Uncompressed vs Compressed Audio: What's the Difference?

You’ve just finished recording a perfect vocal take and hit export. Immediately, you’re bombarded with choices: WAV? FLAC? MP3? Uncompressed or compressed? The decision seems simple until you realize it affects everything—file size, quality, compatibility, storage costs, and whether your master will sound pristine or degraded when it reaches listeners.

In 2025, audio professionals juggle storage constraints against quality demands daily. Understanding the fundamental difference between uncompressed and compressed audio isn’t just technical knowledge—it’s essential for protecting your creative work while managing practical storage realities.

This comprehensive guide breaks down exactly what uncompressed and compressed audio mean, when to use each type, and how to make informed format decisions that balance quality with convenience.

Quick Summary (TL;DR)

• Uncompressed audio - Raw PCM data with perfect quality, massive files (~10MB/minute for CD quality)
• Lossless compressed - Mathematically compressed, perfect quality when decompressed, 50% smaller files
• Lossy compressed - Permanently removes audio data, 75-90% smaller files, quality trade-offs
• Key difference - Uncompressed preserves everything; lossless compresses reversibly; lossy discards data forever
• Best practice - Record/edit in uncompressed WAV, archive as FLAC, distribute as AAC/MP3
• Storage reality - 1,000 songs: WAV = 30GB, FLAC = 15GB, MP3 = 7GB
• Quality threshold - Most listeners can’t distinguish 320kbps AAC from lossless on consumer equipment

Comparison Table: Uncompressed vs Compressed Audio

Type	Formats	Quality	3-Min Song	Compression Ratio	Best For
Uncompressed	WAV, AIFF	Perfect	30MB	None (baseline)	Recording, editing, mastering
Lossless Compressed	FLAC, ALAC	Perfect	15-18MB	40-60% reduction	Archival, hi-fi listening, storage savings
Lossy Compressed (High)	AAC 256kbps	Excellent	5.8MB	~80% reduction	Streaming, modern distribution
Lossy Compressed (Max)	MP3 320kbps	Very Good	7.2MB	~76% reduction	Universal compatibility
Lossy Compressed (Low)	MP3 128kbps	Acceptable	2.9MB	~90% reduction	Podcasts, voice, mobile data saving

What is Uncompressed Audio?

Uncompressed audio is raw, unprocessed digital audio data stored exactly as it was captured during recording. When an analog signal (sound waves) is converted to digital, it’s sampled thousands of times per second and each sample is stored with its full bit-depth precision—no compression, no data removal, no processing.

How Uncompressed Audio Works

During analog-to-digital conversion, audio is captured using two parameters:

Sample Rate - How many times per second the audio is measured (typically 44.1kHz for CD quality = 44,100 measurements per second)

Bit Depth - The precision of each measurement (16-bit for CD quality = 65,536 possible amplitude values per sample)

These samples are stored as Pulse Code Modulation (PCM) data—the raw numerical representation of the sound wave. CD-quality audio at 16-bit/44.1kHz produces 1,411 kilobits per second (kbps) of data, which equals approximately 10.6MB per minute of stereo audio.

Common Uncompressed Formats

WAV (Waveform Audio File Format) - Developed by Microsoft and IBM, the professional standard for music production. Universal DAW compatibility, supports multiple bit depths and sample rates.

AIFF (Audio Interchange File Format) - Apple’s equivalent to WAV, functionally identical in quality. Slightly better metadata support but less universal than WAV.

Both formats store PCM audio data without compression, resulting in perfect audio fidelity at the cost of large file sizes.

Technical Specifications

CD Quality (16-bit/44.1kHz):

• Bitrate: 1,411 kbps (stereo)
• File size: ~10.6MB per minute
• Dynamic range: 96 dB
• Frequency response: Up to 22.05kHz

Studio Standard (24-bit/48kHz):

• Bitrate: 2,304 kbps (stereo)
• File size: ~17.3MB per minute
• Dynamic range: 144 dB
• Frequency response: Up to 24kHz

High-Resolution (24-bit/96kHz):

• Bitrate: 4,608 kbps (stereo)
• File size: ~34.6MB per minute
• Dynamic range: 144 dB
• Frequency response: Up to 48kHz

Pros of Uncompressed Audio

Perfect Audio Fidelity - Every frequency, every transient, every nuance preserved exactly as recorded. Zero compression artifacts, zero quality loss.

No Processing Overhead - DAWs and audio software play uncompressed files instantly with zero decoding latency. Critical for real-time playback during production.

Universal Compatibility - Every DAW, audio editor, and professional system supports WAV/AIFF. No compatibility surprises.

Professional Standard - Studios expect WAV deliverables. It’s the industry lingua franca for masters, stems, and session files.

Future-Proof - Raw audio data will always be playable. No dependency on codec support or proprietary formats.

Cons of Uncompressed Audio

Massive File Sizes - A 3-minute song at 24-bit/96kHz consumes roughly 100MB. Multi-track sessions with dozens of stems quickly reach hundreds of gigabytes.

Storage Costs - Large files mean higher cloud storage costs, longer upload/download times, and faster hard drive consumption.

Limited Metadata - WAV has poor tag support—no embedded album artwork, limited artist/title information, minimal organization features.

Transfer Challenges - Emailing WAV files is impractical. Sharing requires dedicated file transfer services or cloud storage links.

Real-World File Size Examples

3-minute song:

• 16-bit/44.1kHz (CD quality): ~30MB
• 24-bit/48kHz (studio standard): ~52MB
• 24-bit/96kHz (high-resolution): ~103MB

Full album (12 songs, 45 minutes):

• CD quality: ~450MB
• Studio standard: ~780MB
• High-resolution: ~1.5GB

For a professional studio tracking 50 projects per year with multiple takes and stems, uncompressed storage needs easily exceed 10-20TB annually.

