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WAV files, the standard for CDs, are lossless. Lossy audio, like MP3s and most streaming services, compress the source material so it can be more easily streamed and stored. High-quality audio files take up a lot of bandwidth and storage space, especially when they're lossless. This gets a bit into the weeds, though, and mostly just applies to SACDs for lossless music services, you can assume that PCM-derived numbers are being used.
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Technically speaking, the sample rate of an SACD is 2,822kHz, but that doesn't mean it's 64 times better than a 44.1kHz CD the process is different (samples are considered 1-bit, for example), so the measurements involved are also different. The resulting audio from this process, Direct Stream Digital (DSD), is the standard for Super Audio Compact Discs (SACDs). Pulse depth modulation (PDM) is another conversion process that takes a completely different approach, and some audiophiles swear by it as the most faithful method for digitally reproducing analog audio. Generally, audio files with specs greater than CD quality are considered high-res. Below this line, audio quality tends to suffer. A CD’s bitrate is 1,411Kbps (44,100 Hz multiplied by 16 bits multiplied by 2 channels), while a decent-to-high-quality MP3 might have a bitrate of 320Kbps.
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You need a high-end pair of wired headphones, such as the Blue Ella, to hear the full frequency range of high-res audio filesīitrate is the sample rate multiplied by the bit rate, then multiplied by the number of channels (two for stereo tracks, which most music is available in) and measured in Kbps (thousands of bits per second).
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Move up to 24 bits and you get over 16,000,000. A 4-bit sample only has 16 possible amplitude values, while a 16-bit sample has over 65,000. More bits translate into higher numbers, expanding geometrically since each additional bit doubles the number of amplitude steps to choose from. To capture the subtlety of the gradual increase in the orchestra's volume, you need to precisely pinpoint each step of loudness for each frequency, from the tiniest scrape of a bow to the boom of a timpani.īit depth describes how much space in bits (the ones and zeroes that digital computers run on) each sample gets. Imagine an orchestra slowly building a crescendo from near-silence to a thunderous racket. Bit depth is the range of values that can be captured in each individual sample. The sampling rate determines how many samples are taken each second, but it's only one of three important numbers in determining an audio signal's quality. These rates can theoretically get much higher, but the increase in quality becomes less and less perceptible to the human ear once you reach certain thresholds. The most common sampling rates include 8kHz for phone calls, 44.1kHz for CD audio, and 192kHz for high-end DVD audio. This is measured as a track's sampling rate, in kHz (kilohertz, or thousands of cycles per second). Thousands of samples are needed to reproduce just a second of audio, and the more you can capture and store, the better it sounds because the more accurately the sound wave can be reproduced. PCM involves capturing the sound wave in samples, which are like snapshots of the audio signal at a precise moment in time.
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The most common process of converting a continuous analog signal to a digital one is called pulse code modulation (PCM), and it's how most audio track quality is described.
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