Recognize high quality audio files.


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How can we distinguish real quality audio files from poor quality files?

It will have happened to everyone at least once to hear a song and to notice that it was “of low quality”, even if it was quite “difficult”! The size of an audio file is not always a sign of quality, but why? Before we understand it, a premise is needed that we put into practice to see if the files we have are really qualitative without trusting our ears too much.

high quality audio

Audio files

Maybe not everyone knows that every ‘file’ we have on our PC is nothing more than a list of bytes or bits that are no more than 0 and 1. To get a picture, imagine a 10MB file (MegaByte exactly), which can be a song, a fairly large picture, 10 seconds of HD video, it is about 80,000. 000 bits (1 byte = 8 bits and 1 bit = 0 or 1) or 80 million 0 and 1, almost the population Italian.

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However, audio files that should simply contain “sound waves” are not always “pure”. That said, there are algorithms that can drastically reduce and compress the size of the audio file. However, it is obvious that there is more information about sound waves. The higher the definition of the audio, the larger the file that contains this information.

In view of this and depending on the “compression” we use, we have different files and qualities. There are algorithms that can store as much information as possible, and others that instead lose a lot of information and free up space. The former generally produce very large files and are also called “lossless” or “less lossless” precisely because they maintain the highest possible quality. 4 minutes of a song can also take 40 MB to 100 MB depending on the algorithm that compresses the files.

The best known and most commonly used are algorithms that allow you to store so much information, and others that instead lose a lot of information and gain space at the same time. The former generally generate very large files and are also referred to as “lossless” or “less lossy”. Precisely because they maintain the highest possible quality, 4 minutes of a song can also take between 40 MB and 100 MB depending on the algorithm that compresses it. The best known and most commonly used are

.wav / .wave WAVEform audio file format
.flac Free Lossless Audio Codec
.m4a Apple Lossless variant
.wma Windows Media Audio LossLess variant
The others, on the other hand, are perhaps the most common and allow you 4 minutes at around 10 MB if they are and are of high quality

.mp3 MPEG-1/2 Audio Layer III
.m4a Advanced Audio Coding Variant (AAC)
.wma Windows Media Audio variant

Which compression should I choose?

Now it is clear that we have to find a compression algorithm that allows us to maintain multiple frequencies. With a reduced size, our devices would be full immediately if each song occupied 30 MB!

After analyzing numerous songs with different extensions and looking around the internet a little, I came to the conclusion that the best encoding algorithm is undoubtedly the variable bit rate AAC compression with the .m4a extension, the best algorithm that you can use keep most frequencies higher in very small dimensions. Let us see together how the ghosts try to play the previous song in Apple Lossless (4 minutes and 23 seconds) first in MP3 with 320 kbps and fixed bit rate, then always with 320 kbps in variable bit rate (maximum quality) and finally in AAC to convert with variable bit rate (maximum quality), including the file size and the maximum frequency


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Audio quality

Audio quality

What do we talk about when we talk about audio quality?
We usually hear a lot about audio quality, vinyl, tapes, digital formats with loss and loss, high resolution formats, hi-fi players, analog and digital recording and mixing systems, microphones and preamps worth thousands of dollars, eighty channel mixing tables, diverse production techniques, mastering abroad, etc., etc. But is it clear what we consider as audio quality? We all have the same concept about what it should be? Beyond how we record, in what format and what device do we listen to, what do we look for?

Audio quality equals clarity?


It can be partially. This concept would affirm without doing it that the diffusion is bad when in reality in many cases, styles, songs, orchestrations, the diffusion is friendly. Moreover, it is necessary for a good development of the sound concept sought. The diffusion, reverberation, acoustic environment of a room can favor and in cases be indispensable for a good sound record.

Audio quality is equal to dynamic?

Perhaps, if we value the space and the feeling of almost being able to stand between the guitarist and drummer when listening to a record, understand the subtle arrangements of an acoustic guitar and then receive the power expression of the whole band together, in that case we would be defending the natural dynamics of music and its interpretation. The truth is that decades ago we are going in the opposite direction, not only in studio but also in live sound. The advent of digital tables and their dynamic processors, channel by channel, led the trend to compress everything. As the engineer Mario Brauer would say all musicians are increasingly on the edge of the sound stage looking for a space to be seen. Depth has been lost and we all accept to a lesser or greater extent that that’s fine. Although we complain loudly we usually go in that direction.

Audio quality equals expensive equipment and instruments?
Undoubtedly expensive equipment and instruments offer us quality in registration and mixing. But the history of music is full of great albums recorded with lower level equipment and instruments. It is clear then that the right instrument for a song is not determined by its value in the store.

Audio quality equals perfect acoustics?
Registering in a suitable acoustic environment favors us, it is welcome. In some styles or works it may be very necessary. But we could not say that it is decisive.

Audio quality is mastering in a prestigious studio?
Many artists make recordings and domestic mixes considering that by mastering in a large studio they will achieve a magical transformation in the sound result. Clearly this is a wrong concept. What is broken is difficult almost impossible to fix. It can be improved, enhance the good done in previous stages and correct some errors, homogenize and guarantee a good reproduction in most of the possible means, but we cannot claim a magical transformation. Most of the time this does not happen.

Audio quality is hi-fi format?
If we achieve a great record with careful production in all its stages, the ideal would be to reach the listeners in the best possible way. This includes digital or analog support, as well as the player. This is not always the case and mass dissemination through media such as YouTube, Spotify, or others will depress sound quality in order to reach more people. Also the reproduction with mobile devices and headphones of low cost.

I could continue to name factors and elements that influence our determination on the concept of audio quality but I think the idea is raised, I consider that audio quality in our time has more to do with balances, balance between these factors, elements and tools of production, achieve the best performance of our equipment, acoustic space and time, artistically determine which is the right instrument, preserve the timbral, tone and dynamics of the sounds captured in the most natural way we can, without ignoring stylistic variables.