What is Compressed Audio?

Compressed audio reduces file size through mathematical algorithms. There are two fundamentally different approaches: lossless compression (reversible, no quality loss) and lossy compression (irreversible, trades quality for smaller files).

Why Audio Compression Exists

Storage Constraints - Hard drives, cloud storage, and mobile devices have limited capacity. Compression lets you store more music in less space.

Bandwidth Limitations - Streaming services, downloads, and file sharing require reasonable file sizes. A 100MB uncompressed song is impractical for streaming.

Convenience - Smaller files transfer faster, sync more reliably, and consume less mobile data. Practicality often outweighs marginal quality differences.

Economic Factors - Cloud storage costs scale with data volume. Reducing file sizes by 50-90% translates to significant cost savings for archives and libraries.

The audio industry balances these practical constraints against quality preservation, resulting in the two compression approaches: lossless and lossy.

Understanding Lossless Compression

Lossless compression reduces file size mathematically without removing any audio data. Think of it like a ZIP file for audio—when decompressed, you get a bit-for-bit identical copy of the original.

How Lossless Compression Works

Lossless audio codecs analyze the PCM data for patterns and redundancies, then represent that data more efficiently using compression algorithms. Unlike lossy compression, this process is completely reversible.

Example: Instead of storing the value "1000, 1000, 1000, 1000, 1000," the algorithm stores "1000 × 5," saving space while preserving perfect reconstruction.

When you play a FLAC file, the codec decompresses it in real-time back to the original PCM data, feeding your audio system identical waveforms to the source WAV file.

Common Lossless Formats

FLAC (Free Lossless Audio Codec) - Open-source, patent-free, widely supported. The archival gold standard for music producers and audiophiles. Compresses to roughly 50-60% of original WAV size.

ALAC (Apple Lossless Audio Codec) - Apple’s proprietary lossless codec with native iOS/macOS support. Compression efficiency similar to FLAC (~50-60% reduction).

APE (Monkey’s Audio) - Achieves slightly better compression (~40% of original size) but slower encoding/decoding and limited software support. Niche use.

Compression Ratios and File Sizes

Lossless compression typically reduces file size by 40-60% depending on the audio content:

Music with complex arrangements (many frequencies, dynamic range): 50-55% compression Sparse recordings (solo instruments, minimal production): 55-60% compression Dense mixes (orchestral, metal, electronic): 45-50% compression

Real-world example: A 30MB WAV file becomes:

• FLAC: ~15-18MB (50-60% compression)
• ALAC: ~15-18MB (similar to FLAC)
• APE: ~12-15MB (60-80% compression)

Pros of Lossless Compression

Perfect Quality Preservation - Bit-for-bit identical to the source when decompressed. Absolutely zero quality loss.

50% Storage Savings - Half the file size of WAV with identical audio quality. Significant cost reduction for large archives.

Excellent Metadata Support - FLAC and ALAC support embedded artwork, lyrics, detailed tags, and comprehensive cataloging information.

Checksum Verification - FLAC includes error detection to ensure file integrity over time—critical for long-term archival.

Future-Proof - Open-source formats like FLAC aren’t tied to corporate interests. Widespread adoption ensures long-term compatibility.

Cons of Lossless Compression

Decoding Overhead - Requires CPU processing to decompress in real-time. Negligible on modern hardware but a consideration for embedded systems.

Compatibility Gaps - FLAC not natively supported on iOS (requires third-party apps). ALAC not universally supported outside Apple ecosystem.

Still Large Files - While 50% smaller than WAV, lossless files remain much larger than lossy formats. A 3-minute FLAC is still 15-18MB vs. 5.8MB AAC.

When to Use Lossless Compression

Long-term archival - Perfect quality at half the storage cost makes FLAC ideal for preserving music libraries.

Hi-fi listening - Audiophiles demand lossless quality. FLAC and ALAC deliver perfect reproduction on high-end equipment.

Storage-conscious production - Archive finished masters as FLAC to save cloud storage costs without quality compromise.

Lossless streaming - Services like Tidal, Qobuz, and Amazon Music HD use FLAC for premium lossless tiers.

Understanding Lossy Compression

Lossy compression achieves much smaller file sizes by permanently removing audio data that human ears theoretically can’t perceive. This uses psychoacoustic models—scientific understanding of how human hearing works and what frequencies we typically don’t notice.

How Lossy Compression Works

Lossy codecs analyze audio and discard information based on psychoacoustic principles:

Frequency Masking - Loud sounds mask quieter sounds at nearby frequencies. The codec removes masked frequencies humans can’t perceive.

Temporal Masking - Loud transients mask quieter sounds immediately before and after. Codecs remove these masked sounds.

High-Frequency Rolloff - Frequencies above ~16-18kHz are removed or reduced, as many listeners can’t hear them (and higher frequencies are expensive in data terms).

Bit Allocation - Important frequencies get more bits; less important frequencies get fewer bits or are removed entirely.

The result: file sizes 75-90% smaller than uncompressed audio, with quality loss ranging from imperceptible (high bitrates) to obvious (low bitrates).

Common Lossy Formats

MP3 (MPEG-1 Audio Layer 3) - The original lossy standard, universally compatible, mature codec. At 320kbps, provides very good quality. Inefficient compared to modern codecs but guaranteed playback everywhere.

AAC (Advanced Audio Coding) - Modern successor to MP3, superior quality at same bitrate. 256kbps AAC sounds as good as 320kbps MP3 while saving 20% file size. Used by Apple Music, YouTube, digital broadcasting.

