Tag: how does ogg vorbis work

Comparison of compressed files


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Comparison of compressed files

Ogg vorbis

The playback environment has gotten a bit matomo, so I listened to it again and compared it.

Ogg Vorbis

The file is the same as the one used in the previous item. Sound from Creative’s SB Audigy LS sound card is produced by Sony LBT-V610 (commonly known as Liberty – a model circa 1990 so this is a 17 year old player, and the speaker is a rear bass reflex type 3-way 2 -unit with a volume of about 20 liters) and plays on the speaker. Like last time, I used Lilith version 0.991 for playback. As a pseudo-blind test, listen to each of the two sound sources to be compared, then switch to loop play mode, press the next song button repeatedly with your eyes closed, and don’t know which one will play first. , and then I also tried playing it and trying to guess which file was which.

For the Wave file (compressed to ape format and distributed) and the MP3 file, the previously used file was used as is. Lilith was used to encode Ogg Vorbis (v1.1.0) (faster and with better sound quality than the audio encoder). ACC used iTunes. ogg and ACC only change the bit rate from the default setting (ACC’s “Use VBR Encoder” and “Optimize for Audio Files” options are not checked). Lilith was used to play the files, and the ACC file and its comparison files were played using the VLC player.

First of all, it’s compressed vs. uncompressed, but the air changes slightly even in MP3’s 256 kbbs (lame) mode. The compressed file has a subtle sense of purpose, or a slightly unnatural “missing sound sensation”. I did the pseudo blind test 10 times and made a mistake once.

Compared to MP3s, lame’s 128kbps exceeded 128kbps in the afternoon. I have not done a pseudo blind test because it is so different that it is incomparable. At 198 kbps and 256 bps of lame, 198 kbps is a little less lively and a bit boring. I did the pseudo blind test 10 times and made a mistake once. The difference with Wave is also widening.

The comparison between ogg (setting 0.6: 220 kbps nominal but equivalent to 192 kbps in terms of file size) and MP3 (poor: 192 kbps) is quite tricky. There were too many mistakes to pass the pseudo blind test (I did it 5 times and lost motivation when I made 3 mistakes). 192kbbs from AAC didn’t do a pseudo-blind test because Lilith couldn’t read the m4a file, but it feels brighter than ogg or MP3 (even though it’s a pseudo, I can’t say anything because I haven’t made a blind though when I compared it with the Wave raw, you may have intentionally overproduced the shine).

Ogg (0.4 setting: 172 kbps nominal, but equivalent to 128 kbps in terms of file size) and MP3 (poor: 128 kbps) are quite different, and the pseudo-blind test was performed 5 times and 1 error. MP3s have more weight in the sound than hardware (theoretically MP3s can cut high frequencies, so that may be the effect). With AAC (128kbps) and MP3 (poor: 128kbps), I haven’t done a pseudo-blind test, but AAC clearly sounds good.

After many tests, I noticed that the sound recorded from SoundFont as a test sample was not very appropriate (because it was pre-processed) (at the moment, the spectrum analyzer “sounds to the limit”. Confirmed that “is”). If I have the opportunity next time, I would like to compare by instrument, studio recording / live recording, and music genre. However, I was able to judge “whether the sound changes or not” for the moment, so I would like to get it right for the moment (it was quite difficult both physically and mentally).

For the moment, I will write what I have concluded in the previous Chombo. AAC is excellent at 128 kbps. This is probably the result of combining the AAC concept with the low bit rate limits. 192kbps is a close battle, but it seems that AAC selects “high sound quality as a compressed file” instead of fidelity to MP3 and ogg, which are slightly bright because they are true to the original sound (because it has a waveform after the compression)., It should have been like this before compression. ”

The proper use of 160/192 / 256kbps is quite delicate, and it is persuasive to say that “the size does not change that much, so there is a lot of space at 256kbps” and “the difference in sound quality is rarely a problem”. So the size. At 160 kbps, which is small, there is a reason. There is a problem with the use, but the ratio of taste and mood will be large. By the way, 160: 192: 256 = 1: 1.2: 1.6 = 0.833 ..: 1: 1.33 .. = 0.625: 0.75: 1.


