Difference between revisions of "Lossless comparison"
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== Introduction == | == Introduction == | ||
− | Given the enormous | + | Given the enormous number of [[lossless]] audio compressor choices available, it is a very difficult task to choose the one most suited for each person's needs. Some people take into consideration only compression performance when choosing a codec, but as the following table and article shows, there are several other features worth taking into consideration when making a choice. |
For example, users wanting good multiplatform compatibility and robustness (e.g., people sharing live recordings) would favour [[WavPack]] or [[FLAC]]. Another user, looking for the very highest compression available, would go with [[OptimFROG]]. Someone wanting portable support would use [[FLAC]] or [[ALAC]], and so on. En fin, this is not a matter worth getting too worked up about. If you later find out the codec you chose isn't the best for your needs, you can just transcompress to another format, without risk of losing quality. | For example, users wanting good multiplatform compatibility and robustness (e.g., people sharing live recordings) would favour [[WavPack]] or [[FLAC]]. Another user, looking for the very highest compression available, would go with [[OptimFROG]]. Someone wanting portable support would use [[FLAC]] or [[ALAC]], and so on. En fin, this is not a matter worth getting too worked up about. If you later find out the codec you chose isn't the best for your needs, you can just transcompress to another format, without risk of losing quality. | ||
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|- | |- | ||
| Hybrid/lossy | | Hybrid/lossy | ||
− | | style="background: #CCFFCC" | LossyWAV | + | | style="background: #CCFFCC" | [[LossyWAV]] |
| style="background: #FF9900" | no | | style="background: #FF9900" | no | ||
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
− | | style="background: #CCFFCC" | LossyWAV | + | | style="background: #CCFFCC" | [[LossyWAV]] |
| style="background: #FF9900" | no | | style="background: #FF9900" | no | ||
− | | style="background: #CCFFCC" | LossyWAV | + | | style="background: #CCFFCC" | [[LossyWAV]] |
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
| style="background: #FF9900" | no | | style="background: #FF9900" | no | ||
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| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
− | | style="background: # | + | | style="background: #FFCC66" | no{{ref label|tak_os|F|F}} |
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
| style="background: #FF9900" | no | | style="background: #FF9900" | no | ||
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| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
− | | style="background: # | + | | style="background: #00FF00" | yes{{ref label|multichannel_ape|E|E}} |
| style="background: #00FF00" | yes | | style="background: #00FF00" | yes | ||
| style="background: #FF9900" | no | | style="background: #FF9900" | no | ||
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{| | {| | ||
|- | |- | ||
− | |{{note label|speed|A|A}} Speed and Compression are based on '''each encoder's default settings''' and | + | |{{note label|speed|A|A}} Speed and Compression are based on '''each encoder's default settings''' and taken from [http://www.audiograaf.nl/downloads.html this comparison]. |
|- | |- | ||
|{{note label|comp|B|B}} The Compression ratio is compressed size/uncompressed size * 100. So, lower is better. | |{{note label|comp|B|B}} The Compression ratio is compressed size/uncompressed size * 100. So, lower is better. | ||
|- | |- | ||
− | |{{note label|error|C|C}} Error handling means that a codec can detect a corruption (flipped bit) in a file and warn the user about it, but still decode the rest of the file. | + | |{{note label|error|C|C}} Error handling means that a codec can detect a corruption (flipped bit) in a file and warn the user about it, but it will still decode the rest of the file. |
|- | |- | ||
