Audio quality for recorders or interfaces can be quite confusing. But if you’re going to work with videos or podcasts, you better know how to interpret these parameters when recording or exporting files, whether on Audacity (free), Reaper, Adobe Audition or even on video editors.
In this article, we’re going to talk about the differences between sample rates, bit depth, file compression rates and format variations. Thus, you’ll be more confident about your choices regarding audio quality and ensure good results.
In short, you’ll understand why we recommend recording in an uncompressed format (WAV, for example) at 24 bits and 48 kHz. In addition, you’ll also know why in most cases we won’t need more than an MP3 format with 192 kbps to export audio with excellent quality.
We’ll also talk about the possibility of higher compression to podcast files, which can be created in mono MP3 format with 64 kbps, facilitating online access.
Formats, extensions, and codecs: What do they mean?Compression rate: What is its relationship with audio quality?Amplitude bit depth: 16 bits or 24 bits?Sample rate: What does this value tell us?
Formats, extensions, and codecs: What do they mean?
When referring to audio files we use terms such as formats, extensions and codecs. In a simple explanation, format is merely the type of file, identified in its extension (*.mp3, *.wav, *.ogg, *.wma, etc.), which usually tells us how the file was encoded, or its codec.
For example, a file in MP3 format has a *.mp3 extension and MPEG-1 Audio Layer III codec.
Examples of audio file extensions
These extensions get mixed up, but the important thing to know is that, just like videos, files with the same type of extension don’t always have the same codec and vice versa.
This information is valid so you don’t get lost if you don’t understand why the software you usually use to play your *.m4a files suddenly refuses so play another one with same extension, for example.
This situation may indicate that the codecs used were different. In this case, the solution would be to use other software to read the file or perform a conversion (new encoding), which can be performed in video editors.
These format and codec variations depend on choices from the companies that develop the software that run the files. This is where many things come into play, such as technical specifications and even relationships with patents.
As to the files, they are usually divided into two types: uncompressed or compressed.
Dedicated audio recording equipment usually give us options for recording files without any loss of information. These uncompressed files can be created in several formats and extensions, such as WAV, AIFF, FLAC and ALAC. For those who are familiar with photography, they are equivalent to RAW or DNG.
Since the files are usually quite large, the use of these lossless formats in the final product is only recommended in certain cases, such as:
- When the final product can be processed by consumers (files used in audio banks, for example);
- When it’s intended for physical media (CD, DVD e Blue-Ray); or
- For the audiophile market (due to perceived value and to ensure high quality).
However, even if you’re not interested in finishing the process as a WAV (one of the most common), lossless formats can be quite useful during the editing step. Because they hold a lot of information, they support more extreme changes without audio loss.
Thus, by using plugins, conversions, and processing, you can manipulate them more freely, ensuring excellent quality, even if a compressed file is generated afterwards.
Most of the equipment available on the market (cameras, cellphones and even audio recorders) usually deliver files already compressed. These files are more convenient, easy to process and require less storage space, having very small file sizes (in bytes).
Some examples of these formats are: 3GP, AAC, M4A, OGG, WMA and MP3, which is without a doubt the best known. These files are what JPEG or GIF formats are to images.
Through a complex algorithm, such files are created by maintaining only the information that is relevant to our ears. Depending on the compression mode, we can generate an MP3 from a WAV file and have a file that is 10 times smaller, without perceptible changes to the sound.
Size comparison between MP3 and Wave
Speaking of MP3, despite its great popularity, this format is currently considered obsolete, since others, such as ACC (.acc or .m4a extensions) allow for even smaller files with better quality.
Still, MP3 continues to be widely used because most of the software and equipment were developed for this format. While talking about compression rates we’ll use it as an example.
Compression rate: What is its relationship with audio quality?
Now that you understand that a file can be compressed and still maintain enough quality for our ears, you need to know that this compression level can vary greatly.
It’s through the compression rate value (or bitrate) that we can control the file size and consequently, audio quality.
For example, a 320 kbps MP3 (kilobits per second) can sound as good as an uncompressed CD or DVD audio. As the bitrate value lowers, the file becomes smaller, but audio loss becomes perceptible, depending on the audio in questions.
Winamp player show an MP3 compression rate
Just to give you an idea of how this rate affects audio quality, check out the references below:
- 320 kbps – audio indistinguishable from CD quality;
- 192 kbps – no significant loss for most people;
- 128 kbps – slightly perceptible loss;
- 96 kbps – quality similar to FM radio;
- 32 kbps – similar to AM radio;
- 16 kbps – similar to shortwave radio (e.g. walkie-talkies).