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Realistic compression method

Realistic compression method

Vorbis

Regarding the bit rate, 192 kbps is sufficient for MP3.

Ogg vorbis

A raw Wave file (44100Hz x 16bit x 2ch = 1411kbps CD sound quality) occupies approximately 42MB in 5 minutes, less than 5MB at 128kbps, more than 7MB at 192kbps, less than 10MB at 256kbps, but it depends on the user or if you really want to stick to the reproducibility of the treble range. If you want to welcome sound processing, you can also use lossless compression. With lossless compression, the more striking the sound (higher SPL and thicker highs), the harder it is to compress, but even with lossy compression, such sound tends to get distorted unless it has a high bit rate. The expression of sound quality is strongly influenced by the playback environment, and indeed if you play it at a small volume with a sloppy device, even 128 kbps is indistinguishable from lossy compression.

I also prepared a sample file (including the file explained in the next point). kanon_f_200.ape recorded the aforementioned fluent mix sound with a 200% Timidity ++ amp, and kanon_e_150.ape also recorded the aforementioned eaw-mix sound with a 150% Timidity ++ amp. Monkey’s Audio used version 3.99 and set the compression level to standard (high compression settings only slow down the process and don’t shrink much). The recording time of the fluid mix is ​​approximately 3 seconds longer, probably reflecting the difference in the last sustain. The mixture of fluids is easier to gain sound pressure and can reach up to approximately 250%. Also, because the sound pressure is high, compression is not very effective. eaw-mix has noise-like ripples after 15 seconds (and 55 seconds), and 150% is barely. If you ignore the momentary donzuki, it can go up to about 200%. For all the files below, the log level for the fluid mix was 200% and that for each mix was 150%.

kanon_f_gogo.MP3 and kanon_e_gogo.MP3 are generated from gogo.dll (version 3.13a) using the Timidity ++ function. Bitrate is CBR 128kbps, 44100Hz sample rate, no emphasis, and set stereo (for comparison, all of the following are recorded in CBR + set stereo + 44100Hz sample rate without emphasis). It seems that the psychoacoustic model, both gogo.dll and lame, cannot be disabled in recent versions (it seems that it cannot be disabled unless the build option is changed and recompiled). It doesn’t matter much, but when generated by default, the ID3 tag’s “Genre” element is “Anime”. I don’t know if it’s Timidity ++ or gogo.dll, but it’s a pretty good initial setup.

kanon_f_128.MP3 and kanon_e_128.MP3 come out of Life to lame (version 3.96.1) with encoding rate 2 (default) + psychoacoustic model + no preset. The numbers at the end are 192 and 256, respectively, because only the bit rate is increased with the same settings. If you use VBR, etc., you can improve the sound quality even with the same file size. It took a bit of effort, and is clearly better than the sound produced by gogo.dll. This doesn’t mean that gogo.dll’s performance is inferior to poor, but it’s just a matter of prioritizing processing speed with a bit of cost-performance blindness to bitrate and sound quality. Previously I posted a file encoded at 0 encoding rate (higher sound quality mode), but lame 3.96.1 has a bug and it seems noise can be added so I replaced the sample.

In my ears, I played it with Lilith version 0.991 and from Creative Sound Blaster PCI-128 (Gift: Thanks HGW) to Matsushita’s SA-AK15 (Gift: the very common so-called “stereo”, but was the maintenance bad? I wonder? if it was originally something like that, when i heard it with aiwa’s HP-X122 (1500 yen discounted headphones for actual sale) through a thing about “sounds better than a 30,000 yen class radio cassette player” , the difference between lossless compression and 128 kbps licks is almost imperceptible even at high volume (at best, I feel like “the room I’m playing in has changed” – it’s also a placebo effect, so it’s as a bug). It’s a different story if you listen to it in front of you with speakers, but actually you rarely do it (or rather, it’s a nuisance to your neighborhood). So, I put the number 192 kbps at the beginning, but 128 kbps (160 kbps in the best case) is enough to listen in my room tion (well in my case it is too poor and the playback environment is poor. It’s very crazy so it might not be very useful).

