File formats

Common Audio File Formats

Choosing the right audio format is important for sound quality, compatibility, and file size. Different formats serve different purposes, from high fidelity recording to streaming-friendly compression.

Comparison Table

WAV

Type: Uncompressed, lossless

• Stores audio without compression, preserving every detail of the waveform
• Large file sizes (about 10 MB per minute at CD quality 44.1 kHz, 16-bit stereo)
• Universally supported across all major DAWs, operating systems, and hardware
• Ideal for production and mastering because it maintains full quality throughout the workflow

WAV Variants

• Broadcast WAV (BWF): Adds metadata such as timecode, track names, and project notes. Common in film, TV, and radio production.
• RF64: Extension of WAV that supports files larger than 4 GB, common in long-format broadcast or high sample rate projects.
• Wave64 (Sony): Similar to RF64, developed by Sony for large file support, often used in high-resolution and multi-track recording.

AIFF

Type: Uncompressed, lossless

• Developed by Apple, functionally equivalent to WAV in sound quality and size
• Often preferred in macOS-based studios and Apple software ecosystems
• Supports embedded metadata such as track titles, artist names, copyright information, and markers for navigation within the file
• Large file sizes, not ideal for casual sharing

CAF (Core Audio Format)

Type: Flexible, can store compressed or uncompressed audio

• Developed by Apple to overcome size limits of WAV and AIFF
• Supports 64-bit file sizes, making it suitable for extremely long recordings
• Stores metadata, markers, and multiple audio streams in a single file

Raw PCM Data

Type: Uncompressed, headerless audio data

• Contains only raw sample data without headers or metadata
• Requires separate knowledge of sample rate, bit depth, and channel layout to interpret
• Extremely lightweight but not self-descriptive

MP3

Type: Compressed, lossy

• Reduces file size by discarding audio data less likely to be noticed by the human ear
• Widely supported, easy to share, and ideal for platforms where storage or bandwidth is limited
• Not recommended for recording, mixing, or mastering due to permanent quality loss
• The quality of the file is being determined by the bitrate expressed in kbps, which is amount of data stores for every second of the recording. Some most common being being 128, 192, 256 and 320. The 320kbps is the best quality one.

LAME Encoder

• LAME is the most popular open-source MP3 encoder, known for producing higher quality audio at the same bitrate compared to many other encoders.
• Offers variable bitrate (VBR) encoding for better quality-to-size ratio.
• Widely used in professional and hobbyist workflows for MP3 creation.

OGG

OGG Vorbis

Type: Compressed, lossy

• Free and patent-free format
• Offers better quality than MP3 at similar bitrates
• Used in gaming, open-source software, and some streaming services
• Not as universally supported as MP3

OGG Opus

Type: Compressed, lossy

• Successor to OGG Vorbis for many uses, optimized for both speech and music
• Extremely low latency, ideal for live streaming and conferencing
• Supported in major browsers and communication platforms like Discord

FLAC

Type: Compressed, lossless

• Retains original audio quality while reducing file size by up to 50 percent
• Open-source and supported by most high-quality audio players and platforms
• Great for music libraries where space matters but quality must be preserved
• Not commonly used for active mixing sessions due to decoding overhead

ALAC (Apple Lossless Audio Codec)

Type: Compressed, lossless

• Developed by Apple, similar to FLAC but optimized for iTunes and Apple devices
• Maintains full audio quality with smaller file sizes than uncompressed formats
• Fully supported on macOS and iOS, partially supported on other platforms

WMA (Windows Media Audio)

Type: Compressed (lossy and lossless versions exist)

• Developed by Microsoft
• The lossy version competes with MP3 and AAC for efficiency, but has limited support outside Windows ecosystems
• The lossless version offers quality comparable to WAV or FLAC, but is less common in professional audio production

WavPack (WV)

Type: Compressed, lossless/lossy hybrid

• Supports lossless mode and hybrid mode with a lossy core and correction file for perfect restoration
• Less supported than FLAC but flexible for special use cases

Audio CD Image Formats (CUE / BIN)

Type: Uncompressed disc image with audio track info

• BIN stores raw CD data; CUE is a text file describing track order, timing, and metadata
• Preserves the exact structure and gaps of an audio CD

DDP (Disc Description Protocol)

Type: Professional CD mastering format

• Includes audio data, track markers, metadata, and error checking
• Ensures the replicated CD matches the master exactly

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Project and Multimedia Formats

OMF (Open Media Framework)

Type: Project interchange format (not an audio format)
Use Case: Moving multitrack projects between DAWs
Notes:

• Contains references to audio files along with edit data, track layout, and sometimes effects automation
• Allows different DAWs to share projects while preserving timing and edits
• Common in film, TV, and collaborative production workflows
• Requires careful file management to ensure linked audio files are included

Video Containers Used in Audio Post-Production

When working on audio for film, TV, or online video, you will often handle video files to sync and edit sound.

QT / MOV

• Apple QuickTime format, widely used in professional video editing
• Supports multiple audio and video tracks, timecode, and high-quality codecs
• Common in macOS workflows and film post-production

MP4

• The most common modern video container
• Compatible with almost all devices and platforms
• Supports AAC audio for streaming and H.264 or H.265 video

AVI

• Microsoft video container format
• Supports uncompressed or compressed video and audio
• Large file sizes when uncompressed, less used today in professional workflows

MKV (Matroska Video)

• Open-source, highly flexible container
• Supports virtually any codec, multiple audio tracks, subtitles, and chapters
• Popular for archiving and distribution of high-quality video

WEBM

• Open-source format optimized for web use
• Uses VP8/VP9 or AV1 video codecs and Opus or Vorbis audio
• Ideal for HTML5 video streaming with no licensing fees