Don't know much about music, but for movie audio current AAC-HE implementation (nero) is really bad. For this content Vorbis 1.0.1 at -q1 is clearly better and give same bitrate. Kinda weird. Question: how do you process the audio when encoding to Vorbis? (I assume Recode 2 for HE-AAC) Most tools do dynamics compression during the Vorbis conversion, which makes the audio sound a lot better when listening on a PC. IMHO Recode2 should also offer this, but I think you can get the same effect by doing a manual encode/mux. I'm still playing with tweaking the video encoding right now I use same transcoding utility for both AAC-HE and Vorbis encoding, BeSweet 1.5b23. for 2ch Vorbis:BeSweet.exe -core( -input "input.ac3" -output "output.ogg" ) -azid( -s stereo -c light -L -3db --maximize ) -ogg ( -q 0.1 ) (with BeSweet, -q 0.1 corresponds to standard ogg -q 1) 2ch AAC-HE (using recent Nero AAC DLLs and 70Kb/s VBR profile):BeSweet.exe -core( -input "input.ac3" -output "output.ogg" ) -azid( -s stereo -c light -L -3db --maximize ) -ssrc( --rate 44100 ) -bsn( -2ch -config ) 6ch Vorbis:BeSweet.exe -core( -input "input.ac3" -output "output.ogg" ) -azid( -c light --maximize ) -ogg ( -q 0 -6ch ) 6ch AAC-HE (using recent Nero AAC DLLs and 70Kb/s VBR profile):BeSweet.exe -core( -input "input.ac3" -output "output.ogg" ) -azid( -c light --maximize ) -ssrc( --rate 44100 ) -bsn ( -6chnew -config ) Vorbis seems more "fuzzy" keeping background and low volume sounds sweetly audible (or at least clamping them sweetly), while in my ears AAC-HE pays some threshold based filtering approach and thus failing to give a global image of the original sound (foreground and background). Also in AAC-HE file, the actors voice is _clearly_ different from the AC3 one (pre-echo problem I think). (and I want say that I have always haten every _threshold_ based approach both in video and audio filtering)
"Taking a jazz approach and concentrating on live playing, I wanted to use several different rhythm sections and vintage instruments and amps to create a timeless sound that's geared more around musicality and vibe than sonic perfection. The key was to write with specific rhythm sections in mind, yet leave open spaces for soloing." Lee Ritenour