Regarding the bit rate, 192 kbps is sufficient for MP3.

A raw Wave file (44100Hz x 16bit x 2ch = 1411kbps CD sound quality) occupies approximately 42MB in 5 minutes, less than 5MB at 128kbps, more than 7MB at 192kbps, less than 10MB at 256kbps, but it depends on the user or if you really want to stick to the reproducibility of the treble range. If you want to welcome sound processing, you can also use lossless compression. With lossless compression, the more striking the sound (higher SPL and thicker highs), the harder it is to compress, but even with lossy compression, such sound tends to get distorted unless it has a high bit rate. The expression of sound quality is strongly influenced by the playback environment, and indeed if you play it at a small volume with a sloppy device, even 128 kbps is indistinguishable from lossy compression.

I also prepared a sample file (including the file explained in the next point). kanon_f_200.ape recorded the aforementioned fluent mix sound with a 200% Timidity ++ amp, and kanon_e_150.ape also recorded the aforementioned eaw-mix sound with a 150% Timidity ++ amp. Monkey’s Audio used version 3.99 and set the compression level to standard (high compression settings only slow down the process and don’t shrink much). The recording time of the fluid mix is ​​approximately 3 seconds longer, probably reflecting the difference in the last sustain. The mixture of fluids is easier to gain sound pressure and can reach up to approximately 250%. Also, because the sound pressure is high, compression is not very effective. eaw-mix has noise-like ripples after 15 seconds (and 55 seconds), and 150% is barely. If you ignore the momentary donzuki, it can go up to about 200%. For all the files below, the log level for the fluid mix was 200% and that for each mix was 150%.

kanon_f_gogo.MP3 and kanon_e_gogo.MP3 are generated from gogo.dll (version 3.13a) using the Timidity ++ function. Bitrate is CBR 128kbps, 44100Hz sample rate, no emphasis, and set stereo (for comparison, all of the following are recorded in CBR + set stereo + 44100Hz sample rate without emphasis). It seems that the psychoacoustic model, both gogo.dll and lame, cannot be disabled in recent versions (it seems that it cannot be disabled unless the build option is changed and recompiled). It doesn’t matter much, but when generated by default, the ID3 tag’s “Genre” element is “Anime”. I don’t know if it’s Timidity ++ or gogo.dll, but it’s a pretty good initial setup.

kanon_f_128.MP3 and kanon_e_128.MP3 come out of Life to lame (version 3.96.1) with encoding rate 2 (default) + psychoacoustic model + no preset. The numbers at the end are 192 and 256, respectively, because only the bit rate is increased with the same settings. If you use VBR, etc., you can improve the sound quality even with the same file size. It took a bit of effort, and is clearly better than the sound produced by gogo.dll. This doesn’t mean that gogo.dll’s performance is inferior to poor, but it’s just a matter of prioritizing processing speed with a bit of cost-performance blindness to bitrate and sound quality. Previously I posted a file encoded at 0 encoding rate (higher sound quality mode), but lame 3.96.1 has a bug and it seems noise can be added so I replaced the sample.

In my ears, I played it with Lilith version 0.991 and from Creative Sound Blaster PCI-128 (Gift: Thanks HGW) to Matsushita’s SA-AK15 (Gift: the very common so-called “stereo”, but was the maintenance bad? I wonder? if it was originally something like that, when i heard it with aiwa’s HP-X122 (1500 yen discounted headphones for actual sale) through a thing about “sounds better than a 30,000 yen class radio cassette player” , the difference between lossless compression and 128 kbps licks is almost imperceptible even at high volume (at best, I feel like “the room I’m playing in has changed” – it’s also a placebo effect, so it’s as a bug). It’s a different story if you listen to it in front of you with speakers, but actually you rarely do it (or rather, it’s a nuisance to your neighborhood). So, I put the number 192 kbps at the beginning, but 128 kbps (160 kbps in the best case) is enough to listen in my room tion (well in my case it is too poor and the playback environment is poor. It’s very crazy so it might not be very useful).

