MP3 and FLAC audio formats Part 4


Free Download Mp4Gain
picture

MP3 and FLAC audio formats Part 4

Audio File Formats

Does the encoder setting affect the sound quality when compressing in FLAC? What compression ratio should I choose?

Music File Formats

The FLAC encoder settings do not affect the sound quality at all. Only the size of the resulting files and the time spent on compression can depend on them, and even that is negligible. So most of the time I don’t bother and code in FLAC with the default settings, which I advise you to do as well. In rare cases, when you need to get files of the minimum size and have to save every byte, it makes sense to increase the compression ratio to the maximum value.

Does the cable box affect the sound quality when listening to FLAC material? What is the best way to play FLAC on your PC?

In the case of FLAC and other lossless formats, the decoder does not affect the sound quality, the original audio data is restored with bit precision during playback. Therefore, to listen to FLAC, you can use any player that supports this format and you personally like it. However, I will once again recommend foobar2000 as a time-tested all-in-one solution for playing music on Windows.

MP3 encoding and decoding with LAME
As mentioned above, in the case of MP3, the sound quality of the resulting files is directly dependent on the choice of the encoder and its settings during compression. To date, the LAME encoder provides the best results for this format. The original project site seems a bit confusing, so I’ll immediately give a link to the files. From the archive, we need the lame.exe file. We open the command line.

For a quick reference on using LAME, type lame –help (the information will be displayed) or lame –help> usage.txt (the information will be displayed in the uses.txt file). For detailed help, replace –help with –longhelp.

Let’s get straight to the compression functionality. Should bit rate and other compression settings be specified separately? No, this is completely optional, the developers did most of the work for us, making it as easy as possible to use the encoder. LAME has a set of presets (presets) that allow the user to obtain excellent results with a minimum of technical knowledge. Almost all presets use VBR (Variable Bit Rate) mode, which provides an optimal balance between sound quality and file size. The command invokes help for the lame presets –preset help. Let’s consider the most relevant presets.

The preset standard. Description of built-in help:

This preset should be “transparent” to most people in most music, with a fairly high quality.

The average bit rate when using the standard is 170-210 kbps, the HF cutoff starts at about 18.7 kHz. I recommend using this preset as the default mode, it is the most balanced in terms of combination of features.

Encode WAV to MP3 with this preset:

lame –preset standard infile.wav outfile.mp3, where infile.wav is the name of the source WAV file, outfile.mp3 is the name of the resulting MP3 file (the latter can be omitted).

Extreme preset. Description of built-in help:

If you have extremely good hearing and the same equipment, this preset will give you slightly higher-than-standard quality.

The average bit rate when extreme is used is 220-260 kbps, the high pass filter is not used. I recommend using this preset when you want to get MP3 with very high sound quality. When listening to music on an average computer, this preset, compared to the standard, generally does nothing more than increase the file size.

Encode WAV to MP3 with this preset:

lame –preset extreme infile.wav outfile.mp3


Free Download Mp4Gain
picture


Mp4Gain Main Window
picture


Mp4Gain Features
picture


Free Download Mp4Gain
picture

MP3 and FLAC audio formats Part 3

MP3 and FLAC audio formats Part 3

Audio File Formats

Is it possible to compress material from loss to loss, eg MP3 with lower bit rate to MP3 with higher bit rate?

audio file formats

If you want to get an improvement in the quality of such a clamp, then no, you do not need to do this: the sound will not only not improve, but will even slightly deteriorate. If your goal is to reduce file size and sound quality is not very critical, then compressing from a higher bit rate to a lower one is quite justified.

Which lossless format is the best in terms of sound quality: FLAC, Monkey’s Audio, WavPack?

As mentioned above, lossless formats compress data losslessly. This means that, in terms of sound quality, they are all absolutely identical. You should choose a lossless format to use in each specific case, focusing solely on its compatibility with the software / equipment and your personal preferences.

Does the choice of encoder and its settings affect the sound quality when compressing material to MP3?

It affects significantly. About which encoder and with what settings provides the optimal result, I will tell you below.

Does the cable box affect the sound quality when listening to MP3 material? What is the best way to play MP3 on PC?

The MP3 decoder can affect the sound quality. Some decoders (especially older ones) noticeably distort the sound when playing MP3, which can create a false impression of the inferiority of this format as such. To play music on a PC, you must use proven playback programs, preferably the latest versions. I use foobar2000, which I recommend to everyone; it has no problem with the quality of playback of MP3 and other supported formats.

Does the encoder setting affect the sound quality when compressing in FLAC? What compression ratio should I choose?

The FLAC encoder settings do not affect the sound quality at all. Only the size of the resulting files and the time spent on compression can depend on them, and even that is negligible. So most of the time I don’t bother and code in FLAC with the default settings, which I advise you to do as well. In rare cases, when you need to get files of the minimum size and have to save every byte, it makes sense to increase the compression ratio to the maximum value.