− | |{{note label|error_ape|D|D}} The official Monkey's Audio decoder does not support decoding through errors, but this may be achieved with FFmpeg or Winamp, though likely not when the "Insane" preset is used. | + | |{{note label|error_ape|D|D}} The official Monkey's Audio decoder does not support decoding through errors, but this may be achieved with FFmpeg or Winamp, though likely not, when the "Insane" preset is used. |
− | + | |- | |
+ | |{{note label|multichannel_ape|E|E}} Since version 4.86 | ||
+ | |- | ||
+ | |{{note label|tak_os|F|F}} Unofficial (but properly working) open source decoder is available as part of ffmpeg | ||
== Codecs == | == Codecs == | ||
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* Streaming support | * Streaming support | ||
* Tagging support (QT tags) | * Tagging support (QT tags) | ||
− | * Supports [[multichannel]] | + | * Supports [[multichannel]]. Limited to 8 channels. Only limited set of channels layouts is supported - https://github.com/nu774/qaac/wiki/Multichannel--handling |
+ | * Supports [[high resolution]]s | ||
* Used by a few online stores | * Used by a few online stores | ||
Line 217: | Line 221: | ||
* Error robustness | * Error robustness | ||
* Streaming support | * Streaming support | ||
− | * Supports [[multichannel]] | + | * Supports [[multichannel]]. Limited to 8 channels. Channel mask in [https://docs.microsoft.com/ru-ru/windows/win32/api/mmreg/ns-mmreg-waveformatextensible WAVEFORMATEXTENSIBLE] is supported but support is not included in official specification. With reference encoder undocumented option --channel-map=none is needed to encode some non-standard layouts (e.g. 4.1; FL,FR,FC,BC), but no special options are needed with ffmpeg's encoder. |
+ | * Supports [[high resolution]]s | ||
* Tagging support (FLAC tags) | * Tagging support (FLAC tags) | ||
* Supports [[RIFF]] chunks | * Supports [[RIFF]] chunks | ||
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=== Monkey's Audio (APE) === | === Monkey's Audio (APE) === | ||
− | + | https://www.monkeysaudio.com/ | |
[[Monkey's Audio]] is a very efficient lossless compressor developed by Matt Ashland. | [[Monkey's Audio]] is a very efficient lossless compressor developed by Matt Ashland. | ||
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* Fast encoding | * Fast encoding | ||
* Good software support | * Good software support | ||
+ | * Supports [[multichannel]] (since version 4.86). Limited to 8 channels. Channel mask in [https://docs.microsoft.com/ru-ru/windows/win32/api/mmreg/ns-mmreg-waveformatextensible WAVEFORMATEXTENSIBLE] is supported | ||
+ | * Supports [[high resolution]]s | ||
* Simple and user friendly. Official GUI provided. | * Simple and user friendly. Official GUI provided. | ||
* Java version (multiplatform) | * Java version (multiplatform) | ||
* Error robustness/decoding up to -c3000 (High compression)<ref>http://www.hydrogenaud.io/forums/index.php?showtopic=98984&st=0&p=821420&#entry821420</ref> | * Error robustness/decoding up to -c3000 (High compression)<ref>http://www.hydrogenaud.io/forums/index.php?showtopic=98984&st=0&p=821420&#entry821420</ref> | ||
* Tagging support ([[ID3v1]], [[APE tags]]) | * Tagging support ([[ID3v1]], [[APE tags]]) | ||
− | |||
* Supports [[RIFF]] chunks (only in the GUI encoder) | * Supports [[RIFF]] chunks (only in the GUI encoder) | ||
* Pipe support (only in a [http://www.etree.org/shnutils/shntool/ special] version) | * Pipe support (only in a [http://www.etree.org/shnutils/shntool/ special] version) | ||
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* Problematic license (source provided, no modification or redistribution rights) | * Problematic license (source provided, no modification or redistribution rights) | ||
* Slow decoding | * Slow decoding | ||
− | |||
* No hybrid/lossy mode (and not [[LossyWAV]] compatible) | * No hybrid/lossy mode (and not [[LossyWAV]] compatible) | ||
* Limited hardware support (Rockbox, some Cowon players); poor battery life due to complicated decoding (see [http://www.rockbox.org/wiki/SoundCodecMonkeysAudio MP3 player benchmarks]) | * Limited hardware support (Rockbox, some Cowon players); poor battery life due to complicated decoding (see [http://www.rockbox.org/wiki/SoundCodecMonkeysAudio MP3 player benchmarks]) | ||