Ogg Vorbis, ADVANTAGES Part 4

Ogg Vorbis, ADVANTAGES Part 4

OGG vorbis

Additional characteristics

OGG

The Ogg Vorbis format has several very interesting features, which we will now see.

ReplayGain technology
ReplayGain technology allows you to equalize the volume level of various songs and also helps eliminate distortion from songs at high volume. When using ReplayGain, the audio data in the file is not modified, it is only analyzed, and the information for sound correction is saved in the file’s metadata. When playing the processed file on a ReplayGain compatible player, the sound will be corrected automatically according to the correction data saved in the file.

There is a similar program for Ogg Vorbis – VorbisGain. As a more convenient option, you may suggest using the ReplayGain function built into the Foobar2000 player, which performs the same operation as VorbisGain.

Multiple songs in one file
As already mentioned, an Ogg Vorbis file can contain multiple tracks with their own tags. This function is very useful for continuous audio CD encoding. To create such a file, simply “paste” several Ogg Vorbis files in binary mode in the desired sequence into a common one. This can be done from the command line using the copy command.

copy / b test1.ogg + test2.ogg + test3.ogg out.ogg
This command will merge the files test1.ogg, test2.ogg, and test3.ogg into a common out.ogg. The resulting file will contain multiple songs at once. Each composition has its own labels. On players with 100% Ogg support, all songs in the playlist will be displayed as if they were opened from different files. On players with poor format support, the first track name will be displayed, but all songs will continue to play. You can edit tags within such files in foobar2000 itself; This player is fully compatible with the Ogg Vorbis format.

Edit without transcoding
The Ogg Vorbis format allows simple editing operations (cut start or end, replace frame, etc.) without re-encoding. To do this, you can use the standard utility vcut.exe from the Vorbis Tools standard package.

Reduce the bit rate without re-encoding
Lowering the bitrate without re-encoding is not a trivial task for any format. However, for Ogg Vorbis there is a utility for this task: Vorbis Bitrate Peeler.

WARNING
A complete algorithm has not yet been developed to reduce the bit rate without re-encoding. The proposed utility is purely experimental in nature. Maybe it is suitable only for small changes in bitrate, no more than ~ 10 kbps, for example, to adjust the file size to a certain size. Otherwise, the quality degrades a lot, because the program simply reduces the size of the frames in the file, removing the first available components without first analyzing their value.

Due to the lack of preliminary data analysis, the program works almost instantly. The bit rate change is set in the form of a coefficient that indicates how many times the frame size needs to be changed, that is, bit rate.

bpeel input.ogg output.ogg [factor]
As a side effect, it is possible to increase the bitrate without degrading the quality, although this is a rather useless function. Unless, perhaps, it helps in the event that a portable player requires a higher bit rate than the existing one. If it doesn’t help, we recommend using iRiver’s Ogg Bit Converter to convert Ogg Vorbis files to a different bit rate.

conclusion
As you can see, the Ogg Vorbis format is the most modern and optimal solution in the audio compression format market. If you follow the dynamics of the development of the format, you can easily see that it has a future. A large number of developers around the world are constantly developing the format, bringing it to perfection. It would seem that everything that could be done has already been done. However, it is not. The full potential of the format has not yet been revealed. There are still many problems that have not yet been fully affected. But we’re only going forward! We are the format, its developers and common users.

Ogg Vorbis, ADVANTAGES Part 3

Ogg Vorbis, ADVANTAGES Part 3

Ogg

Players for Windows

ogg format

To play music in Ogg Vorbis format, we recommend the Foobar2000 player. Amazing functionality, flexibility, expandability, as well as full support for all the additional functions of the Ogg Vorbis format – these are the main advantages of the player. With it, you can do almost everything with your music: rip and compress music from audio CDs, burn audio CDs, convert from format to format, download from the net (freedb.org) and edit bulk tags, rename files automatically, etc. . visiting the Russian Project FFoobar site dedicated to this wonderful player.

The Ogg Vorbis plugin for older versions of the most popular WinAmp 2.x player (up to version 2.73) can be downloaded here (135Kb). With the latest versions of the player, it is installed by default. There is a slight oddity in the plugin work: the spectrum analyzer does not display frequencies above 16 kHz when playing Ogg Vorbis, even if they are saved up to 22 kHz. Fans of this player will find it very useful to have a plug-in for direct audio encoding to Ogg Vorbis (150Kb).