Does the cable box affect the sound quality when listening to FLAC material? What is the best way to play FLAC on your PC?

In the case of FLAC and other lossless formats, the decoder does not affect the sound quality, the original audio data is restored with bit precision during playback. Therefore, to listen to FLAC, you can use any player that supports this format and you personally like it. However, I will once again recommend foobar2000 as a time-tested all-in-one solution for playing music on Windows.

MP3 and FLAC Audio Formats Part 2

MP3 and FLAC Audio Formats Part 2

Audio Formats

MP3 (MPEG-1 Layer 3) is historically the first and most widespread lossy compression format.

AUDIO FORMAT

Despite the fact that, due to the era of MP3, today it does not shine with the efficiency of compression, its popularity is still very high due to its versatility: any plate can reproduce this format. At the same time, if a suitable encoder and decoder are used, the MP3 sound quality is at a very decent level. The combination of these two factors justifies the use of the format today. The MP3 compression ratio while maintaining high sound quality is 6 to 9 times. The average bit rate of such an MP3 with 16-bit / 44.1 kHz / stereo parameters is 150-240 kbps, the file size of a five-minute recording in this form is 6-9 MB.

FLAC (Free Lossless Audio Codec) is currently the most popular lossless audio compression format. If lossless support is claimed for any software or hardware, this software / hardware can almost certainly play FLAC. The format is the de facto standard among lovers of high-quality sound. The FLAC compression ratio is 1.2 to 3.5 times. FLAC bitrate with 16 bit / 44.1 kHz / stereo parameters – 400-1200 kbps, the file size of a five minute recording in this form is 15-44 MB. For lossless formats, of which FLAC is a representative, the rule “higher bit rate – higher sound quality” does not work, the quality always remains identical to the original. The compression ratio and bit rate vary depending on the complexity of the material to be compressed; for example, singing on a guitar lends itself to compression better than recording a symphony orchestra.

Is it possible to compress material without loss to loss, for example from FLAC to MP3?

It is possible and often necessary. For example, if you want to listen to music in “field” conditions from a portable device without audiophile habits, and your source material is stored in lossless format, then it makes sense to make the desired tracks lossy before transferring them to the laptop. . This will reduce the file size and save much more music on your mobile device. Most likely, you won’t feel the sound degradation from such a transformation at all.

Is it possible to compress material from lossy to lossless, eg from MP3 to FLAC?

This should not be done in any case, as the sound quality will not improve and the file size will increase significantly. Also, such a pseudo-lossless, then caught by other people, will deceive them. How to rule out such fakes when downloading losslessly from the network, read this article.

Is it possible to compress material from loss to loss, eg MP3 with lower bit rate to MP3 with higher bit rate?

If you want to get an improvement in the quality of such a clamp, then no, you do not need to do this: the sound will not only not improve, but will even slightly deteriorate. If your goal is to reduce file size and sound quality is not very critical, then compressing from a higher bit rate to a lower one is quite justified.

Which lossless format is the best in terms of sound quality: FLAC, Monkey’s Audio, WavPack?

As mentioned above, lossless formats compress data losslessly. This means that, in terms of sound quality, they are all absolutely identical. You should choose a lossless format to use in each specific case, focusing solely on its compatibility with the software / equipment and your personal preferences.

Is it possible to compress material without loss to loss, for example from FLAC to MP3?

It is possible and often necessary. For example, if you want to listen to music in “field” conditions from a portable device without audiophile habits, and your source material is stored in lossless format, then it makes sense to make the desired tracks lossy before transferring them to the laptop. . This will reduce the file size and save much more music on your mobile device. Most likely, you won’t feel the sound degradation from such a transformation at all.

Is it possible to compress material from lossy to lossless, eg from MP3 to FLAC?

This should not be done in any case, as the sound quality will not improve and the file size will increase significantly. Also, such a pseudo-lossless, then caught by other people, will deceive them. How to rule out such fakes when downloading losslessly from the network, read this article.

MP3 and FLAC audio formats

MP3 and FLAC audio formats

FLAC vs MP3

In this post, I want to talk about how to get the best results when compressing music in FLAC and MP3 formats.

FLAC vs MP3

In the age of mass distribution of audio and video streaming services, this topic may seem of little relevance, however, as practice shows, this is not the case. First of all, not everyone wants to depend on third-party resources, which at any time can behave as they please, from the introduction of various access restrictions to content to its complete removal. Second, there are many places in the world where the Internet is slow, dreary, and with lunch breaks. Third, the sound quality when listening online is generally quite acceptable to most users, but it can make sophisticated listeners with good equipment bleak. Taking into account all of the above, we can assume

Since this article will focus on Windows console applications, it is assumed that the reader is familiar with the basics of working on the command line on this operating system.