OGG Vorbis - Open-source lossy codec competitive with AAC. Used by Spotify (up to 320kbps for Premium), gaming platforms, and open-source projects. No licensing fees.

Opus - Modern codec optimized for speech and music, excellent low-latency performance. Used for voice communication (Discord, WhatsApp, Zoom) and live streaming.

Bitrate and Quality

Bitrate (measured in kbps) determines how much data is allocated per second of audio. Higher bitrate = more preserved information = better quality = larger files.

128 kbps - Low quality, noticeable compression artifacts. Acceptable for podcasts, voice content, background music. File size: ~1MB/minute.

192 kbps - Acceptable quality for casual listening on consumer equipment. Most compression artifacts still audible on good headphones. File size: ~1.4MB/minute.

256 kbps - High quality, minimal artifacts on most playback systems. AAC at 256kbps (Apple Music standard) sounds excellent. File size: ~1.9MB/minute.

320 kbps - Maximum MP3 quality, very good results. Most listeners can’t distinguish from lossless on consumer equipment. File size: ~2.4MB/minute.

Pros of Lossy Compression

Massive File Size Reduction - 75-90% smaller than uncompressed audio. A 30MB WAV becomes 5.8MB AAC or 7.2MB MP3.

Streaming-Friendly - Small files load quickly, consume minimal bandwidth, work well on mobile networks.

Universal Compatibility - MP3 plays on literally every device manufactured in the past 25 years. AAC supported on all modern platforms.

Convenient Sharing - Emailing a 5MB AAC file is practical; emailing a 100MB WAV is not.

Adequate Quality - At high bitrates (256-320kbps), most listeners can’t perceive quality loss on consumer playback systems.

Cons of Lossy Compression

Permanent Quality Loss - Once compressed, removed audio data cannot be recovered. The quality ceiling is set forever.

Cumulative Degradation - Re-encoding lossy files further degrades quality. Never convert MP3 → AAC or any lossy → lossy.

Audible Artifacts at Low Bitrates - Below 192kbps, compression artifacts become noticeable: metallic highs, muddy bass, lack of depth, "swirly" sounds.

Not Suitable for Production - Editing, processing, or mastering lossy audio compounds quality loss. Always work with lossless source material.

Perception Varies - Trained listeners and audiophiles can often detect high-bitrate lossy compression on high-end systems, even when casual listeners cannot.

When to Use Lossy Compression

Everyday listening - On consumer devices, Bluetooth headphones, car stereos, and typical listening environments, 256-320kbps AAC/MP3 provides excellent quality.

Streaming services - Spotify (OGG 320kbps), Apple Music (AAC 256kbps), YouTube (AAC 128-256kbps) all use lossy compression for standard tiers.

Sharing demos - Sending rough mixes to clients or collaborators for feedback. Smaller files, faster transfers, good enough quality for review purposes.

Mobile devices - Limited storage on smartphones benefits from lossy compression. 256kbps AAC balances quality and space efficiency.

Bandwidth constraints - Slow internet connections, mobile data limits, or large libraries benefit from smaller file sizes.

Final distribution - Once listeners receive your music, they’re getting lossy versions from streaming platforms anyway (unless lossless tier subscribers).

Key Differences: Uncompressed vs Compressed

Quality Comparison

Uncompressed (WAV/AIFF) - Perfect audio fidelity. Every frequency, transient, and nuance preserved exactly as recorded. Zero artifacts, zero compromise.

Lossless Compressed (FLAC/ALAC) - Bit-for-bit identical to uncompressed when decompressed. Mathematically perfect quality preservation in a smaller file.

Lossy Compressed (MP3/AAC/OGG) - Quality ranges from excellent (320kbps) to poor (128kbps). Permanent data loss, but often imperceptible at high bitrates on consumer equipment.

The reality: On typical playback systems (consumer headphones, Bluetooth speakers, car stereos), most listeners can’t distinguish between uncompressed WAV and 320kbps AAC. However, on high-end audiophile systems with trained listeners, differences become more apparent.

File Size Comparison (3-Minute Song)

Format	File Size	Storage for 1,000 Songs	Percentage of Uncompressed
WAV (16-bit/44.1kHz)	30.3 MB	29.6 GB	100% (baseline)
WAV (24-bit/96kHz)	98.6 MB	96.3 GB	325%
FLAC (lossless)	15.8 MB	15.4 GB	52%
AAC 256kbps	5.8 MB	5.7 GB	19%
MP3 320kbps	7.2 MB	7.0 GB	24%
MP3 192kbps	4.3 MB	4.2 GB	14%
MP3 128kbps	2.9 MB	2.8 GB	10%

Storage cost implications (assuming $10/month for 2TB cloud storage):

• 10,000 uncompressed WAV songs (296GB): $1.48/month
• 10,000 FLAC songs (154GB): $0.77/month
• 10,000 AAC songs (57GB): $0.29/month

For personal libraries, the cost difference is negligible. For professional studios with 100,000+ tracks, the difference between WAV and FLAC archival saves thousands in infrastructure costs.

Storage Requirements

Project scenario: Recording a 12-song album with multiple takes

Uncompressed WAV (24-bit/48kHz):

• 12 final tracks × 4 minutes × 17.3MB/min = ~830MB
• 5 takes per song × 12 songs × 4 min × 17.3MB/min = ~4.2GB
• Stems (20 tracks per song) × 12 songs × 4 min × 17.3MB/min = ~16.6GB
• Total project storage: ~21GB

Lossless FLAC:

• Same project compressed to FLAC = ~10.5GB (50% savings)

Lossy AAC 256kbps:

• Same project as AAC (for sharing demos) = ~4GB (80% savings)

The storage difference becomes significant at scale, especially for cloud backup and archival.