The following players also have native support for Ogg Vorbis: JetAudio, Sonique, XMPlay, Quintessential Player, Zinf; the list goes on.
For Helix Player or Real Player 10, download and install the plugin from this page.

Windows Media Player is a separate topic. Initial support for Ogg Vorbis on this player is not likely to arrive very soon. This is Microsoft’s policy: Aside from the “native” formats created by the corporation, the player only supports MP3. But there is still a way out of this situation.

Many Windows players use so-called DirectShow filters to decode audio streams of various formats. These include Windows Media Player, Media Player Classic, etc. For Ogg formats (Vorbis, FLAC, Speex and Theora) there is also a DirectShow filter package. They can be downloaded from http://www.illiminable.com/ogg/. By the way, these filters are initially included in codec packs like “K-lite codec pack” or “Nemo codec pack”.

It is possible to integrate support for Ogg Vorbis (display and edit tags) in the standard Explorer (as is done with MP3 in Windows XP) using the VorbisExt program. It is quite remarkable that the program runs smoothly even on Windows 98. Project address: http://vorbisext.sf.net/.

ITunes users are advised to visit the XiphQT website, where they can download the plugin for Ogg Vorbis support. We also want to point out that the developers of this player (Apple) have a policy regarding alternative formats similar to Microsoft’s attitude towards this problem, so it is likely that the integrated support for Ogg Vorbis will not appear very soon either.

Players for mobile platforms
Palm owners should try AeroPlayer (with the appropriate plugin) or TCPMP.

We recommend PocketPC users to use GSPlayer. It is the highest quality free player (with skin support) on the Windows CE platform.

Symbian smartphone owners will find it useful to have OggPlay with them, which can not only play Ogg Vorbis files, but also allows you to set them as a ringtone. The player is also MP3 and AAC compatible. There is support for M3U playlists. The appearance can be changed using skins.

Players for other platforms
There is also an Ogg Vorbis compatible music player for DOS – Mpxplay. It would seem, why is it necessary? But this is a good chance to give an old abandoned computer a second life as a music box!

Linux users don’t have to worry: Ogg Vorbis is compatible with all players on this platform. XMMS, Zinf, AlsaPlayer, Noatun among them. You can even say that the general MP3 support on the Linux platform is much lower; Due to patent royalties, many free distributions do not include an MP3 decoder.

Macintosh users can be recommended to use Audion 2 or Mint audio players. And finally, a couple of players for the Java platform: JOrbis, jlGui.

Hardware Players
Recently, the trend for new hardware players with Ogg Vorbis support is gaining momentum. Demand is growing, competitors are not asleep … As a result, the format is confidently finding its support in new players.

Ogg Vorbis, ADVANTAGES Part 2

Ogg Vorbis, ADVANTAGES Part 2

mp3 vs ogg vorbis

Why Ogg Vorbis?

OGG Vorbis

Today, in addition to MP3 and Ogg Vorbis, the main players in the field of audio formats are WMA and AAC. Why do we consider Ogg Vorbis to be the best option? To get started, we suggest taking a look at the results of the most recent hearing tests conducted by members of the most authoritative resource in this area, Hydrogen Audio.

Encoder test results in classical music at 80 kbps bit rate Encoder test results in classical music at 180 kbps bit rate
Test results at 80 and 180 kbps bit rates
An unconditional win at the most in-demand bit rates of 80 and 180 kbps is a very significant indicator. If you want, you can check the test details: 80 kbps and 180 kbps (in English). High quality is not the only advantage of the format. Ogg Vorbis is much more sophisticated in terms of technical implementation. In addition, among all those considered, it is the only free and open source alternative.

Read more “”

Knowing the format in practice
If you want to experience the quality of Ogg Vorbis compression, then the proposed experiment will interest you. It won’t take more than 15 minutes, but you should be happy with the result. The essence of the experiment is simple: we will compress a high-quality audio file into MP3 and Ogg Vorbis at a low bit rate (48 kbps), so that even a person without special hearing can hear the difference.