Basic concepts
PCM (pulse code modulation), also known as PCM (pulse code modulation) is a method of representing an analog signal in digital form. It works like this: electrical oscillations are fed into the input of a device called ADC (analog to digital converter), which is an analog audio signal. The ADC measures the level of this signal with a certain frequency and transmits the obtained values ​​to the outside, where they are stored. Thus, a data matrix is ​​formed, which is a sequence of values ​​of the amplitude of the original signal. The process described is called “digitization”. The main problem with storing PCM data in “naked” form is its rather large volume, therefore, for a more rational use of space on the carrier, various digital audio compression algorithms are used.

CDDA (Compact Disc Digital Audio) is a good old audio CD, historically the first mass digital media standard for audio recordings. Despite the fact that in our time the CDDA itself is no longer very relevant, the sound presentation parameters in it (PCM 16 bit / 44.1 kHz / stereo) are still basic for almost all published musical phonograms.

WAV is an audio format commonly used to store uncompressed PCM audio in Windows. The format can also contain compressed data, but in practice this is extremely rare and, one might say, rude. Playing WAV files requires minimal system resources, as no additional information processing is required for this. Saving material in this format is almost always an intermediate step in sound processing in audio editors, CD grabbers, and other similar software. The bit rate of uncompressed WAV with 16-bit / 44.1 kHz / stereo parameters is 1411 kbps, the file size of a five-minute recording in this form is approximately 52 MB.

Encoder (or “encoder” from English “encoder”) is software designed to convert WAV to any other format in order to reduce the amount of stored data.

Decoder – Software or hardware used to play files compressed in the appropriate format or convert them to uncompressed format.

Lossy is the generic name for a family of audio formats that use lossy data compression. Typical family members are MP3, AAC, WMA, Ogg Vorbis. The main characteristic of lossy formats is that when the material is compressed in any of them, a significant part of the original audio information is irretrievably lost and cannot be restored later in any way. Because of this, a high degree of compression is achieved, while the loss is barely perceptible or even invisible to the ear, as only data that is not critical to human perception is discarded.

Lossless is the generic name for a family of audio formats that use lossless data compression. Typical family members: FLAC, Monkey’s Audio (APE), ALAC, WavPack. Unlike lossy formats, here no information is lost during compression, everything happens in the same way as in normal filing cabinets. Paying for complete data security is a significantly lower compression ratio compared to loss.

Differences between FLAC or MP3 formats, which is better

Differences between FLAC or MP3 formats, which is better

FLAC vs MP3

With the advent of digital technologies in the world of music, the question arose about the choice of methods for digitizing, processing and storing sound. Many formats have been developed, most of which are still used successfully in certain situations. Conventionally, they are all divided into two large groups: lossless audio and lossy audio. Among the former, the FLAC format is in the lead, among the latter, the real monopoly was for MP3. So what are the main differences between FLAC and MP3, and are they really important to the listener?

FLAC vs. MP3

What is FLAC and MP3?

If the audio is recorded in FLAC format or converted to it from another lossless format, the entire frequency spectrum and additional information about the file content (metadata) is saved. The file structure looks like this:

four-byte identification string (FlaC);
Streaminfo metadata (required to configure playback equipment);
other metadata blocks (optional);
audiofrems.
It is common practice to directly record FLAC files while playing “live” music or from vinyl records.

Play music on iPhone

When developing algorithms for compressing MP3 files, the psychoacoustic model of a person was used. In short, during the conversion, those parts of the spectrum that our ears do not perceive or do not perceive completely will be “cut off” from the sound flow. Also, if the stereo broadcasts are similar in certain stages, they can be converted to mono sound. The main criterion for audio quality is the compression ratio – bit rate:

up to 160 kbit / s – low quality, a lot of third-party interference, frequency drops;
160-260 kbps – medium quality, mediocre peak frequency playback;
260-320 kbps – Deep, smooth, high-quality sound with minimal interference.
Sometimes a high bit rate is achieved when converting a low bit rate file. This will not improve the sound quality in any way – files converted from 128 to 320 bps will still sound like a 128-bit file.

Table: Comparison of characteristics and differences between audio formats
FLAC indicator MP3 low bit rate MP3 high bit rate
Lossless lossy compression format
Sound quality high low high
Volume of a song 25-200 Mb 2-5 Mb 4-15 Mb
Appointment listening to music on high-quality audio systems, creating a music file, installing ringtones, storing and playing files on devices with limited memory, home listening to music, storing the catalog on portable devices.

Compatibility PC, some smartphones and tablets, high-end players most electronic devices most electronic devices
To hear the difference between a quality MP3 and FLAC file, you must have an excellent ear for music or an “advanced” audio system. The MP3 format is more than enough for listening to music at home or on the road, and FLAC is still the plethora of musicians, DJs, and audiophiles.

