iTunes is the best of them for playback, getting about half clean, but the other half consistently clicking. It clicks just as badly as Wavelab Lame files with spliced 1khz tone. Hence it’s pretty universal.īut it’s not gapless in any players I’ve tried (iTunes, Foobar, XLD, Media Monkey). No, this is not a WaveLab feature, but a Fraunhofer feature. In fact, you could get away without the box but that would be ugly.Even the gapless mp3s made in Wavelab will probably only be gapless in Wavelab The pot lets you you change the spread by varying the amount of S in the matrix. A box, a few connectors, some wire and a potentiometer (optional) is all that's needed. You don't even need a computer to set up M/S. The only thing common to the two is that a matrix is involved. (which is L and which is R depends on the initial polarity of M). By matrixing the two, you wind up with true stereo. That was a long time ago.Īlthough often lumped together with M/S when described, that's a false equivalency. In the past, when storage space was at a premium, it was considered advantageous to do this. Despite best intentions, it's notorious for changing the sound. This may reduce file size in 128 or lower. Joint stereo is a scheme that matrixes the information common to both channels. It should be easily doable and informative It doesn't have anything to do with stereo levels or anything better or worse than the other, it just is a different "presentation" of the same file. There should be NO difference.įMiguelez wrote:I thought the stereo setting in the MP3 encoder, at least from DP, means the same thing as having 2 mono files (deinterleaved) or one stereo file (interleaved). LAME is as good as it gets (however I prefer AAC). My friends can't either when I've tested them (and embarrassed them).Īre you sure you're using proper settings? The ones you mention seem perfectly fine to me. Honestly, with the most up-to-date AAC or MP3 converter, be it Apple's or LAME, at 256 kbps, ALL my mp3 or AAC conversions sound IDENTICAL to the 24 bit 48 KHz master to me, and I could most likely not pass a blind test comparing them under normal listening conditions (in my studio) to save my life. \Īre you absolutely sure you're actually hearing all those changes in your music you say? Are you monitoring through the same chain or is something else possible? I've never heard of a modern mp3 CODEC that changes the mix like that! I read somewhere that this is a safer level for mixes being converted to wrote:After doing this and then listening to the MP3's in iTunes, I'm noticing that the lead vocals (which are panned dead center) sound weaker and are now overwhelmed by their stereo reverb applied in the mix plus other tracks. I have been setting the limiter ceiling at -1 db. Has anyone else run into this? It seems like the MP3 conversion process is producing a "stereo widening" effect and de-emphasizing mono information slightly.įor L.A.M.E MP3 bounce settings, I've been using these settings:Īnd I checked the box to Filter frequencies below 10 hz.Īnyone have any advice? I just want the MP3's to sound as close to the original 24-bit 44.1hz mixes as possible (of course). Then I re-bounced to MP3 and it sounds "more normal". So I'm going back to the original mix and boosting lead vocals by 2 db with trim plug-ins while cutting vocal reverb about 15%. After doing this and then listening to the MP3's in iTunes, I'm noticing that the lead vocals (which are panned dead center) sound weaker and are now overwhelmed by their stereo reverb applied in the mix plus other tracks. encoding engine if I dithered the mix down to 16-bit first using a Masterworks Limiter on the master bus. In the past, I found that DP made better sounding MP3's with the L.A.M.E. I'm looking for advice on creating the best possible sounding MP3's of a some songs I've been mixing & mastering in DP 9.
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