Remembering that the values and descriptions above are only an approximation, because file compression acts differently for each type of audio. The more perceptible information (or the more complex for the audio in question), the more margin there is for the compression to affect quality.
This is why there may be no problem if you generate a file with only a 64 kbps, mono file – with a single audio signal playing simultaneously on both left (L) and right (R) channels, for a podcast without a soundtrack.
However, a song that is well produced in a studio, with many different instruments, can suffer perceptible loss even if the compressed file is 128 kpbs, stereo – with a different signal for each speaker, right and left.
We are talking here about fixed compression rates (CBR – constant bitrate), but there is also the possibility of generating files with variable rates, called VBRs (variable bitrate) or ABRs (average bitrate).
In VBRs, the algorithm analyzes the audio and decides which parts can be compressed more aggressively and which parts less information can be removed. ABRs behave in a similar manner, but they keep the average of the rate stipulated previously. These two methods, although smarter, may create incompatibilities with certain players.
When we talk about compression vs. quality, remember that there are no rules: each case is a case and you need to evaluate individually in order to know how acceptable the losses are, or if giving up on quality for the sake of convenience (faster download or less storage impact, for example) is worthwhile.
Remember that certain websites and services recode audio after they are uploaded. Since we have no control over this process, it may be a good idea to upload files with slightly higher quality than necessary to give you a safety margin in case of new conversions.
Amplitude bit depth: 16 bits or 24 bits?
If you’re going to use an audio interface/board or a dedicated recorded, you’ll come across bit depth settings. This is related to the PCM digital audio standard and does not apply to compressed files.
The values refer to the signal-to-noise ratio. In other words, it has to do with dynamics or volume levels that the file can register with quality.
It’s as if it were an amplitude bit depth of the sound. Thus, in theory, an audio with 16 bits can represent 65,536 levels of volume between the lowest and highest value of the scale. With 24 bits, there are 16.7 million levels.
Illustrative representation of amplitude bit depth
Despite the large numerical disparity, in practice, there’s no perceptible variation to our ears. However, there’s a technical difference that can, in certain cases, give the 24-bit file an edge when capturing and editing.
We know that we have to be careful with the input level when recording, to prevent audio clipping. This is what happens when the graphic meter is too high, exceeding 0 dB (maximum value before overdrive/digital distortion occurs). Therefore, you should respect a certain safety margin called “headroom”.
Be extra careful with audio quality
At 16 bits, you need to pay attention so that the input level isn’t too low.
Since there isn’t sufficient bit depth to accurately register extremely weak signals, these audios might sound digitally distorted or contain noise, through a process called dithering, which seeks to mask these quantization flaws.
Thus, since a 16-bit file registers fewer volume gradations (48 dB less in comparison with 24 bits), theoretically you run the risk of, when increasing the software’s volume, you’ll encounter a higher amount of these “hisses”. Technically, at 24 bits you shouldn’t run this risk.
Illustrative representation of the audio graphic meter zones
However, you will certainly come across some noise (noise floor) from various sources, such as cables, electric power, preamps, microphones, low-quality components, “room noise” and even resulting from the natural operation of the equipment used (certain manufacturers even specify the value in the manual).
Thus, in practice, bit depth values probably won’t significantly influence your recording. So, if your equipment only supports 16 bits, relax, after all it’s the same bit depth value as an audio CD, which as you know, can deliver crystal clear audio for most uses.
Even though a 24-bit file isn’t much larger than at 16 bits, recording in this higher bit depth whenever possible is worth it. In addition to ensuring a higher safety margin when digitally processing the file, 24 bits is the DVD and Blu-Ray standard. This way you avoid unnecessary conversions if the final audio is stored on one of these physical forms.
Nowadays, there’s even equipment that work with 32 bits, but you’ll hardly benefit from such a bit rate.
This happens, for example, when the sound is created directly on a computer, without going through the entire analog paraphernalia, which adds noise to the process.
Sample rate: What does this value tell us?
Other values that you’ll come across are relative to sample rates. These numbers are relative to the number of times per second that the analog sound is “registered”, in order to be rebuilt digitally (44.1 kHz equals 44,100 samples per second). It’s as if it were the number of frames per second in videos, which are necessary for your eyes to create the illusion of movement.
These values also refer to the maximum frequency (sound with more treble) possible to be played on the file.
For clarity, you should remember that the more bass a sound has (low pitch), the lower is its frequency (measured in Hertz). The more treble the sound has (higher pitch), the higher the numerical value in Hz is.