MP3 VS FLAC. How do you hear the difference?

MP3 VS FLAC. How do you hear the difference?

FLAC vs MP3

Along with vinyl records and CDs, our music library is increasingly replenished with MP3 and Flac music files. Many consider these two formats to be irreconcilable enemies, while others are sure that the difference between them is small. Are?

FLAC vs. MP3

About formats.
A little history. The MP3 format (MPEG-1/2 / 2.5 Layer 3) appeared in 1994. Do you remember those days? There was no talk of gigabytes, hundreds of megabytes cost a lot of money and many still remembered the legendary phrase of Bill Gates: “640 KB of memory is enough for any computer”. And if the veracity of this phrase is still questioned, then as early as 94 no one doubted that music would be distributed over the Internet, and the files would be stored on a computer. Okay, keeping your entire music library on one hard drive and being able to take it with you wherever you go is a great idea. However, at that time the main carrier of “digital music” was the CD.

A standard CD contains 650 megabytes or 74 minutes of music at a bit rate of 1411.2 kbps. In order to preserve a dozen albums in pristine quality in the year 94, it was required to have a very solid quantity! Yes, and a personal computer cost a lot then, and the main task of the MP3 that appeared was the ability to transmit sound through channels with little bandwidth. At that time, transferring an entire CD over the Internet required tens of hours at best. Therefore, the developers were faced with the task of reducing the size of the audio file to the maximum, avoiding to a minimum the losses during the compression of the signal. However, the encoding technologies were not yet perfect, and the processors were not that fast, so it was decided to apply the psychoacoustic method, in which only part of the audio information is lost. For example, all “quiet” sounds above 17 kHz and all bass below 40 Hz. The developers have established various levels of compression for such files, taking the digital stream as the basis for measuring the quality: the more information is transmitted per second of time, the higher the sound quality, but also the larger the file size. The maximum bit rate in MP3 is considered to be 320 kbps, in which the sound is balanced and the quality is as close to the original as possible.

And this is the “closest” and tormented to good sound lovers so far. The fact is that listening to music on high-quality equipment allows you to fully feel the difference between the original recording and its MP3 version, even at 320 kbps.

In all honesty, we admit that you can listen to music even at 64 kbps. If you just want to hear your favorite tune, then no obstacle is terrible. You can even play the nearest musical instrument yourself, if you have the skill, or listen through the speaker phone. However, if you want to enjoy a work in which all the inherent nuances and emotions, its interpretation by the sound engineer and the way the performers play, will be preserved, then MP3 (as, indeed, any other format of lossy compression) will. It will not be a joy, as the playback is excellent.Cd recorded and edited on a mediocre device.

The developers of the Flac format thought about how to reproduce high-quality compressed audio in high-quality Hi-Fi. In fact, FLAC (Free Lossless Audio Codec – “free lossless audio codec”) appeared only 6 years after MP3. However, encoding technologies have come a long way during this time, making it possible to create codecs that compress the audio signal without loss. Of course, it wasn’t possible to make the file smaller than MP3, but users now have an order of magnitude more spacious storage, so a couple hundred megabytes per album is a mere trifle. It is not?

What are the differences between MP3, FLAC and other audio formats? Part 2

What are the differences between MP3, FLAC and other audio formats? Part 2

FLAC vs MP3

Lossless formats: FLAC, ALAC, APE

FLAC vs MP3

Free Lossless Audio Codec, Apple Lossless Audio Codec, and Monkey’s Audio are all formats that compress audio in the same way as anything compressed in the digital world: using algorithms. The difference between compressed files and FLAC files is that FLAC is specifically designed for audio and therefore has a higher compression ratio without loss of data. It usually sees about half the size of the WAV. In other words, a FLAC file for “CD” quality stereo sound runs at approximately 5MB per minute.

On the plus side, if you want to do some audio manipulation, you can convert back to WAV with no quality loss. If you are a music lover and listen to a lot of music with dynamic ranges, these are the formats for you. If you have a large set of speakers, cans, or headphones, these formats will display tones for display.

Lossy formats: MP3, AAC, WMA, Vorbis

Most of the formats you see in everyday use are “lossy”; a certain degree of sound quality is sacrificed for a significant increase in file size. Average “CD quality” MP3 runs at around 1MB per minute. A big difference compared to PCM, right? It’s called compression, but unlike lossless formats, you can’t get that quality back if you understand lossy formats. Different lossy formats use different storage algorithms, so they generally differ in file size for comparable quality. Lossy formats also use bit rate to indicate audio quality, which is typically viewed as “192 kbps” or “192 kbps.” The higher the number, the more data is pumped in, so more detail is preserved.

