that specific side of the track as I roared by.