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What makes an audio format lossless?

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What makes an audio format lossless?

Lossless Audio

What makes an audio format lossless?
The best audio formats for your music library

Lossless Audio

You might think of the word “lossless” as being used for audio formats that don’t use any kind of compression. However, even lossless audio formats use compression to reduce file sizes to reasonable levels.

Lossless formats use compression algorithms to save audio data so that the audio is exactly the same as the original source. This contrasts sharply with lossy audio formats like AAC, MP3, and WMA, which use algorithms that discard data to compress the audio. Audio files consist of sounds and silences. Lossless formats can compress silence to almost zero space while preserving all sound data, making them smaller than uncompressed files.
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What lossless format is commonly used for digital music?
Popular lossless formats for storing music include:

FLAC
WAV
A THE C
lossless WMA
The effect of lossless formats on music quality
If you are downloading lossless music tracks from an HD music service, you would expect the sound quality to be really high. On the other hand, if you digitize a low-quality music box using a lossless audio format, the audio quality will not improve.

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What is the difference between lossless sound quality and normal sound quality?

When downloading music, we often see these options: lossless sound quality and normal sound quality, lossless sound quality requires members to download, otherwise only normal sound quality can be downloaded.

Since it is a fee, the lossless sound quality must be higher than the normal sound quality, so what are the differences between them?

Commonly seen MP3, WMA, OGG are called lossy compression. As the name suggests, lossy compression is to reduce the audio sample rate and bit rate, and the output audio file will be smaller than the original file, which is normal sound quality. we often see.

Common MP3, WMA and other formats occupy about 1M-5M of space for single-handed songs, while for music in lossless formats such as ape and flac, the space occupied by a single song can generally reach tens of megabytes, or even more than 100M.

Bit rate (Kbps) refers to the transmission rate of digital signals, that is, how many thousands of bits of information are transmitted per second (K means thousands of bits, Kb means how many thousands of bits). For music, theoretically this The higher the value, the better the sound quality. Ordinary music, such as WMA, is generally 128kbps music, MP3 is mostly 128 or 192 or 320kbps/, while the bit rate of lossless music generally reaches 800-900kbps, and traditional CD even reaches 1411 Kbps. Using lossless compression, the sound quality is the most perfect.

The feature of lossless music is that regardless of whether there is sound between the beats, its data always flows smoothly, so the fast magnetic vibration in your headphones is stable, and the sound is natural and real; while lossy formats such as MP3 are due to the loss of people The ear can not hear part of the data, so the magnetic block in the earphone vibrates unnaturally, causing it to vibrate when there is sound, and do not vibrate when there is no sound, so the magnet block vibrates excessively and unstable, which will produce burr noise. If professional equipment is used, it is easy to hear right and wrong.

Of course, whether you can hear the difference depends on the person, and there are differences in everyone’s speech recognition ability. Some professionals and people with sensitive hearing will find the difference, but for most common listeners, in fact, there is no difference between normal MP3 and FLAC lossless sound quality, and the effect is similar.

Uncompressed audio formats

Below, we list the various types of uncompressed linear audio formats. The first three are the ones that have become the main ones supported by most of today’s professional audio applications and are: audio swap file format :

-AIF, AIFF The audio exchange file format is of Apple (1985) origin and allows the storage of mono or multichannel samples of 8 or 16 bits and various sampling rates. Being a format designed to be portable, it can also be easily converted (as we will see, Microsoft RIFF is similar) and is therefore often used. Extensions RIFF WAVE :

-WAV Developed by Microsoft and IBM in 1992, the RIFF WAVE (whose full name is Resource Sharing File Format Waveform Audio Format) follows the specifications of the more general rich information file format. It was introduced starting with Windows 3.1 and quickly became the most popular format for PC applications. WAV files support various types of sampling: they are single or multi-channel, 8 or 16 bits at different sampling rates with various encoding systems, even if the most common are PCM and ADPCM. Extensions TRANSMISSION WAVE FORMAT (BWF) :