MP3: MPEG 1 Audio Layer 3, the most common lossy audio codec today. Despite a ton of patent issues, it’s still incredibly popular. Who doesn’t have MP3 files?
Vorbis – A free, open source and lossy format that is most commonly used in PC games like Unreal Tournament 3. FOSS fans like many Linux users are sure to see a lot of this format.
AAC – Advanced Audio Coding, a standardized format now used with MPEG4 video. It is actively supported due to its DRM compatibility (such as Apple’s FairPlay), its improvements over mp3, and because no license is required to transmit or distribute content in this format. Apple fans will probably have a lot at AAC.
WMA: Windows Media Audio, a lossy audio format from Microsoft. It was designed and used to avoid MP3 licensing issues, but due to major enhancements and DRM support and lossless implementation, it still exists. It was very popular before iTunes became the DRMed music champion.
Lossy formats are what you use for everything you listen to and store. They are designed to save space on your hard drive. The format you choose depends on the type of digital audio player you are using, how much space you have, what quality objections you have, and a bunch of variables. Computers will play anything these days, most audio players (except of course Apple) support various lossy formats and more and more FLAC and APE. Apple sticks to MP3, ALAC, and AAC.

Is the sound quality subjective?

This is absolutely true. Ultimately, your ears consume most of your belongings, but this is another reason to give serious thought to quality. When I started to build my digital music collection, I couldn’t understand the difference between 128Kbps MP3 and Audio CD. In my opinion, there was not a noticeable difference. However, over time, I realized that 256 kbps sounds a lot better, and after getting some really good (and expensive!) Headphones, I went back to the Audio CD! It also depends on the musical genre.

There are a lot of variables here guys, make no mistake about it. It was a while before I decided to use FLAC for music and 320kbps MP3 for the rest. The point I’m trying to emphasize is that you have to experiment to see what works best for you and your music, but remember that as your tastes, your perceptions, your gear, and the importance of quality change. will also be.

And it all gets even more complicated when it comes to not only music, but also voice tracks, sound effects, white and brown noise, etc. There is a whole world of sound, so don’t be discouraged! If you learn what you can and listen to yourself, you can use this information in your future audio projects. I leave you with some of the best advice I’ve ever received: “do what sounds good.”

What are the differences between MP3, FLAC and other audio formats?

What are the differences between MP3, FLAC and other audio formats?

FLAC vs MP3

Digital audio has been around for a long time, so many audio formats can certainly be found. Here are some of the most common, what sets them apart and what to use them for.

FLAC vs. MP3

Before talking about everyday audio formats, it is important to understand the basics, what it means to understand PCM. After that, we will tackle compressed formats.

PCM audio: where it all begins

Pulse code modulation was created in 1937 and is the closest approximation to analog sound. That is, the analog signal approaches at regular intervals. PCM has two properties: sample rate and bit depth. The sample rate measures the frequency (per second) that the amplitude of the signal is taken and the bit depth measures the possible digital values. In terms of audio formats, this is pretty much the base.

True sound in the real world is continuous. This is not the case in the digital world. In some ways this is more confusing for audio than video, so let’s take a look at the video for comparison. What we interpret as “movement” or think as “fluid” and in constant motion is actually a series of still images. Also, the amplitude of digital sound waves is not “smooth” or constantly changing. It changes based on certain criteria at predetermined intervals.

I know there are a lot of things here that might not be second nature unless you’re an engineer, a physicist, or an audiophile, so let’s make a little analogy.

Let’s say the water coming out of an open tap is your “analog” sound source. We can compare the temperature of the water with the amplitude of a sound wave; It is a property that must be measured in order to enjoy it properly. Sampling is the number of times per second that you place your finger in plain water. The more often you put your finger on it, the more “continuous” the temperature changes will be. If you put your finger in running water 44,100 times per second, it’s like keeping your finger there all the time, right? This is the basic idea behind sampling.

Bit depth is a bit trickier. Instead of using your finger, let’s say you actually used a thermometer. Basically it said “Hot” for anything above room temperature and “Cold” for anything below. No matter how many times you put it in the water, it won’t give you much useful information. Now if instead of two choices, let’s say a thermometer has 16 possible values ​​that you can use to measure the temperature of the water. More useful, right? Bit depth works in the same way, as higher values ​​allow more dynamic changes in the amplitude of the sound to be accurately displayed.

As mentioned above, PCM is the foundation of digital audio, along with its variants. PCM tries to simulate the waveform of glory uncompressed as much as possible. It’s special, it’s ready to get stuck in a DSP and more or less universally playable. Most other formats manipulate the audio using algorithms, so they need to be decoded during playback. PCM audio is considered “lossless”, it is not compressed and therefore takes up a lot of hard disk space.