Processing Overhead

Uncompressed - Zero processing. Audio plays immediately with no decoding latency. Critical for real-time DAW playback during production.

Lossless - Minimal decoding overhead. Modern CPUs decompress FLAC in real-time without perceptible latency. Negligible impact on performance.

Lossy - Lightweight decoding. MP3/AAC decoding is fast and efficient, even on mobile devices. No practical latency concerns.

Production impact: Working with uncompressed WAV in your DAW ensures zero processing overhead during tracking, editing, and mixing. Save compression for archival and distribution.

Compatibility

Uncompressed WAV - Universal. Every DAW, audio editor, operating system, and hardware device supports WAV. Zero compatibility issues.

Lossless FLAC - Widespread but not universal. Excellent support on Windows, Android, Linux, hi-fi equipment. Requires third-party apps on iOS. ALAC has native Apple support but less universal elsewhere.

Lossy MP3 - Absolute universal compatibility. Every device manufactured since 2000 plays MP3. Guaranteed playback anywhere.

Lossy AAC - Very good compatibility. Native support on Apple devices, Android, modern browsers, streaming platforms. Some older hardware lacks AAC support.

Compatibility recommendation: For maximum compatibility (sharing with clients, unknown playback systems), MP3 remains the safest choice in 2025 despite being an aging standard.

Can You Hear the Difference?

This is the most debated question in audio: can humans actually hear the difference between uncompressed and compressed audio?

The Research Says

In properly conducted double-blind A/B tests, research consistently shows:

High-bitrate lossy (320kbps MP3, 256kbps AAC) vs. lossless:

• Average listeners: 50-60% accuracy (essentially random guessing)
• Trained listeners (audio engineers, producers): 60-70% accuracy (slight edge)
• Audiophiles with high-end equipment: 70-75% accuracy (better, but far from perfect)

Low-bitrate lossy (128kbps) vs. lossless:

• Average listeners: 75-85% accuracy (clearly audible differences)
• Trained listeners: 90%+ accuracy (obvious quality gap)

The threshold: For most people, 256-320kbps lossy compression is indistinguishable from lossless on consumer playback systems (consumer headphones, Bluetooth speakers, car audio).

Factors That Affect Perception

Playback Equipment - High-end audiophile systems (studio monitors, reference headphones, dedicated DACs/amps) reveal subtle compression artifacts invisible on consumer equipment.

Listening Environment - Critical listening in quiet, treated spaces exposes differences masked in noisy environments (commute, gym, office background).

Audio Content - Complex, dynamic music (orchestral, jazz, acoustic) shows compression artifacts more than compressed, mastered pop/EDM.

Listener Training - Audio professionals develop trained ears that detect subtle artifacts most casual listeners miss.

Listener Bias - Knowing which file is lossless influences perception. Blind tests control for this psychological factor.

When Differences Are Audible

At low bitrates (128kbps or below): Compression artifacts become obvious even on consumer equipment:

• Metallic, harsh high frequencies
• Muddy, undefined bass
• Lack of stereo width and depth
• "Swirly" or "underwater" sounds during complex passages

At high bitrates (256-320kbps): Differences are subtle and require:

• High-quality playback system (studio monitors or reference headphones)
• Quiet listening environment
• Direct A/B comparison (hard to notice without side-by-side)
• Trained listening skills

In production: When editing, processing, or mastering audio, working with lossless source material prevents cumulative quality degradation from DSP processing.

The Practical Reality

For casual listening on consumer devices (AirPods, Bluetooth speakers, car stereos), 256kbps AAC or 320kbps MP3 provides excellent quality indistinguishable from lossless for most listeners.

For critical listening on high-end systems, audiophile collections, or professional production, lossless formats (WAV, FLAC) are essential to preserve every nuance.

The psychological component matters too—many audiophiles prefer lossless simply for the peace of mind of knowing they have perfect quality, regardless of whether they can consistently hear the difference.

When to Use Uncompressed Audio

Music Production and Recording

Scenario: Tracking instruments and vocals in your DAW

Always use uncompressed WAV (24-bit/48kHz or 24-bit/96kHz)

Why: Recording is the foundation of your project. Capturing uncompressed audio ensures maximum quality and flexibility for subsequent editing, mixing, and mastering. Any compression applied during tracking compounds with every future processing stage.

Best practice: Set your DAW session to 24-bit/48kHz (music) or 24-bit/96kHz (critical work). Record all tracks as uncompressed WAV. The 24-bit depth provides superior headroom and dynamic range compared to 16-bit.

Editing and Mixing

Scenario: Editing takes, applying plugins, mixing multi-track sessions

Use uncompressed WAV at your session sample rate

Why: Every plugin, effect, and processing operation introduces minute changes to the audio. Starting with uncompressed source material and maintaining that format throughout editing/mixing prevents cumulative quality degradation.

Avoid: Never work with lossy compressed source files (MP3/AAC) in production. You’re processing already-degraded audio, compounding quality loss.

Mastering Sessions

Scenario: Sending final mixes to a mastering engineer

Deliver uncompressed WAV (24-bit/48kHz or 24-bit/96kHz, depending on session)

Why: Mastering engineers need pristine source material with maximum headroom. They’ll apply compression, EQ, limiting, and other processing—starting with lossy audio compromises the entire mastering chain.

Industry expectation: Professional mastering studios expect WAV deliverables. Sending MP3s or AACs signals amateur status and results in suboptimal masters.