Representation of bass and treble frequencies
Overall, the lowest frequency we can hear – with more bass –, is around 20 Hz (or 20 wave oscillations per second); and the highest – with more treble –, around 20 kHz (or 20,000 oscillations per second).
For technical reasons (Nyquist’s theorem), digital media needs to hold twice the frequency capacity it’ll play. Therefore, the sample rate of a CD (a long-standing industry standard) was defined at 44.1 kHz.
This means that with this value there’s enough data (per second) to represent frequencies of up to 22 kHz approximately. In theory, this is more than needed in order to reproduce any sound that is audible for us, where many people cannot hear higher frequencies, especially with age – most adults can’t hear frequencies over 17 kHz or even 16 kHz.
Then, in 1995, DVDs hit the market, and the standard chosen became 48 kHz. Again, the number was established due to a technical issue: basically to round up values to the number of frames per second (fps) in video.
According to what we’ve seen earlier, it’s clear that this slight increase doesn’t change our perception of the sound played.
Nevertheless, certain equipment allows recordings of 96 kHz or more. The only reason to work with such high sample rate values is to have more data to manipulate files digitally (something similar to what we’ve seen about working with WAV in comparison to MP3 formats).
However, since this implies in more storage space and higher processing requirements, we don’t recommend it. For online videos or podcasts, the advantages will probably be insignificant. Additionally, in certain cases, higher sample rate values may create undesirable harmonic distortions.
Therefore, we recommend that you use 48 kHz, especially when working with video. Since it’s still the market standard, you run less risk of incompatibility or reading errors.
Some of the possible compatibility errors have to do with the duration of the audio and pitch reproduced. For example, a 44.1 kHz file might sound faster than with “treble” tones in a project configured for 48 kHz. On the other hand, a 48 kHz file, if read as 44.1 kHz, will sound slower with more “bass” tones.
44.1 kHz and 48 kHz audios on the same timeline
Fortunately, most software nowadays can identify these sample rate differences and correctly interpret the file automatically, converting it instantly (usually followed by a warning) when the value doesn’t match the software’s value.
In certain cases, for those who work exclusively with audio (especially music), it might be a good idea to stick to 44.1 kHz, because although CDs are no longer used, they are still be main physical media for music consumption.
Actually, you’ll hardly have problems converting one standard into another. As we said earlier, nowadays the platforms and software read and interpret both sample rate values quite well.
These recommendations are merely an assurance against possible and rare problems, which can create slight errors (digital artifacts) resulting from conversion failures.
What you should consider when applying audio quality knowledge on a daily basis
Talking about audio settings, preferences, and recommendations requires certain observations. Since the mode of consumption varies greatly, as well as people’s hearing capacity, which can be an excellent quality for some people, might not be so for others.
Moreover, in an audio chain, there’s an infinity of elements that can change the sound much more significantly than the topics mentioned here.
For audio aficionados – someone with keen ears, uses excellent hi-fi equipment – parameter differences (such as compression rates) might be more perceptible, depending on the sounds in question.
There’s also the issue that certain sounds with more bass tones, despite not being audible to us – for example, infra-sounds between 4 and 16 Hz – may be perceived tactilely.
Certain (controversial) studies also lead us to believe that ultrasonic frequencies (over 20 kHz), in certain cases can be perceived by our body – not necessarily through the auditory system.
Lastly, our hearing isn’t as developed as our eyesight. Therefore, it’s harder to evaluate audio. Thus, the placebo effect is common when analyzing quality.
For the same reason, the electronics market may in some cases, if taking advantage of the technical evolution of equipment (higher bit depth, sample rate, frequency response values) use this to sell products that in practice, may not make any difference for users.
Now that you know a few important rates to ensure audio quality, make sure you also read our Hotmart tips on types of microphones and capturing audio!
This post was originally published in September 2019 and has since been updated to contain more complete and accurate information.