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http://www.thbeck.de/Tak/Tak.html | http://www.thbeck.de/Tak/Tak.html | ||
− | [[TAK]] is a lossless codec developed by | + | [[TAK]] is a lossless codec developed by Thomas Becker. |
''' TAK pros ''' | ''' TAK pros ''' | ||
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* Very high efficiency | * Very high efficiency | ||
* Error robust | * Error robust | ||
− | * Supports multichannel | + | * Supports [[multichannel]]. Limited to 6 channels. Channel mask in [https://docs.microsoft.com/ru-ru/windows/win32/api/mmreg/ns-mmreg-waveformatextensible WAVEFORMATEXTENSIBLE] is supported |
+ | * Supports [[high resolution]]s | ||
* Tagging support | * Tagging support | ||
* Supports RIFF chunks | * Supports RIFF chunks | ||
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''' TAK cons ''' | ''' TAK cons ''' | ||
− | * Closed source | + | * Closed source (but unofficial open source decoder is available as part of ffmpeg) |
* No hybrid/lossy mode (but is [[LossyWAV]] compatible) | * No hybrid/lossy mode (but is [[LossyWAV]] compatible) | ||
* No hardware support | * No hardware support | ||
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''' TTA pros ''' | ''' TTA pros ''' | ||
* [[Open source]] | * [[Open source]] | ||
− | * Supports [[multichannel]] | + | * Supports [[multichannel]]. Reference encoder/decoder is limited to 6 channels. ffmpeg's encoder/decoder is limited to 16 channels. Channel mask in [https://docs.microsoft.com/ru-ru/windows/win32/api/mmreg/ns-mmreg-waveformatextensible WAVEFORMATEXTENSIBLE] is '''not''' supported |
+ | * Supports [[high resolution]]s | ||
* Tagging support ([[ID3]]v1, ID3v2 or [[APEv2]]) | * Tagging support ([[ID3]]v1, ID3v2 or [[APEv2]]) | ||
* Embedded CUE sheets support | * Embedded CUE sheets support | ||
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* Fast encoding/decoding | * Fast encoding/decoding | ||
* Symmetric algorithm | * Symmetric algorithm | ||
− | |||
* Ultra low latency | * Ultra low latency | ||
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* Error robustness | * Error robustness | ||
* Streaming support | * Streaming support | ||
− | * Supports [[multichannel]] | + | * Supports [[multichannel]]. Limited to 255 channels. Channel mask in [https://docs.microsoft.com/ru-ru/windows/win32/api/mmreg/ns-mmreg-waveformatextensible WAVEFORMATEXTENSIBLE] is supported |
+ | * Supports [[high resolution]]s | ||
* Hybrid/lossy mode | * Hybrid/lossy mode | ||
* Tagging support ([[ID3v1]], [[APE tags]]) | * Tagging support ([[ID3v1]], [[APE tags]]) | ||
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''' WV Other features ''' | ''' WV Other features ''' | ||
+ | * Can compress the Direct-Stream Digital (DSD) audio recording format | ||
* Supports 32bit float streams | * Supports 32bit float streams | ||
* Supports embedded CUE sheets | * Supports embedded CUE sheets | ||
+ | * Accept audio files bigger than 4GB | ||
* Includes MD5 hashes for quick integrity checking | * Includes MD5 hashes for quick integrity checking | ||
* Can encode in both symmetrical and asymmetrical modes. | * Can encode in both symmetrical and asymmetrical modes. | ||
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====LA==== | ====LA==== | ||
− | http://www.lossless-audio.com/ | + | http://www.lossless-audio.com/ |
LA features an extremely high compression (on par with OptimFrog highest modes, but a bit faster), but it hasn't been updated for more than 10 years. Furthermore, backward compatibility is not guaranteed, so using it for archiving might pose a few problems. It isn't able to cope with file corruption either, software support is very limited and isn't open source. | LA features an extremely high compression (on par with OptimFrog highest modes, but a bit faster), but it hasn't been updated for more than 10 years. Furthermore, backward compatibility is not guaranteed, so using it for archiving might pose a few problems. It isn't able to cope with file corruption either, software support is very limited and isn't open source. | ||