Uncompressed packet: WAV, AIFF

Both WAV and AIFF are PCM-based lossless audio container formats with minor changes to the data store. PCM audio for most people comes in these formats, depending on whether you are using Windows or OS X, and they can be converted to each other without any degradation in quality. Both are also considered “lossless”, they are uncompressed and a stereo PCM (2ch) audio file sampled at 44.1 kHz (or 44,100 times per second) with 16 bits (“CD quality”) is approximately 10 MB for a minute. If you are recording

MP3 VS FLAC. Can you tell the difference?

MP3 VS FLAC. Can you tell the difference?

mp3 vs flac

Along with vinyl records and CDs, our music library is increasingly replenished with MP3 and Flac music files. Many consider these two formats to be irreconcilable enemies, while others are sure that the difference between them is small. Is it so?

MP3 vs FLAC

Pizza. Baked in a real wood oven, with a slight smell of haze, the unique flavor of two cheeses fused into one whole. This aromatic bread pancake is crisp on the edges. This incredibly fragrant filling simultaneously plays with various flavors and smells. This is a feast of flavor and satiety. Sometimes he wants pizza so badly that he takes ordinary bread from the store, slices it finely, puts finely chopped ham on top, and covers it with cheese. And put it in the microwave for a couple of minutes. Of course, you can eat even with this, but there will not be the delight that is present when eating pizza prepared by the master.

No, no, we are not baking a signature pizza or opening an Italian restaurant. With this visual example, we show the difference between compressed and uncompressed audio formats.

About formats.
A little history. The MP3 format (MPEG-1/2 / 2.5 Layer 3) appeared in 1994. Do you remember those days? There was no talk of gigabytes, hundreds of megabytes cost a lot of money and many still remembered the legendary phrase of Bill Gates: “640 KB of memory is enough for any computer”. And if the reliability of this phrase is still questioned, then as early as 94 no one doubted that music would be distributed over the Internet and files would be stored on a computer. Okay, keeping your entire music library on one hard drive and being able to take it with you wherever you go is a great idea. However, at that time the main carrier of “digital music” was the CD.

A standard CD contains 650 megabytes or 74 minutes of music at a bit rate of 1411.2 kbps. To preserve a dozen albums in their original quality in ’94, it took a very substantial quantity! Yes, and a personal computer cost a lot then, and the main task of the MP3 that appeared was the ability to transmit sound through channels with little bandwidth. At that time, transferring an entire CD over the Internet required tens of hours at best. Therefore, the developers were faced with the task of reducing the size of the audio file to the maximum, avoiding to a minimum the losses during the compression of the signal. However, the encoding technologies were not yet perfect, and the processors were not that fast, so it was decided to apply the psychoacoustic method, in which only part of the audio information is lost. For example, all “quiet” sounds above 17 kHz and all bass below 40 Hz. The developers have established various levels of compression for these files, taking the digital stream as the basis for measuring the quality: the more information is transmitted per second of time, the higher the sound quality, but also the larger the file size. The maximum bit rate in MP3 is considered to be 320 kbps, in which the sound is balanced and the quality is as close to the original as possible.

And this is the “closest” and tormented to good sound lovers so far. The fact is that listening to music on high-quality equipment allows you to fully feel the difference between the original recording and its MP3 version, even at 320 kbps.

In all honesty, we admit that you can listen to music even at 64 kbps. If you just want to hear your favorite tune, then no obstacle is terrible. You can even play the nearest musical instrument yourself, if you have the skill, or listen through the speaker phone. However, if you want to enjoy a work in which all the inherent nuances and emotions, its interpretation by the sound engineer and the way the performers play, will be preserved, then MP3 (as, indeed, any other format of lossy compression) will not be a pleasure, as well as the playback is excellent. CD recorded and edited on a mediocre device.

The developers of the Flac format thought about how to reproduce high-quality compressed audio in high-quality Hi-Fi. In fact, FLAC (Free Lossless Audio Codec – “free lossless audio codec”) appeared only 6 years after MP3. However, encoding technologies have come a long way during this time, making it possible to create codecs that compress the audio signal without loss. Of course, it wasn’t possible to make the file smaller than MP3, but users now have an order of magnitude more spacious storage, so a couple hundred megabytes per album is a mere trifle. It is not?

Both formats are quite widespread. Almost all operating systems can play them using standard or third-party players. МР3 is compatible with almost the entire line of sound reproduction devices, including those belonging to the High End class. With Flac (and its analogues), the situation is slightly different: some manufacturers still stubbornly ignore this compression method. Be that as it may, the simple music lover can always choose between these two formats. But, along with the choice, questions arise, but will you hear the difference between Flac and MP3? Let’s try to figure it out.