-WAV It is an extension of the popular WAVE format and was created by the European Broadcasting Union (EBU) in 1997 and updated in 2001 and 2003. The purpose of this format is to add to the normal .WAV metadata format to facilitate the exchange of data between different platforms and different audio applications, allowing the files thus encoded to identify themselves autonomously and allow synchronization with other recordings. Since the only difference from “normal” WAVE files is in the extended information written in the file header area, the two formats are absolutely compatible and a particular player is not required for playback. In order to overcome the limitation on the maximum size of the WAVE file (2 Gb) in 2006, it was specified as an extension of the BWF l! RF-64, SD2 Sound Designer II Format SD2f file extension The Sound Designer 2 format is proprietary to Digidesign and is the evolution of the original Sound Designer 1 format, unlike which it structures the data so that all audio samples are stored in the file’s data fork and all parameters in place . resource holder. This is extremely convenient in files where the data fork can become hundreds of Mb and more, because it is possible to modify, add, cut the parameters of the audio file without having to modify the sample data, a feature that saves a lot of time, especially at a time when computers and hard drives were vastly smaller in capacity and slower in data processing and writing. It can also be monophonic or multichannel (interleaved), Sampling depth of up to 24 bits at different sampling frequencies of up to 192 KHz, as in the case of Pro Tools HD. It should be noted that in multitrack applications such as Pro Tools, the standard professional market software created for a DSP based card system, each track is recorded in a separate mono file, even for stereo or multi-channel tracks. In the case of a stereo track, the “split stereo” file is used, which consists of two monophonic files with the same name but with the two suffixes .L and .R (or in previous versions (L) and (R) ), that remain physically separated but that the application treats as a single stereophonic file, operating all the editing operations on both files simultaneously in perfect phase coherence; In native applications (ie fully dependent on CPU processing power), all those in practice outside of Pro Tools software (not Pro Tools LE or Pro Tools M-Powered who are also “native” even if they depend of specific Digidesign software or M-Audio production hardware), instead, the use of “interleaved” files is generalized, that is, stereo or multichannel files in which all the channels are stored in a single file. The stereo track is represented by a single file containing the two channels, which are “written” in blocks (first a number n of blocks from the left channel followed by an equal number n of blocks from the right channel, and so on). This type of file, created to dominate applications, used in multitrack applications still generates a bit of confusion, because although it is more practical (in theory) to be used within the native application, it needs to become a “split” file when imported into Pro Tools.

Lossless audio formats

We will show you the formats that maintain all the quality of the audio files, compressing just enough. Lossless formats tend to maintain the original quality almost totally, suffering a minimum loss of quality. In summary, they are slightly compressed so that the audio remains intact and the size on disk is smaller.

Among the Lossless formats we have:

FLAC, is a format whose algorithm is similar to ZIP or GZip, but specially designed for audio compression. While ZIP would compress a CD quality audio file from 10% to 20% of its original size, FLAC would compress it from 30% to 50% while maintaining the full quality of the source.

Monkey’s Audio (APE), like FLAC allows lossless compression, but the greatness of Monkey’s is that it compresses bit by bit, reaching data rates of up to 700kbps without any loss of quality.

Apple Lossless (ALAC) uses an MP4 container (with a .M4A extension) for its files just like the MPEG-4 AAC and is specially created for use on the iPod.

Shorten is another Lossless format with characteristics similar to Monkey’s Audio or FLAC, but using the .SHN extension and requires fewer resources for its reproduction.

WavPack uses a hybrid mode, unlike the other Lossless formats, since it uses a Lossy file, which creates a relatively small file at high quality, and a corrector file that recovers the remaining quality of the original file, resulting in an audio file at averages between Lossless and Lossy, but with the same quality as a compressed file with any other Lossless algorithm.

TTA (True Audio) is a free and free LossLess format that reduces by 30% the original size of the source audio file and uses compression / decompression in real time.

What are the advantages of listening to music in FLAC format?

The FLAC format allows us to save audio without loss of quality. This codec encodes the file with the same information that the original CD would have (which would be the WAV file).

It is an open source format (Free Lossless Audio Codec) that could be improved, thanks to its registration as an open source license.

Higher quality, especially for HiFi equipment: this format allows us to enjoy a bitrate between 900 and 1100 kbps that does not delete information as it does in the MP3, even if it is of high quality. You will notice a warmer, fuller and cleaner sound.
The information is continuous between tracks: just like on the original CD, you can listen to music without interruptions between tracks.
The music is not altered: and that is the main reason why FLAC is ideal. Well, the file you use is the same one that you would download from the CD.
The FLAC format supports unlimited sampling rates – a FLAC can reproduce frequencies of 192,000 Hz without problem.
However, all that it reduces is not gold. There are also some problems with FLACs that you should be aware of, although they are not serious at all.

Disadvantages of listening to music in FLAC format

They take up more: as a FLAC file usually takes up a little more than half of the original CD file. It is easy for an album to go to 300 MB.
Many players do not support FLAC – this is changing in a beastly way. But the industry has fought for the MP3 to the last breath and many players, radios, etc. do not yet support this standard.
That is, the disadvantages are or rather were. In the future we will have a new cleaner format, which will surely take up less space and be an evolution of FLAC. Currently, however, it is the format par excellence and the one that we should all use, although I am not sure that a new, closed format will not come out, that can cope with it before it reaches its peak.