====MLP/Dolby TrueHD==== | ====MLP/Dolby TrueHD==== | ||
− | The [[MLP|MLP codec]] (of which the mathematical basis was used in Dolby TrueHD) | + | The [[MLP|MLP codec]] (of which the mathematical basis was used in Dolby TrueHD) is the codec used for DVD-Audio. It was mandatory in any HD-DVD implementation and optional for Blu-Ray in it's Dolby TrueHD form. It is known to support the 'wasted bits' scheme used in LossyWAV. As encoders are very expensive, its use outside DVD/Blu-ray mastering environments is non-existent. Its main use is encoding surround sound data. |
====MPEG-4 ALS==== | ====MPEG-4 ALS==== | ||
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* Advanced Digital Audio (ADA) | * Advanced Digital Audio (ADA) | ||
− | * [http://www.logarithmic.net/pfh/bonk Bonk] | + | * [http://www.logarithmic.net/pfh/bonk Bonk] |
− | + | ||
* AudioZip | * AudioZip | ||
* Dakx WAV | * Dakx WAV | ||
* Entis Lab MIO | * Entis Lab MIO | ||
* LiteWave | * LiteWave | ||
− | * LPAC | + | * [http://www.nue.tu-berlin.de/menue/mitarbeiter/ehemalige_mitarbeiter/tilman_liebchen/lpac_-_lossless_audio_codec_for_windows_and_linux/ LPAC] |
+ | * Marian's a-Pac | ||
+ | * [http://mp3hd-toolkit.soft32.com/ mp3HD (MPEG-1 Audio Layer III HD)] | ||
* Pegasus SPS | * Pegasus SPS | ||
− | * RK Audio (RKAU) | + | * [http://www.free-codecs.com/download/rk_audio_compressor.htm RK Audio (RKAU)] |
− | * Ogg Squish | + | * Ogg Squish/Tarkin |
* Sonarc | * Sonarc | ||
* VocPack | * VocPack | ||
* [http://www.firstpr.com.au/audiocomp/lossless/wavarc/ WavArc] | * [http://www.firstpr.com.au/audiocomp/lossless/wavarc/ WavArc] | ||
− | * WaveZip/MUSICompress | + | * [http://www.firstpr.com.au/audiocomp/lossless/WaveZip/ WaveZip]/MUSICompress |
== See also == | == See also == | ||
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* [http://www.audiograaf.nl/downloads.html Martijn van Beurden's comparison] - tries to compare all codecs and settings with a balanced pool of music (last updated 2015-01-05) | * [http://www.audiograaf.nl/downloads.html Martijn van Beurden's comparison] - tries to compare all codecs and settings with a balanced pool of music (last updated 2015-01-05) | ||
* [http://www.squeezechart.com/audio.html Squeezechart audio] - tests as much codecs as possible, but not all their settings and with a limited test corpus (last updated 2013-10-31) | * [http://www.squeezechart.com/audio.html Squeezechart audio] - tests as much codecs as possible, but not all their settings and with a limited test corpus (last updated 2013-10-31) | ||
− | * [http://synthetic-soul.co.uk/comparison/lossless/index.asp Synthetic Soul's comparison] (last update 2007-07-28) | + | * <s>[http://synthetic-soul.co.uk/comparison/lossless/index.asp Synthetic Soul's comparison] (last update 2007-07-28)</s> |
* <s>Johan De Bock's speed oriented comparison</s> - best choices speedwise are indicated in green, mostly electronic music (last updated 2006-07-22) | * <s>Johan De Bock's speed oriented comparison</s> - best choices speedwise are indicated in green, mostly electronic music (last updated 2006-07-22) | ||
* <s>Hans Heijden's</s> -- used as reference to build the table (last updated 2006-07-07) | * <s>Hans Heijden's</s> -- used as reference to build the table (last updated 2006-07-07) | ||
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* <s>Gruboolez'</s> -- comparing only classical music (last updated 2005-02-27) | * <s>Gruboolez'</s> -- comparing only classical music (last updated 2005-02-27) | ||
* <s>Speek's</s> (last updated 2005-02-07) | * <s>Speek's</s> (last updated 2005-02-07) | ||
− | *[http://www.firstpr.com.au/audiocomp/lossless/ Lossless Compression of Audio] | + | *[http://www.firstpr.com.au/audiocomp/lossless/ Lossless Compression of Audio] Much information about oddball formats including comparison of them. (last updated 2005-10-21) |
''' More on lossless compressions ''' | ''' More on lossless compressions ''' |
Revision as of 22:48, 6 September 2019
The lossless comparison page aims to gather information about lossless codecs available so users can make an informed decision as to what lossless codec to choose for their needs.