Export settings:

• Format: WAV (uncompressed)
• Bit depth: 24-bit (or 32-bit float if mastering engineer requests)
• Sample rate: Same as your session (typically 48kHz or 96kHz)
• No dithering (mastering engineer handles downsampling to 16-bit for distribution)

Professional Deliverables

Scenario: Delivering final masters to record labels, distributors (DistroKid, TuneCore, CD Baby), or sync licensing libraries

Use uncompressed WAV (16-bit/44.1kHz for distribution, 24-bit for archival)

Why: Distribution platforms transcode your uploads to platform-specific formats (Spotify’s OGG, Apple Music’s AAC, etc.). Giving them the highest quality source ensures optimal results. Never upload MP3s—you’re providing pre-degraded material.

Distribution format recommendations:

• Streaming platforms: 16-bit/44.1kHz WAV (CD quality standard)
• High-res distribution: 24-bit/48kHz or 24-bit/96kHz WAV
• Sync licensing: 24-bit/48kHz WAV (video production standard)

File Size Tolerance

When uncompressed makes sense:

• Unlimited or cheap storage (local hard drives, NAS systems)
• Fast internet connection for cloud uploads
• Short-term project files (working on active projects)
• Professional collaboration with industry-standard expectations

When to consider compression:

• Cloud storage costs are significant
• Large archival libraries (thousands of tracks)
• Limited internet bandwidth for backups
• Long-term storage where FLAC offers identical quality at 50% savings

When to Use Compressed Audio

Compressed audio serves different purposes depending on whether you choose lossless or lossy compression.

When to Use Lossless Compression

Long-Term Archival

Scenario: Storing finished masters, released albums, and music libraries for years or decades

Use FLAC (or ALAC for Apple-only workflows)

Why: FLAC offers bit-perfect quality preservation at half the storage cost of WAV. For libraries with thousands of tracks, this translates to significant savings without compromising quality.

Archival strategy:

1. Keep original session WAVs until project completely finished
2. Export final masters as WAV initially
3. Convert final masters to FLAC for long-term archival storage
4. Verify FLAC files play correctly before deleting WAV sources (or keep both if storage permits)
5. Store FLAC files with comprehensive metadata (album art, tags, credits)

Cost savings example: 10,000-song library in WAV = 296GB; in FLAC = 154GB. At $10/month per 2TB cloud storage, that’s $0.77/month vs. $1.48/month—saving ~$8.50/year. For professional studios with 100,000+ tracks, annual savings reach hundreds of dollars.

Storage-Conscious Production

Scenario: You need lossless quality but cloud storage costs matter

Use FLAC for completed masters, WAV for active projects

Workflow:

• Work on projects in uncompressed WAV (active projects folder)
• Once finished and delivered, convert to FLAC (archive folder)
• Delete working WAV files after successful FLAC archival
• If you need to revisit, decompress FLAC back to WAV (bit-perfect restoration)

This hybrid approach balances quality with practical storage costs.

Audiophile Listening

Scenario: Building a high-fidelity music collection for critical listening

Use FLAC or high-resolution WAV

Why: Audiophiles demand perfect quality. Lossless formats deliver bit-perfect audio reproduction on high-end playback systems (dedicated DACs, amplifiers, studio monitors, reference headphones).

Optimal setup:

• Format: FLAC (or ALAC if Apple ecosystem)
• Bit depth: 24-bit if available
• Sample rate: 96kHz or higher if available
• Playback: Dedicated music player (Audirvana, Roon, foobar2000)
• Storage: High-capacity NAS for local network streaming

Reality check: As discussed earlier, even audiophiles struggle to reliably distinguish high-bitrate lossy from lossless in blind tests. However, the psychological satisfaction of knowing you have perfect quality matters to many collectors.

Lossless Streaming Services

Scenario: Subscribing to lossless streaming tiers (Tidal HiFi, Qobuz, Amazon Music HD)

These services use FLAC for lossless delivery

Why: Streaming lossless offers better quality than standard lossy tiers (Spotify’s 320kbps OGG, Apple Music’s 256kbps AAC) without storage overhead—you stream on demand rather than download permanently.

Considerations:

• Requires strong internet connection (FLAC files are larger)
• Consumes more mobile data if streaming on cellular
• Quality benefits most noticeable on high-quality headphones/speakers
• Subscription cost (~$15-20/month) vs. standard tier (~$10/month)

When to Use Lossy Compression

Everyday Listening

Scenario: Personal music library for casual listening on consumer devices

Use AAC (256kbps) or MP3 (320kbps)

Why: On consumer playback systems (AirPods, Bluetooth speakers, car stereos, typical headphones), high-bitrate lossy audio sounds excellent while consuming 75-80% less storage than uncompressed.

Recommended settings:

• Modern devices/services: AAC 256kbps (better quality than MP3 at same bitrate)
• Universal compatibility: MP3 320kbps (plays everywhere, very good quality)
• Space-constrained devices: AAC 192kbps (acceptable quality, smaller files)

Storage impact: 1,000-song library in AAC 256kbps = 5.7GB vs. 29.6GB uncompressed WAV. On a 128GB smartphone, that’s 24GB saved for photos, apps, and other content.

Streaming and Distribution

Scenario: Uploading to streaming platforms, sharing with listeners

Platforms transcode automatically:

• Spotify: Converts to OGG Vorbis (up to 320kbps Premium)
• Apple Music: Converts to AAC (256kbps standard, lossless available)
• YouTube: Converts to AAC (128-256kbps depending on video quality)
• Amazon Music: AAC for standard tier, FLAC for HD tier

What you should upload: WAV or FLAC (lossless source)

Why: Let platforms create optimal encodes from your lossless master. Never upload MP3s to distributors—you’re providing pre-degraded source material that gets re-encoded, compounding quality loss.

Sharing Demos and Client Previews

Scenario: Sending rough mixes to clients for feedback, sharing demos with collaborators

Use MP3 (320kbps) or AAC (256kbps)

Why: Smaller files transfer faster via email, messaging apps, or file-sharing links. Quality is sufficient for feedback and review purposes. Clients don’t need lossless masters for approval—they need convenient playback.