NOTE
If you don’t feel like wasting time, we suggest uploading ready-to-use files to compare in the rich beginning of O Fortuna’s composition: a high-quality version (477Kb) or the original in FLAC format (2.8Mb), whatever that is more convenient for you; MP3 compressed at 48 kbps (132 Kb) and OGG at 48 kbps (136 Kb).

To work, you will need a file of a special version of the foobar2000 program (3.2MB), configured to work with Ogg Vorbis and other additional features that may be useful to you. Before starting work, unpack the program in a convenient place for you. The experiment also requires working material. If possible, take the original WAV file and transfer it to a separate directory. On it we will mount our simple experiment.

NOTE
If you don’t have the original file on hand, it doesn’t matter. For our experiment, a WAV file obtained from a high-quality MP3 will suffice. Conversion is easy with the foobar2000 program. To do this, open the selected file, right-click on the open file in the list, select Convert-> Run Conversion from the drop-down menu, then WAV (PCM, Fixed Point), and click OK. When the decoding process is finished, in the same directory where the selected file was, its duplicate decoded in WAV format will appear. Transfer this file to a separate directory for testing.

Open the original WAV file using the foobar2000 program, in the context menu go to Convert-> Run Conversion-> CmdEnc: Ogg Vorbis (Quality-1, ~ 48kbps) -> OK. As a result, you will get a snippet encoded in Ogg Vorbis format with a bit rate of only 48 kbps. Now repeat this operation, just select MP3 LAME 48kbps instead of Ogg Vorbis (Quality-1, ~ 48kbps). As you may have guessed, you will have an MP3 piece with a 48kbps bit rate.

Now open the original and compressed versions of your melody, compare the sound quality. Ogg Vorbis has almost not lost its color and it is impossible to listen to MP3, right? Now take a look at the sizes of the received files; they should be roughly the same. Basically, that’s the whole experiment. Make your own conclusions.

Practical use
As you already know, the format is compatible with all currently known platforms. The variety of software is impressive in its number. This is not surprising: any programmer can migrate the source code to new platforms and write their programs with the support of Ogg Vorbis.

Listen on a computer
Most likely, one of the first questions from all potential users of the format is: “What shows can listen to this format?” The answer is simple, almost any. In fact, most players have been shipped with native Ogg Vorbis support for a long time. But sometimes, the policy of the player developers does not allow them to add support for the default format; all kinds of plugins come to the rescue here. Let’s consider the most popular options.

Ogg Vorbis, ADVANTAGES

Ogg Vorbis, ADVANTAGES

Vorbis

How many MP3 files do you have on your hard drive? 100, 500, 1000?

OGG Vorbis

No wonder if even 15,000! We all love music and we are probably all familiar with MP3. Nice old format, time tested … But the light didn’t converge on MP3, did it? It was developed as one of the first of its kind, which gave it a huge boost in popularity. Could the developers have taken into account all the nuances of lossy music encoding? Could you have planned all the options to use this format to make it the most versatile? Of course not!

Throughout the format’s existence, there have been many would-be replacements. But the benefits, in fact, have not always been tangible enough to move to new formats. But then Ogg Vorbis appeared …

Ogg Vorbis
New breath of compressed digital audio
Ogg Vorbis is a relatively new universal audio compression format that was officially released in the summer of 2002. It belongs to the same type of format as MP3, AAC, VQF and WMA, that is, lossy compression formats. The psychoacoustic model used in Ogg Vorbis is similar in principle to MP3 and similar ones, but only that the mathematical processing and practical implementation of this model are fundamentally different, allowing the authors to declare its format completely independent of all predecessors.

The main undeniable advantage of the Ogg Vorbis format is its total openness and freedom. In addition, it uses the latest and highest quality psychoacoustic model, so the bitrate / quality ratio is significantly lower than other formats. As a result, the sound quality is better, but the file size is smaller.