Contents
- 1 Introduction
- 2 Comparison Table
- 3 Codecs
- 4 See also
- 5 External links
- 6 References
Introduction
Given the enormous number of lossless audio compressor choices available, it is a very difficult task to choose the one most suited for each person's needs. Some people take into consideration only compression performance when choosing a codec, but as the following table and article shows, there are several other features worth taking into consideration when making a choice.
For example, users wanting good multiplatform compatibility and robustness (e.g., people sharing live recordings) would favour WavPack or FLAC. Another user, looking for the very highest compression available, would go with OptimFROG. Someone wanting portable support would use FLAC or ALAC, and so on. En fin, this is not a matter worth getting too worked up about. If you later find out the codec you chose isn't the best for your needs, you can just transcompress to another format, without risk of losing quality.
Note: for latest comparison of lossless compression, scroll down to the Links section of this page.
Comparison Table
Features | FLAC | ALAC | WavPack | TAK | Monkey's | WMAL | OptimFROG | TTA |
---|---|---|---|---|---|---|---|---|
Encoding speed[A] | very fast | fast | very fast | very fast | fast | fast | slow | very fast |
Decoding speed[A] | very fast | fast | fast | very fast | slow | average | very slow | fast |
Compression[A][B] | 57.0% | 57.8% | 57.1% | 56.0% | 55.1% | 58.4% | 54.6% | 56.6% |
# presets | 9 | 2 | > 10 | > 10 | 5 | 1 | > 10 | 1 |
Error handling[C] | yes | no | yes | yes | yes[D] | yes | yes | yes |
Tagging | Vorbis tags | iTunes | ID3/APEv2 | APEv2 | APEv2 | ASF | ID3/APEv2 | ID3v1/2 or APEv2 |
Hardware support | very good | very good | limited | no | limited | limited | no | limited |
Software support | very good | very good | good | average | good | good | average | good |
Hybrid/lossy | LossyWAV | no | yes | LossyWAV | no | LossyWAV | yes | no |
RIFF chunks | yes | no | yes | yes | yes | no | yes | no |
Streaming | yes | yes | yes | yes | no | yes | yes | yes |
Open source | yes | yes | yes | no[F] | yes | no | no | yes |
Multichannel | yes | yes | yes | yes | yes[E] | yes | no | yes |
OS support | All | All | All | Win/Wine | All | Win/Mac | Win/Mac/Linux | All |
A Speed and Compression are based on each encoder's default settings and taken from this comparison. |
B The Compression ratio is compressed size/uncompressed size * 100. So, lower is better. |
C Error handling means that a codec can detect a corruption (flipped bit) in a file and warn the user about it, but it will still decode the rest of the file. |
D The official Monkey's Audio decoder does not support decoding through errors, but this may be achieved with FFmpeg or Winamp, though likely not, when the "Insane" preset is used. |
E Since version 4.86 |
F Unofficial (but properly working) open source decoder is available as part of ffmpeg
CodecsThese are the most popular lossless codecs, in alphabetical order: Apple Lossless Audio Codec (ALAC)https://alac.macosforge.org/trac ALAC is a codec developed by Apple for usage in iPod and AirPort Express. ALAC pros
ALAC cons
ALAC Other features
Free Lossless Audio Codec (FLAC)FLAC is a lossless codec developed by Josh Coalson. It's part of the Xiph multimedia portfolio, along with Opus, Ogg, Vorbis, Speex and Theora. FLAC pros
FLAC cons
FLAC Other features
Monkey's Audio (APE)Monkey's Audio is a very efficient lossless compressor developed by Matt Ashland. APE pros
APE cons
APE Other features
OptimFROG (OFR)OptimFROG is a lossless format developed by Florin Ghido to become the champion in audio compression. OFR pros
OFR cons
OFR Other features