Mobile devices.
For music lovers who prefer to listen to music on mobile devices, there will be practically no difference. Modern smartphones, with rare exceptions, are not equipped with the highest quality audio path. Also, if you use normal in-ear headphones or a Bluetooth speaker. In both cases, the bandwidth of the audio path is not high, so all the recordings will be poor in micronance and dynamic recording. But! Manufacturers are gradually changing this situation. For example, the Korean company LG launched the launch of the V20 smartphone with a built-in Hi-Fi Quad DAC module, which has decoders to play all popular audio formats, including audiophiles and professionals. The smartphone comes with high-quality Bang & Olufsen headphones. On this device, the difference between MP3 and Flac sounds pretty good. In other cases, for a music lover, for those who want to listen to music from their phone, for now it is worth taking a closer look at a specialized external DAC and headphones. For example, FiiO’s line of portable headphone amps with built-in DACs are quite capable of capturing all the nuances of Flac recording when used in conjunction with good on-ear headphones. By the way, even “headphones” work, but not the cheap ones that are sold in all corners, but they are produced by major audio brands.

Alternative? If possible. This is not a multifunctional device, but a high-quality portable audio player. In such a device, as a rule, a high-quality digital-to-analog converter is installed and selected components are used in the audio section. And the entire structure is dedicated to one goal: high-quality sound reproduction. Therefore, other than strictly speaking a music player, there is nothing in the body to prevent you from distinguishing the Flac from the MP3.

Home Hi-Fi.
Everything here is much more prosaic. You can distinguish a high quality soundtrack from a poor quality one on any component of a modern audio system. Also, the more expensive the system, the more pronounced and unpleasant the sound artifacts inherent in lossy compressed compositions. And the brighter and more expressive the performance will be when playing files with lossless compression. If you can easily and immediately tell the difference between playing Flac and MP3, then your home system components are good. Another obstacle that prevents you from feeling it is the record player. The files can be played by directly connecting the hard drive with them to disc or multimedia players, as well as various receivers and amplifiers equipped with a built-in USB media player. As a general rule, in a low-quality device they save on everything therefore the base of the element is exposed to all kinds of interference from various operating units, and the digital-to-analog converter does not process the flow at the highest level, which allows many errors. All of this affects the final analog signal, which after all this can no longer be restored. Like covering your speakers with a towel or pillow. Who knows what the signal would be without it? So again we come to the conclusion that it will be impossible to distinguish between MP3 and Flac in such a system. Exit? Use only high-quality components in your home Hi-Fi systems, from the source and amplifier to acoustics and even cables. that after all this it is impossible to restore. Like covering your speakers with a towel or pillow. Who knows what the signal would be without it? So again we come to the conclusion that it will be impossible to distinguish between MP3 and Flac in such a system. Exit? Use only high-quality components in your home Hi-Fi systems, from the source and amplifier to acoustics and even cables. that after all this it is impossible to restore. Like covering your speakers with a towel or pillow. Who knows what the signal would be without it? So again we come to the conclusion that it will be impossible to distinguish between MP3 and Flac in such a system. Exit? Use only high-quality components in your home Hi-Fi systems, from the source and amplifier to acoustics and even cables.

The fact that almost all music is now stored at home as files that you can listen to on your home system or take it with you and listen to while traveling, on vacation, in class, or elsewhere is great. This is progress to take into account. However, we must not forget that we enjoy music in the first place. In addition to good pizza. And we do not recommend that you deny yourself these pleasures. They are an indicator of the quality of life and a source of our positive mood and positive emotions.

What are the differences between MP3, FLAC and other audio formats?

Digital audio has been around for a long time, so there will surely be a host of audio formats. Here are some of the most common, what sets them apart and what they should be used for.

FLAC vs MP3

Before talking about everyday audio formats, it’s important that you understand the basics, and that means you understand PCM. Then we will move to compressed formats.

FLAC vs MP3

PCM audio: where it all begins

Pulse code modulation was created in 1937 and is the best approximation to analog audio. That is, an analog waveform is approximated at regular intervals. PCM is characterized by two properties: sample rate and bit depth. The sample rate measures the frequency (in times per second) that the amplitude of the waveform is measured and the bit depth measures the possible digital values. In terms of audio formats, this is basically the basics.

Where the sound is continuous in the real world. This is not the case in the digital world. In some ways this is more confusing for audio than video, so let’s take a look at the video as a comparison. What we interpret as ‘movement’ or think of ‘flowing’ and being in constant motion is actually a series of still images. Also, the amplitude of sound waves in digital format is not “smooth” or constantly changing. It changes based on certain criteria at predefined intervals.

I know there are many things here that may not be second nature unless you are an engineer, physicist, or audiophile, so let’s take a closer look with an analogy. Let’s say the water flowing from an open tap is your “analog” audio source. We can compare the temperature of the water with the amplitude of an audio wave; It is a property that must be measured so that you can enjoy it properly. Sampling is the number of times per second that you dip your finger into running water. The more times you insert your finger, the more “continuous” the temperature changes will be. If you dip your finger into running water 44,100 times per second, it’s almost like staying under it all the time, right? That is the basic idea behind sampling.