What is the typical sample rate for good quality audio? ›
88.2kHz. This is now the gold standard for hi-res recordings. Using this sample rate produces less distortion (called 'aliasing') when converting from analogue to digital and allows greater freedom when mixing and mastering.Is 16-bit or 24-bit audio better? ›
Most people believe that the audio quality of 24-bit is better than 16-bit – and this is true in computing and scientific accuracy. But, conflating quality with a higher number isn't true perceptually. While there is a greater dynamic range and less noise, the human ear cannot perceive much difference between the two.What is audio bit rate and sample rate? ›
The rate of capture and playback is called the sample rate. The sample size—more accurately, the number of bits used to describe each sample—is called the bit depth or word length. The number of bits transmitted per second is the bit rate.What sample rate and bit rate should I use? ›
As a music producer, you can pretty much follow the advice we have provided so far – you should generally aim for a sample rate of 44,100hz for producing music with a bit depth of 24 bits. As a video producer, you should increase this to 48,000hz for your sample rate and a bit depth of 16 bits.What is the best audio bits per sample? ›
How Many Bits Do You Need for Great Sound Quality? Short answer: 16-bit.What is 24bit vs 32-bit audio? ›
24-bit audio recordings can capture a dynamic range of up to 144.5 dB. Meanwhile, 32-bit float audio can capture the absolutely ludicrous range of up to 1,528 dB. That's not only massively beyond the scope of 24-bit audio, but it's beyond the scale of what even counts as a sound on Earth.Should I use 24-bit 192kHz? ›
While everyone fixates on 24 bit/192kHz as a magic bullet, we're not going to see any actual improvement. There is just no point to distributing music in 24 bit/192kHz format. Its playback fidelity is slightly inferior to 16 bit/44.1 kHz or 16 bit/48kHz, and it takes up 6 times the space.Is 16-bit 48000Hz good? ›
But what is the maximum quality of your headset on another PC? as 16bit and 48000Hz quality is a standard and very acceptable quality for headsets.What is better 48kHz or 96kHz? ›
48 kHz is the standard for music or sound placed in a movie or video. 96 kHz offers several advantages for both recording and mixing, but the main downside is that it requires more processing power from your computer and results in significantly larger audio files.What is the highest quality of audio? ›
WAV (Waveform Audio File) retains all the original data, which makes it the ideal format for sound engineers. “WAV has greater dynamic range and greater bit depth,” creative producer and sound mixer Lo Boutillette says of her preferred format. “It's the highest quality,” Berry agrees.
Is higher sample rate better for audio? ›
Sample rate is the frequency at which snapshots of an analog signal are recorded. Thus the more snapshots per second, the higher the sample rate and the better the quality.Which is better 44100 or 48000? ›
You should match whatever rate the file is, if you play a 16bit 44100hz file at 24bit 48000hz you will get lower quality sound due to upscaling. Same goes for vice versa due to downscaling. Anywho, if the file rate is unknown I would stick to 16bit 44100hz as that is cd quality audio and will be more common.Is a higher bit rate better or worse? ›
Higher bitrate correlates with higher image quality, while lower bitrate results in a lower quality. Twitch streamers want to strive for a higher bitrate, as it means that their stream's video quality will be better. While the content of a stream is incredibly important, visual image quality plays a big role as well.Why is 24-bit digital audio better quality than 16-bit? ›
Audio resolution, measured in bits
Similarly, 24-bit audio can record 16,777,216 discreet values for loudness levels (or a dynamic range of 144 dB), versus 16-bit audio which can represent 65,536 discrete values for the loudness levels (or a dynamic range of 96 dB).
High bitrate means higher quality video, but it also means your video file will be much larger. The larger the file, the more likely it is that your viewers may experience buffering issues.What sample rate is lossless audio? ›
High-quality WAV files generally have a bitrate of 1,411kbps and a sample rate of 44.1KHz. Ideally, this is the bitrate and sample rate required to hear "lossless" audio.How does bit rate affect sound quality? ›
Bitrate depends on how much the file is compressed. Bitrate refers to the amount of bits – or the amount of data – a digital audio file contains per second. It's most commonly used to convey the quality of compressed audio formats, such as MP3 or AAC, in kilobytes per second (kbps).Should I use 24-bit or 32-bit audio? ›
The only real benefit of 32-bit audio is the added headroom when it comes to editing. While you get less distortion with 32-bit audio, you have enough headroom with 24-bit audio with room to spare. The differences between bit depths are inaudible and not really worth the hype.What does 24 bit/192kHz audio mean? ›
The highest quality MP3 has a bitrate of 320kbps, whereas a 24-bit/192kHz file has a data rate of 9216kbps. Music CDs are 1411kbps. The hi-res 24-bit/96kHz or 24-bit/192kHz files should, therefore, more closely replicate the sound quality the musicians and engineers were working with in the studio.What is the best audio bit depth? ›
For consumer/end-user applications, a bit depth of 16 bits is perfectly fine. For professional use (recording, mixing, mastering or professional video editing) a bit depth of 24 bits is better.
