und vielleicht noch lame 3.90 mit dibroms presets:
http://mitiok.free.fr/lame_dm_rev7-bin_f.zip
--
from
http://www.hydrogenaudio.org/forums/showthread.php?goto=newpost&threadid=411
Project Mayhem - rev7 stuff
Dibrom Administrator Hydrogen Audio Coordinator
OK... here we go.
Just to summarize everything for people who may not have kept
up on some of the massive threads in the past, here is what
the current situation is:
--alt-preset normal is no more. I removed that. It's back
to standard/extreme/insane now.
--alt-preset standard has been modified to include many of
the changes or tweaks I learned from my experience with
--alt-preset normal.
List of What's New in --alt-preset standard and which clips it
helps or what it does:
tweaked block switching thresholds (helps fatboy and
florida_seq)
--nsmsfix 2.13 is used now in addition to internal
modifications to masking thresholds of mid-side channels.
These two in combination allow for less ss frames (reduced
bitrate) in situations which do not seem to need them as much
and more where they are necessary (serioustrouble for example)
added method to switch noise measuring functions on
non-normal blocks (start, short, stop) (helps fatboy and other
impulse samples)
added method to switch noise shaping functions depending on
athadjust (helps fatboy and other impulse samples)
added --athlower -1 (decreases bitrate)
changed --ns-sfb21 3 to --ns-sfb21 3.75 (decreases bitrate)
changed lowpass to 19khz (decreases bitrate)
What all this means? That --alt-preset is now lower in
bitrate (competitive with --r3mix) and higher in quality than
before.
Many of these changes are activated only with --dm-preset
standard (appropriate tweaks will eventually propagate to all
--alt-presets) as a switch, there are no external switches to
turn them on and there will not be any added. The reason for
this is because doing such a thing would add quite a few new
experimental switches which really should be handled
internally in the first place, not to mention most of these
modifications are tuned right to the threshold, there's not
much room for tweaking without further code level
modifications.
Clips which are significantly improved over the old
dm-standard include fatboy, ravebase, gbtinc, serioustrouble,
and to some extent short.
Many clips now encode to a much lower bitrate with essentially
identical quality.
Clips which --alt-preset standard significantly outperforms
--r3mix on include:
amnesia
2nd_vent_clip
serioustrouble
death2
castanets
short
ravebase
gbtinc
florida_seq
fatboy
gekkou-intro
velvet
etc..
There a lot more, those are just the ones that come to me off
the top of my head. As it stands right now I don't believe I
know of any clip where --r3mix is even marginally better
sounding anymore. Before --r3mix did a little better on fatboy
due to some flaws in masking/noise shaping which I have now
compensated for in the new mode.
As with --alt-preset normal, the theme stays basically the
same:
On heavily distorted clips like metal, this preset will
often provide a lower bitrate (bitrate may be reduced even
more, theres some stuff with the joint stereo that could
possibly still be tweaked better).
On quieter clips this preset should not dip as low, and on
quiet clips with lots of transients (such as death2) this
preset will scale upwards accordingly instead of sticking with
too low of a bitrate.
This preset basically also shouldn't bloat on quieter samples
to the degree that --alt-preset normal did. It also doesn't
have ath problems -- try encoding the love.wav sample for
example... solid frequency encoding all the way up to 16khz,
which is higher than --r3mix's (13khz with some speckling
upwards) and standard still manages to encode to a lower
bitrate!
I'm including the source also, but keep in mind that parts of
it are kind of hackish, certain command line settings are
overridden internally (sometimes with hardcoded values) at the
moment because I haven't had time to implement everything
"properly" yet. This will not be the final source. Also, many
of these changes seem a tad underwhelming considering how long
in the making they have been but keep in mind that it's the
tuning that's the hard part.. actually finding out where to
make the changes and what actually works.
That's about all I can think of for now...
Oh one last thing.. I'm aware of certain people going back to
using sine sweeps to test presets now and I just want to say
that that's about the most foolish way to test for quality. In
addition, designing presets around sine sweeps is even more
pointless. Part of the problem with many of the sine sweeps
people are using is that they induce clipping and contain
frequencies of such high amplitude all the way to 22khz that
they artificially induce artifacts. Udial.wav is a perfect
example of this. These samples are totally pointless because
you are never going to hear them in real music (the risk of
blowing speakers out is too high for one, not to mention they
hurt your ears). So if you see someone passing judgement on
something based on a single sine sweep test alone, make sure
to take that with a grain of salt.
All the presets I work on are tuned with a multitude of
extremely difficult samples from real music. They come from
all different styles from acoustic, to heavily distorted, to
bizarre electronic, to classical and nearly everything in
between.
The argument that sine sweeps may be representative of some
fringe electronic music is flawed IMO because I happen to
listen to quite a lot of the more unusual electronic music
(autechre, two lone swordsmen, pan sonic, brume, v/vm, etc
just to name a few) and I've never heard a sample like
udial.wav or some of these clipping inducing sine sweeps in
any of them. Just a bit of perspective there...
Anyway, enjoy the new preset (it might have some bugs but I
think it's fairly solid). Feedback is appreciated as always.
I'll try to come read and respond to posts here as much as I
can but no guarantees on being able to answer rapidly or
anything like that.
12-01-2001 at 10:33 AM