Best practice:

• Export: MP3 320kbps CBR or AAC 256kbps
• Include: Project name, version number, date in filename
• Watermark: Consider adding subtle watermark for unreleased material
• Final delivery: After approval, deliver final masters as lossless WAV

Example filename: "ClientName_SongTitle_Mix_v3_2025-12-04.mp3"

Using platforms like Feedtracks with timestamped feedback eliminates the inefficiency of email back-and-forth ("at 1:23, the vocal is too loud") by letting clients comment directly on the waveform.

Mobile Devices and Bandwidth Constraints

Scenario: Limited smartphone storage, slow internet, mobile data caps

Use AAC (192-256kbps) or MP3 (192-256kbps)

Why: Balance quality with file size and bandwidth consumption. 256kbps AAC sounds very good on mobile devices while saving significant storage and data.

Mobile optimization:

• Streaming: Use platform’s "High Quality" setting (usually 256kbps AAC/OGG)
• Downloaded playlists: 256kbps AAC conserves storage
• Bluetooth/car audio: Quality differences minimal vs. lossless

Data usage comparison (1-hour streaming):

• Lossless FLAC: ~150-200MB
• AAC 256kbps: ~115MB
• AAC 128kbps: ~57MB
• Spotify 96kbps (normal quality): ~40MB

On limited mobile data plans, lossy compression makes streaming practical.

Audio Quality Terms Explained

Understanding key technical terms helps you make informed format decisions.

Sample Rate (44.1kHz, 48kHz, 96kHz)

Definition: Sample rate measures how many times per second an analog signal is captured during analog-to-digital conversion. Measured in Hertz (Hz) or kilohertz (kHz).

Common sample rates:

• 44.1kHz (CD quality): 44,100 samples per second
• 48kHz (professional standard): 48,000 samples per second
• 96kHz (high-resolution): 96,000 samples per second
• 192kHz (audiophile/archival): 192,000 samples per second

Why these specific numbers?

The Nyquist-Shannon theorem states that to accurately reproduce a frequency, you must sample at least twice that frequency. Human hearing extends to roughly 20-22kHz at best (and diminishes with age).

• 44.1kHz = 22.05kHz frequency response (just above human hearing)
• 48kHz = 24kHz frequency response (professional safety margin)
• 96kHz = 48kHz frequency response (captures ultrasonic content)

Why 44.1kHz for CDs?

Historical reasons related to video recording technology used in early digital audio. The 48kHz standard emerged later for professional video post-production.

When higher sample rates matter:

• Preserving high-frequency transients (cymbal crashes, acoustic instruments)
• Providing headroom for pitch-shifting and time-stretching plugins
• Capturing ultrasonic content (debatable audible benefits)
• Professional archival standards

Practical reality: For most music production and listening, 48kHz provides excellent quality with reasonable file sizes. 96kHz+ offers marginal audible improvements for most listeners.

Bit Depth (16-bit, 24-bit, 32-bit)

Definition: Bit depth determines the precision of each audio sample, controlling the dynamic range (difference between quietest and loudest sounds).

Dynamic range by bit depth:

• 16-bit (CD quality): ~96dB dynamic range
• 24-bit (professional): ~144dB dynamic range
• 32-bit float: ~1,528dB theoretical range (practical: similar to 24-bit with floating-point benefits)

What is a dB (decibel)?

Logarithmic unit measuring sound pressure level. For reference:

• 0dB: Threshold of human hearing
• 30dB: Whisper
• 60dB: Normal conversation
• 96dB: Maximum dynamic range of 16-bit audio
• 120dB: Threshold of pain
• 130dB: Jet engine at close range

Why 24-bit for production:

The extra dynamic range provides headroom—space above your target levels that prevents clipping during recording and processing. Even if your final mix uses only 40-50dB dynamic range, recording at 24-bit gives you flexibility during editing and mixing.

16-bit vs. 24-bit in practice:

• Recording: Always use 24-bit for maximum headroom
• Mixing: Work at 24-bit (or 32-bit float) to prevent cumulative rounding errors
• Distribution: 16-bit is standard (CD quality, streaming platforms)
• Archival: 24-bit preserves original quality

Dithering: When converting from 24-bit to 16-bit for distribution, dithering adds low-level noise to prevent quantization distortion. Your mastering engineer typically handles this during final delivery.

32-bit float: Used increasingly in modern DAWs. Provides virtually infinite headroom—you can’t clip during recording or processing. Simplifies gain staging and prevents accidental clipping.

Bitrate (kbps)

Definition: Bitrate measures how much data is used per second of audio. For uncompressed audio, bitrate is calculated from sample rate and bit depth. For compressed audio, bitrate determines quality level.

Calculating uncompressed bitrate:

Formula: Sample Rate × Bit Depth × Channels = Bitrate

Examples:

• CD quality (44.1kHz, 16-bit, stereo): 44,100 × 16 × 2 = 1,411,200 bits/second = 1,411 kbps
• Studio standard (48kHz, 24-bit, stereo): 48,000 × 24 × 2 = 2,304,000 bits/second = 2,304 kbps
• High-res (96kHz, 24-bit, stereo): 96,000 × 24 × 2 = 4,608,000 bits/second = 4,608 kbps

Lossy compression bitrates:

Bitrate for lossy formats (MP3, AAC, OGG) indicates quality level:

Low quality: 96-128 kbps

• Noticeable compression artifacts
• Acceptable for podcasts, voice content, background music
• Not recommended for critical listening

Medium quality: 192 kbps

• Acceptable for casual listening
• Some artifacts audible on good headphones
• Common for online radio, low-bandwidth streaming

High quality: 256 kbps

• Excellent quality on consumer equipment
• Minimal artifacts on most playback systems
• Apple Music standard tier

Maximum quality: 320 kbps

• Very good quality approaching lossless
• Difficult to distinguish from uncompressed on consumer equipment
• Spotify Premium, maximum MP3 bitrate

CBR vs. VBR:

CBR (Constant Bitrate): Same bitrate throughout the file. Predictable file size, sometimes inefficient (wastes bits on simple passages, starves complex passages).