The format has many advantages. For example, the Ogg Vorbis format does not restrict the user to only two channels of audio (stereo: left and right). Supports up to 225 individual channels at sample rates up to 192 kHz and up to 32 bits (which no lossy compression format does), making Ogg Vorbis ideal for encoding 6-channel DVD-Audio. Additionally, the OGG Vorbis format has sample accuracy. This ensures that the audio data before encoding and after decoding will not have offsets or extra / missing samples to each other. This is easy to appreciate when you are encoding music non-stop (where one track gradually fades into another); in the end, the integrity of the sound will be preserved.

You won’t surprise anyone with streaming now, but this format has built it from the ground up. This gives the format a rather useful side effect: multiple songs can be stored in a single file with their own tags. When loading such a file into the player, all songs should appear as if they were loaded from several different files.

A fairly flexible labeling system is worth mentioning separately. The tag header can easily be expanded to include lyrics of any length and complexity (eg song lyrics) interspersed with images (eg album cover photo). Text labels are stored in UTF-8, which allows writing in all languages ​​at the same time and eliminates potential problems with encodings. This is much more convenient than various tricks like id3 tags.

Ogg Vorbis uses a variable bitrate by default, while the latter is not limited to hard values ​​and can vary even by 1 kbps. It should be noted that the format does not strictly limit the maximum bit rate and, with the maximum encoding setting, it can range from 400 kbps to 700 kbps. The sample rate has the same flexibility: users can choose between 2000 Hz and 192000 Hz.

Ogg Vorbis was developed by the Xiphophorus community to replace all paid proprietary audio formats. Despite this being the youngest format of all MP3 competitors, Ogg Vorbis has full support on all known platforms (Windows, PocketPC, Symbian, DOS, Linux, MacOS, FreeBSD, BeOS, etc.), as well as a large number of hardware implementations … The current popularity far exceeds all alternative solutions.

Vorbis

Vorbis

OGG Vorbis

Vorbis is a free and lossy audio compression format that was officially released in the summer of 2002. In terms of functionality and quality, it is similar to codecs like AAC, AC3 and VQF, superior to MP3. The psychoacoustic model used in Vorbis is similar in principle to MP3 and the like, but the mathematical processing and practical implementation of this model are significantly different, which allowed the authors to declare its format completely independent of all predecessors.

ogg vorbis

Container

For storing audio data in Vorbis format, the Ogg media container is most frequently used, such a file usually has the extension .ogg and is named with the double name “Ogg / Vorbis” [1] or ” Ogg Vorbis “[2]. However, “Ogg Vorbis” is also called a codec by itself without a container, as it is part of the Ogg project [1].

Request

In 2020, it is much less widespread than MP3. Used in computer games, for podcasts.

Vorbis is ideal for use as movie soundtracks, as it does not change in length when the bit rate is variable, allowing you to stay in sync with the video track and is applicable for multi-channel sound (e.g. 6-channel audio). channels).

It is used for the audio track of WebM files in conjunction with the VP8 video codec (since VP9, ​​support for the new free Opus codec has been added to the format).

Metadata

The format was originally designed with streaming capabilities. This gives the format a rather useful side effect: multiple songs can be stored in one file with their own tags. When loading such a file into the player, all songs should be displayed as having been loaded from several different files.

The format has a flexible labeling system. The tag header can easily be expanded to include lyrics of any length and complexity (such as song lyrics), interspersed with images (such as album cover photos). Text labels are stored in UTF-8, which allows writing in multiple languages ​​at the same time and eliminates potential encoding problems.

Bitrate
Ogg Vorbis uses a variable bitrate by default, while the latter is not limited to hard values ​​and can vary even by 1 kbps. It should be noted that the maximum bit rate is not strictly limited by the format, and with the maximum encoding setting it can range from 500 to 1000 kbps. The sample rate has the same flexibility: users can choose between 2 and 192 kHz.

Development objective
Vorbis was developed by the Xiph.Org community to replace all paid proprietary audio formats. Despite being the youngest format of all MP3 competitors, Ogg Vorbis has full support on all popular platforms (Microsoft Windows, Linux, Apple Mac OS, Android [3], PocketPC, Palm, Symbian, DOS, FreeBSD, BeOS and etc.), as well as a large number of hardware implementations.