What is better 96kHz or 192khz? ›
Because 192kHz is taking 2 two times as many samples per second than 96kHz, it will require twice as much hard-drive space to store and will require the computer to process twice as much in the same amount of time. Not great, especially when there isn't that much of an advantage over 96kHz.Can you hear the difference between 96kHz and 192khz? ›
192K and 96K will in many cases sound different when doing A/B comparisons. However, 192K will not always sound better. Depending on the particular DAC and its design, 192K can in some cases sound worse.What is the difference between 48khz and 96kHz and 192khz? ›
48khz: mids are very hard, top end was muffled. 96khz: Immediate noticeable difference from 48khz. Cleaner highs, mids are softer and smoother, bass is tighter. 192khz: Top end very airy, the "metallic" tone of the steel strings comes through.Should I use 48khz or 44.1 kHz? ›
44.1 kHz is the standard rate for audio CDs. Generally, movies use 48 kHz audio. Even though both sample rates can accurately capture the entire frequency spectrum of human hearing, music producers and engineers often choose to use higher sample rates to create hi-res recordings.Is 192000hz better than 48000hz? ›
An audible difference no. Not from the sample rate increase. If the move from 48 to 192 also includes a bit depth change from 16 to 24, then there may be a very slight shred of an audible difference that some people might hear, from certain systems and with certain types of music.Which is better a digital recording at 96khz 16bit or one at 48khz 24bit? ›
If you want good dynamic range, 24 bits is better than 16. On the other hand if you want better high-frequency response, 96 kHz is better than 48. According to Nyquist's theorem a 48 kHz sampling rate handles frequencies up to 24 kHz perfectly so it's not clear if having a higher sampling rate will actually gain much.Can you hear the difference between 44khz and 96kHz? ›
Is there really a difference in sound between lower sampling rates like 44.1 and 48 KHz and hi-res such as 88.2 and 96 KHz? Yes there is but it's not for the reason you might think. It's not likely to be the difference in high frequencies that you'll hear. The range of human hearing is 20 Hz to 20 KHz.Is 192kHz a good sample rate? ›
For mastering, 96kHz or even archival mastering at 192kHz is usually a good idea. Regardless, recording at 44.1 or 48kHz through a high-quality modern audio interface will give you excellent results, depending on the situation, very similar to what you'd get at higher rates.What is the difference between 44khz and 48kHz? ›
For example, when recording 44.1 kHz audio, you are capturing frequencies up to the 22 kHz range. When sampling at 48 kHz, you are really capturing frequencies up to 24 kHz. The difference between 44.1 kHz and 48 kHz is miniscule when you consider that one second is an incredibly short span of time.What format do audiophiles use? ›
Audiophiles play music from a variety of sources including phonograph records, compact discs (CDs), and digital audio files that are either uncompressed or are losslessly compressed, such as FLAC, DSD, Windows Media Audio 9 Lossless and Apple Lossless (ALAC), in contrast to lossy compression, such as in MP3 encoding.
What defines good audio quality? ›
In general, a high bitrate means high-quality audio, provided the sample rate and bit depth are also high. More information, in a very general sense, means better sound quality. Audio CD bitrate is always 1,411 kilobits per second (Kbps).What is the best audio quality setting? ›
For music, 64 (AAC)/96 (MP3) kbps is a good general-purpose setting that will sound good most listeners. This is the standard bitrate for podcasts, for example, and it sounds great on most contemporary devices, including smart speakers and mobile devices.What happens if sample rate is too high? ›
Drawbacks of High Sample Rates
In theory, a higher sample rate will only capture frequencies at extremely high and low ends of the spectrum where listeners can't even hear them. This means you're spending more and using more space for music that doesn't have a noticeable improvement in sound.
Standard Sample Rates
I have surveyed many professional producers, mixers, and mastering engineers, and most commercial top-40 records are recorded, mixed, and mastered at 44.1 kHz or 48 kHz.