Tom's verlustfreier Audiokompressor (TAK)http://www.thbeck.de/Tak/Tak.html TAK is a lossless codec developed by Thomas Becker. TAK pros
TAK cons
TAK Other features
True Audio (TTA)TTA is a lossless codec developed by a international team of programmers. TTA pros
TTA cons
TTA Other features
WavPack (WV)WavPack is a fast and featureful lossless codec developed by David Bryant. WV pros
WV cons
WV Other features
Windows Media Audio Lossless (WMAL)https://msdn.microsoft.com/en-us/library/ff819508(v=vs.85).aspx WMA Lossless is the lossless codec developed by Microsoft to be featured in their Windows Media codec portfolio. WMAL pros
WMAL cons
WMAL Other features
Other FormatsAside from the formats mentioned above, there are in fact quite a lot of other lossless formats. To keep the table and list brief and readable, a few formats have not been mentioned. DTS-HD Master AudioSimilar to the MPEG-4 SLS format, this format has a core track in an older, more widely supported format, DTS. This core lossy track is made lossless by a secondary track with correction data. It is an optional codec in Blu-ray implementations. Its main use is surround sound encoding, and as is the case with MLP, the price of the encoder ensures it is only used in mastering of Blu-ray discs. LAhttp://www.lossless-audio.com/ LA features an extremely high compression (on par with OptimFrog highest modes, but a bit faster), but it hasn't been updated for more than 10 years. Furthermore, backward compatibility is not guaranteed, so using it for archiving might pose a few problems. It isn't able to cope with file corruption either, software support is very limited and isn't open source. MLP/Dolby TrueHDThe MLP codec (of which the mathematical basis was used in Dolby TrueHD) is the codec used for DVD-Audio. It was mandatory in any HD-DVD implementation and optional for Blu-Ray in it's Dolby TrueHD form. It is known to support the 'wasted bits' scheme used in LossyWAV. As encoders are very expensive, its use outside DVD/Blu-ray mastering environments is non-existent. Its main use is encoding surround sound data. MPEG-4 ALSMPEG-4 ALS is the successor to LPAC, which it was based on. It has been as a ISO standard and there is a reference encoder/decoder, but like TTA, it does not have features that make it stand out from other codecs, nor backing by a large organisation, so it hasn't much software and no hardware support. MPEG-4 SLSMPEG-4 SLS is a special codec, having a AAC core track and a 'correction track'. Also known as HD-AAC, SLS stands for Scalable to Lossless. However, there is to date still no affordable software to play, encode or decode (the lossless part of) SLS files. Shortenhttp://www.etree.org/shncom.html Shorten was one of the first widely-used lossless formats, and it still occasionally found on the internet, especially in archives, for example etree.org. It is quite fast in both encoding and decoding, but doesn't compress very much. Furthermore, seeking has a troubled past as well as tagging. It is considered obsolete. Real LosslessPart of the Real codec suite, Real Lossless too hasn't any very special features that make it stand out. Just like WMA Lossless and Apple Lossless, it was created to fit in a codec suite, but unlike WMA Lossless and Apple Lossless, there is no hardware support and software support is limited. Compression is on par with most other codecs, but it is rather slow to encode. Oddball formatsThere are a few archaic formats of which encoders and decoders are hard to get by. Most of those would have disappeared by now, but some of them are being preserved for posterity at rjamorim's
See alsoExternal linksOther lossless compressions comparisons Sorted based on last update date.
More on lossless compressions
References |