VBR (Variable Bitrate): Adjusts bitrate dynamically—higher for complex passages, lower for simple ones. Better quality-to-file-size ratio. Use VBR when possible.

Best Practices for Audio Professionals

A professional workflow uses multiple formats strategically for different purposes:

Recording: Uncompressed WAV (24-bit/48kHz or 96kHz)

Settings:

• Format: WAV (uncompressed)
• Bit depth: 24-bit (or 32-bit float if DAW supports)
• Sample rate: 48kHz (standard) or 96kHz (critical work)

Why: Capture maximum quality and headroom at the source. 24-bit depth provides superior dynamic range for recording, preventing clipping and preserving quieter details.

Editing and Mixing: Uncompressed WAV (Match Session Rate)

Settings:

• Work at the same sample rate you recorded at
• Maintain 24-bit (or 32-bit float) throughout
• Never downsample or convert to lossy during production

Why: Maintain pristine quality through every processing stage. Any conversion or compression compounds with plugin processing, degrading final quality.

Mastering Delivery: Uncompressed WAV (24-bit/48kHz or 96kHz)

Delivery format:

• WAV, 24-bit, session sample rate
• No processing, no limiting (unless specifically requested)
• Headroom: -3dB to -6dB peak (mastering engineer will maximize)

Why: Give mastering engineers clean, uncompromised source material with headroom for their processing chain.

Archival: FLAC (Match Original Bit Depth/Sample Rate)

Strategy:

• Convert finished masters to FLAC after project completion
• Preserve original bit depth and sample rate (24-bit/48kHz → FLAC 24-bit/48kHz)
• Include comprehensive metadata (tags, artwork, credits)
• Verify file integrity before deleting WAV sources

Why: Save 50% storage costs while maintaining bit-perfect quality. FLAC’s checksum verification ensures long-term file integrity.

Distribution to Streaming Platforms: WAV (16-bit/44.1kHz)

Upload format:

• WAV or FLAC
• 16-bit/44.1kHz (CD quality standard)
• Properly dithered if downsampled from 24-bit
• Normalized to -14 LUFS (Spotify/Apple Music loudness standard)

Why: Platforms transcode uploads to their delivery formats. Providing lossless source ensures optimal results. Never upload MP3s—platforms will re-encode, compounding quality loss.

Client Sharing and Demos: MP3 (320kbps) or AAC (256kbps)

Sharing format:

• MP3 320kbps CBR (universal compatibility) or AAC 256kbps (modern devices)
• Include version number and date in filename
• Consider subtle watermarking for unreleased material

Why: Convenient file sizes for email/messaging, fast transfers, adequate quality for review and feedback. Save lossless delivery for final approval.

The Hybrid Workflow Summary

Purpose	Format	Bit Depth	Sample Rate	Why
Recording	WAV	24-bit	48kHz or 96kHz	Maximum quality capture
Editing/Mixing	WAV	24-bit	Match session	No quality loss during processing
Mastering Delivery	WAV	24-bit	Match session	Pristine source for mastering engineer
Archival	FLAC	24-bit	Match original	50% storage savings, bit-perfect quality
Distribution Upload	WAV	16-bit	44.1kHz	Platforms transcode optimally from lossless
Client Demos	MP3/AAC	320/256 kbps	44.1kHz	Convenient sharing, adequate review quality
Personal Listening	FLAC or AAC	Depends on preference	44.1kHz+	FLAC for audiophiles, AAC for convenience

This approach maximizes quality where it matters (production, archival) while embracing convenience where appropriate (sharing, everyday listening).

Converting Between Audio Formats

Quality Preservation Rules

The golden rule: You can never improve quality by converting formats. You can only maintain it (lossless conversions) or degrade it (lossy conversions).

Valid Conversions That Preserve Quality

Uncompressed to lossless compressed (Perfect quality maintained):

• WAV → FLAC (50% file size reduction, bit-perfect quality)
• WAV → ALAC (50% file size reduction, Apple ecosystem)
• AIFF → FLAC (cross-platform archival)

Lossless compressed to uncompressed (Perfect reconstruction):

• FLAC → WAV (bit-for-bit identical to original source)
• ALAC → WAV (perfect reconstruction for editing/mastering)

Between lossless formats (Perfect quality maintained):

• FLAC → ALAC (for Apple ecosystem migration)
• ALAC → FLAC (for universal compatibility)

Conversions That Degrade Quality

Uncompressed/lossless to lossy (Permanent quality loss):

• WAV → MP3 (lossy compression applied, data removed)
• FLAC → AAC (lossy compression applied, data removed)
• WAV → OGG (lossy compression applied, data removed)

These conversions are valid and common (archival to distribution, sharing, streaming), but understand quality is permanently reduced.

Never Do These Conversions

Lossy to lossless (Pointless file size increase):

• MP3 → FLAC (creates lossless container around lossy data—no quality improvement)
• AAC → WAV (huge file with AAC quality ceiling)

You’re just making files bigger without recovering lost quality. The data removed during initial lossy compression is gone forever.

Lossy to lossy (Cumulative quality degradation):

• MP3 → AAC (double compression, compounded artifacts)
• AAC → OGG (double compression, further degradation)
• MP3 → MP3 (re-encoding degrades quality further)

Each lossy encode removes additional data based on its psychoacoustic model. Re-encoding lossy files compounds quality loss unpredictably.

