Uncompressed vs. Compressed Audio: What Really Matters for Sound Quality
When we talk about audio quality, it’s not all about the format. The real difference comes from the source (recording/master), the playback gear (headphones/speakers), and the environment (room/noise). Still, choosing well between WAV/AIFF (uncompressed), FLAC/ALAC (lossless compression), and MP3/AAC/OPUS (lossy) can save you space and compatibility headaches.
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File types (clear summary)
| Category | Examples | Pros | Cons | Typical use |
|---|---|---|---|---|
| Uncompressed | WAV, AIFF (PCM) | Maximum quality, lossless editing, predictable latency | Very large files | Recording, mixing, and editing in a DAW |
| Lossless compression | FLAC, ALAC | Same quality as WAV, 30–60% smaller | Variable compatibility (better than before, not universal) | Archival/master, music library |
| Lossy compression | MP3, AAC, OGG, OPUS | Very light, easy to share | Irreversible loss (depends on bitrate) | Streaming, messaging, send by email/WhatsApp |
Approximate size per minute
Indicative estimates for CBR; actual size may vary.
| Format | Parameters | MB/min approx. |
|---|---|---|
| WAV/AIFF (PCM) | 44.1 kHz · 16-bit · stereo | ~10.1 MB |
| FLAC/ALAC | 44.1 kHz · 16-bit · stereo | ~4–7 MB |
| MP3/AAC | 192 kbps | ~1.41 MB |
| MP3/AAC | 128 kbps | ~0.94 MB |
| MP3/AAC/OPUS | 96 kbps | ~0.70 MB |
| OPUS | 64 kbps (voice/note) | ~0.47 MB |
When to use each format
- You’ll edit or master: use WAV/AIFF (or FLAC if you want to save space without losing quality).
- Long-term archive / library: FLAC/ALAC (lossless with robust metadata).
- Share via WhatsApp/email, streaming or web: MP3/AAC/OPUS with bitrates between 96–192 kbps (voice: 64–128 kbps mono).
- Older car/TV players: MP3 128–192 kbps for maximum compatibility.
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Myths & facts
- “Higher kbps is always better” → Up to perceptual transparency (e.g., 192 kbps for music, 64–128 kbps for voice) improvements are barely noticeable for most people.
- “24-bit sounds better on Spotify” → Higher bit depth helps in production and headroom; for distribution, services normalize and re-encode.
- “OPUS is worse than MP3” → At lower bitrates for voice, OPUS is often more efficient. Choose MP3 for universal compatibility.
- “I can recompress MP3 without loss” → Each lossy re-encode degrades quality. If you need to reduce size, do one pass to your target bitrate.
Practical workflows
- Recording/editing → WAV/AIFF 44.1 or 48 kHz · 24-bit → export master FLAC/WAV → delivery version MP3/AAC.
- Podcast/interview → Clean capture → edit in WAV → publish MP3 64–128 kbps (mono if voice-only).
- Voice notes → OPUS/AMR/M4A → convert to MP3 64–128 kbps to share.
Frequently asked questions
What bitrate should I choose for voice and for music?
Voice: 64–128 kbps (mono); music: 128/192 kbps. For ultra-light files, 64 kbps for voice.
Which format is the most compatible?
MP3 is still the most widely accepted standard in cars, TVs, and older devices.
Can I edit an MP3?
Yes, but ideally you should edit in WAV/FLAC and convert at the end. Avoid multiple lossy re-encodes.
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