The bit depth determines how much information can be stored. A sampling with 24-bit depth can store more nuances and hence, more precise than a sampling with 16-bit depth.Is 24bit 48kHz hi-res? ›
High-resolution audio (high-definition audio or HD audio) is a term for audio files with greater than 44.1 kHz sample rate or higher than 16-bit audio bit depth. It commonly refers to 96 or 192 kHz sample rates. However, 44.1 kHz/24-bit, 48 kHz/24-bit and 88.2 kHz/24-bit recordings also exist that are labeled HD Audio.What is the difference between 16-bit 44100 Hz and 16-bit 48000hz? ›
16 bit 44100 Hz is CD quality audio. 16 bit 48000 Hz is Dvd quality audio. 16 bit 192000 Hz is studio quality. Basically the higher Hz range the more frequency ranges you can hear in clarity and sharpness, detail.Is bit rate more important than resolution? ›
Comparing one to the other in terms of importance is impossible. The two measure different aspects of video files. Bitrate refers to speed and file size, and resolution refers to width and height in pixels. Bitrate and resolution can be set in different combinations to yield different qualities of video.What happens if the bitrate is too low? ›
Higher bitrate also produces better audio quality. But, keep in mind that your file size will increase at a higher bitrate. Choosing the right bitrate for your video or audio file is a constant balancing act. If the bitrate is too low, you'll have a lower resolution and lose quality.Which is better 48kHz or 44.1 kHz? ›
Here's the bottom line. I recommend that you record with a sample rate of 48kHz. I recommend that you then bounce down to 44.1kHz for the final release. Recording at 48kHz enables you to record everything within the range of human hearing while leaving ample room for the anti-aliasing filter.
Should I use 44100 or 48000? ›
You should match whatever rate the file is, if you play a 16bit 44100hz file at 24bit 48000hz you will get lower quality sound due to upscaling. Same goes for vice versa due to downscaling. Anywho, if the file rate is unknown I would stick to 16bit 44100hz as that is cd quality audio and will be more common.Should I record 48kHz or 96kHz? ›
48 kHz is the standard for music or sound placed in a movie or video. 96 kHz offers several advantages for both recording and mixing, but the main downside is that it requires more processing power from your computer and results in significantly larger audio files.Can you hear the difference between 44.1kHz and 96kHz? ›
Is there really a difference in sound between lower sampling rates like 44.1 and 48 KHz and hi-res such as 88.2 and 96 KHz? Yes there is but it's not for the reason you might think. It's not likely to be the difference in high frequencies that you'll hear. The range of human hearing is 20 Hz to 20 KHz.What is the best audio bitrate? ›
There is no best bitrate, only the right bitrate.
Audio CD bitrate is always 1,411 kilobits per second (Kbps). The MP3 format can range from around 96 to 320Kbps, and streaming services like Spotify range from around 96 to 160Kbps. High bitrates appeal to audiophiles, but they are not always better.
An audible difference no. Not from the sample rate increase. If the move from 48 to 192 also includes a bit depth change from 16 to 24, then there may be a very slight shred of an audible difference that some people might hear, from certain systems and with certain types of music.Is 48kHz 24bit good? ›
24 bit, 48 kHz is a good balance between quality and file size, so that's what I recommend for most producers. Our powerful, AI-driven mastering engine listens to your song and delivers pristine, studio-quality music that's ready for release.Is 192kHz better than 96kHz? ›
Because 192kHz is taking 2 two times as many samples per second than 96kHz, it will require twice as much hard-drive space to store and will require the computer to process twice as much in the same amount of time. Not great, especially when there isn't that much of an advantage over 96kHz.Which is better a digital recording at 96kHz 16bit or one at 48khz 24bit? ›
If you want good dynamic range, 24 bits is better than 16. On the other hand if you want better high-frequency response, 96 kHz is better than 48. According to Nyquist's theorem a 48 kHz sampling rate handles frequencies up to 24 kHz perfectly so it's not clear if having a higher sampling rate will actually gain much.Is 24bit 192kHz better than 320kbps? ›
The highest quality MP3 has a bitrate of 320kbps, whereas a 24-bit/192kHz file has a data rate of 9216kbps. Music CDs are 1411kbps. The hi-res 24-bit/96kHz or 24-bit/192kHz files should, therefore, more closely replicate the sound quality the musicians and engineers were working with in the studio.What is the difference between 16 bit 44.1 kHz and 24 bit 192 kHz? ›
So a 16-bit 44.1KHz Red Book CD has 28,901,376 sampling points each second (44,100 x 65,536). And a 24-bit 192KHz recording has 32,212,254,000,000 sampling points each second (192,000 x 16,777,216). This means 24-bit 192KHz recordings have over 111,455 times the theoretical resolution of a 16-bit 44.1KHz recording.
What is the difference between 48kHz and 96kHz and 192kHz? ›
48khz: mids are very hard, top end was muffled. 96khz: Immediate noticeable difference from 48khz. Cleaner highs, mids are softer and smoother, bass is tighter. 192khz: Top end very airy, the "metallic" tone of the steel strings comes through.