As mentioned above, PCM is the foundation of digital audio along with its variants. PCM tries to model a waveform, to the most of its uncompressed glory. It’s special, it’s ready to be caught in a digital signal processor, and it’s more or less universally playable. Most other formats manipulate audio through algorithms, so they must be decoded during playback. PCM audio is considered “lossless”, it is not compressed and therefore takes up a lot of hard disk space.

Uncompressed packet: WAV, AIFF

Both WAV and AIFF are PCM-based lossless audio container formats, with some minor changes to data storage. PCM audio comes in these formats for most people, depending on whether you’re using Windows or OS X, and they can be converted to each other with no loss of quality. Both are also considered “lossless”, are uncompressed, and are a stereo (2ch) PCM audio file sampled at 44.1 kHz (or 44100 times per second) at 16 bits (“CD quality”) approximately 10 MB per minute. If you are recording at home with a view to mixing, this is what you will want to use as it is of the highest quality.

Lossless Formats

Lossless formats: FLAC, ALAC, APE The free lossless audio codec, Apple’s lossless audio codec, and Monkey’s audio are all formats that compress audio, the same way everything compresses in the digital world: using algorithms. The difference between compressed files and FLAC files is that FLAC is specifically designed for audio, so it has better compression rates without data loss. Usually you will see about half the size of WAVs. In other words, a “CD quality” stereo sound FLAC file runs at about 5MB per minute.

The downside is that if you want to manipulate the audio, you can convert it to WAV.
no loss of quality

. If you are an audiophile and listen to a lot of music with dynamic range, these formats are for you. If you have a large set of speakers, cans, or earplugs, these sizes will cast the tones to show them off. Loss formats: MP3, AAC, WMA, Vorbis Image through

Lossy Formats

Most of the formats you see in everyday use are “lossy”; some degree of audio quality is sacrificed for a significant increase in file size. An average “CD quality” MP3 runs about 1MB per minute. Big difference from PCM, right? This is called compression, but unlike lossless formats, if you remove it in lossy formats, you won’t really be able to get that quality back. Different lossy formats use different algorithms to store data, so they generally vary in file size for comparable quality. Lossy formats also use bitrate to refer to audio quality, which is generally seen as “192 kbit / s” or “192 kbps.” Higher numbers mean more data is being pumped in, so there is more retention of details. Here are some details of the most popular formats: MP3: MPEG 1 Audio Layer 3, the most common lossy audio codec. Despite a ton of patent issues, it’s still incredibly popular. Who doesn’t lie about MP3s?

Vorbis – A free and open source lossy format most commonly used in PC games like Unreal Tournament 3. FOSS fans, like many Linux users, are sure to see a lot of this format.

AAC – Advanced Audio Coding, a standardized format now used with MPEG4 video. It is highly supported due to its compatibility with DRM (eg Apple’s FairPlay), its improvements over MP3, and because no license is required to stream or distribute content in this format. Apple fans probably have enough on AAC.
WMA: Windows Media Audio, Microsoft’s lossy audio format. It was developed and used to avoid licensing issues with the MP3 format, but due to major enhancements and DRM support, as well as lossless implementation, it still exists. It was very popular before iTunes became the champion of DRMed music.
Loss formats are what you use for all the things you listen to and save. They are designed to save hard drive space. The format you choose will depend on the digital audio player you use, the amount of space you have, the size of a high-quality nitpicker, and many excessive variables. Today computers will play anything, most audio players (except Apple, of course) will create multiple lossy formats, and more and more do FLAC and APE. Apple keeps MP3, ALAC and AAC.

Isn’t the audio quality subjective?

It absolutely is. Ultimately, it’s the ears that consume the most of these things, but that’s all the more reason to think about quality seriously. When I started building my digital music collection, I couldn’t really tell the difference between 128 kbit MP3s and audio CDs. In my ears there was no noticeable difference. However, over time, I realized that 256 kbit sounded much better, and after getting some really nice (and expensive!) Headphones, I went back to audio CDs full time! It also depends on the genre of music.

There are TONS of variables here folks, make no mistake about it. It was a while before I decided to use FLAC for some music and 320kbps MP3 for the rest. The point I’m trying to make is that you have to experiment to see what works best for you and your music, but keep in mind that as your tastes change, your perceptions, your gear, and the importance of quality will change as well. And all of this gets even more complicated when you’re not just talking about music, but also voice tracks, sound effects, white and brown noise, etc. There’s a whole world of sounds out there, so don’t be discouraged! If you learn what you can do and listen to yourself, you can use this information to leverage your future audio projects. I leave you with the best advice I’ve ever received: “Do what sounds good.”