The Right Workflow

Always keep lossless masters (WAV or FLAC). When you need lossy formats, convert from the lossless master—never from another lossy file.

Example:

• Master archive: WAV or FLAC (24-bit/48kHz)
• Distribution: Convert master → WAV 16-bit/44.1kHz for streaming upload
• Client sharing: Convert master → MP3 320kbps for email
• Personal library: Convert master → AAC 256kbps for mobile device

Each derivative is created from the pristine lossless source, preventing cumulative quality loss.

Recommended Conversion Tools

Free tools:

• fre:ac (Windows, macOS, Linux): Excellent batch converter supporting FLAC, MP3, AAC, OGG. High-quality encoders, comprehensive format support.
• XLD (X Lossless Decoder) (macOS): High-quality conversion with AccurateRip verification for CD ripping. Preferred by audiophiles.
• Audacity (Windows, macOS, Linux): Full-featured audio editor with format export capabilities.
• FFmpeg (command-line, all platforms): Professional-grade transcoding engine. Powerful but requires command-line knowledge.

Paid tools:

• dBpoweramp ($39): Industry standard for high-quality batch conversion. Excellent codec implementations, metadata handling, and batch processing.
• Adobe Audition ($20.99/month): Professional audio editing suite with pristine conversion algorithms.
• iZotope RX ($399+): High-end audio restoration and mastering suite with exceptional conversion quality.

Avoid: Online converters. You’re uploading masters to unknown services with uncertain encoding quality and potential security/privacy concerns.

Batch Conversion Best Practices

If converting large libraries, follow these guidelines:

1. Verify source quality first: Don’t convert lossy files (MP3, AAC) to lossless formats (FLAC). It’s pointless and misleading.

2. Choose appropriate settings:

• FLAC: Compression level 5 (default) balances file size and encoding speed
• MP3: 320kbps CBR or V0 VBR (~245kbps average, excellent quality)
• AAC: 256kbps AAC-LC (VBR preferred)

3. Preserve metadata: Ensure album art, track info, genre tags, and other metadata transfer correctly. Verify after conversion.

4. Test before bulk conversion: Convert one file and verify quality, playback, and metadata before processing thousands of files.

5. Keep originals until verified: Don’t delete source files until you’ve confirmed conversions are successful and playback correctly.

6. Organize systematically: Maintain folder structure during batch conversion to preserve your organization system.

Cloud Storage Implications

File format choices directly impact cloud storage costs and workflow efficiency.

Storage Costs by Format

Scenario: 10,000-song music library (3-minute average)

Format	Total Size	Cost (at $10/2TB)	Annual Cost
WAV (16-bit/44.1kHz)	296 GB	$1.48/month	$17.76/year
WAV (24-bit/96kHz)	963 GB	$4.82/month	$57.84/year
FLAC (lossless)	154 GB	$0.77/month	$9.24/year
AAC (256kbps)	57 GB	$0.29/month	$3.48/year
MP3 (320kbps)	70 GB	$0.35/month	$4.20/year

For personal libraries: Cost differences are minimal. For professional studios with 100,000+ tracks, choosing FLAC over WAV saves $100+/year in cloud storage costs without quality compromise.

Upload and Download Times

Scenario: Uploading 1,000 songs to cloud backup (assuming 50 Mbps upload speed)

Format	Total Size	Upload Time	Download Time (50 Mbps)
WAV (CD quality)	29.6 GB	~1 hour 19 min	~1 hour 19 min
FLAC (lossless)	15.4 GB	~41 min	~41 min
AAC (256kbps)	5.7 GB	~15 min	~15 min

Practical impact: For initial library uploads, FLAC cuts upload time nearly in half vs. WAV while maintaining perfect quality. For daily project backups, the difference is less critical.

Backup Strategies for Producers

Implement the 3-2-1 backup rule:

• 3 copies of your data (original + 2 backups)
• 2 different storage media (internal drive + external drive, or internal + cloud)
• 1 copy offsite (cloud storage protects against fire, theft, flood)

Recommended strategy:

Primary storage (working files): Internal SSD or fast external SSD

• Active projects in uncompressed WAV
• Fast access for DAW sessions
• Daily work

Backup 1 (local backup): External hard drive or NAS

• Automated daily backups (Time Machine, File History)
• Uncompressed WAV or FLAC
• Protection against primary drive failure

Backup 2 (cloud backup): Cloud storage service (Dropbox, Google Drive, pCloud, Feedtracks)

• Finished masters archived as FLAC (50% storage savings)
• Offsite protection against theft, fire, natural disaster
• Accessible from anywhere for collaboration

Total cost: ~$15-30/month for comprehensive protection (cloud subscription + periodic external drive upgrades)

For detailed comparisons of cloud storage options specifically for music producers, see our guide: Best Cloud Storage for Music Producers.

FAQs: Uncompressed vs Compressed Audio

Is uncompressed audio better than compressed audio?

For production work: Yes. Uncompressed audio (WAV) provides perfect quality with zero artifacts and no processing overhead, making it essential for recording, editing, mixing, and mastering.

For listening: It depends. Lossless compressed (FLAC) offers identical quality to uncompressed at half the file size. High-bitrate lossy (256-320kbps AAC/MP3) sounds excellent on consumer equipment for most listeners. The "better" choice depends on your use case, storage constraints, and playback equipment.

Can you convert compressed audio back to uncompressed and recover quality?

No. Converting lossy compressed audio (MP3, AAC) to uncompressed formats (WAV) or lossless formats (FLAC) creates a larger file without improving quality. The audio data removed during initial compression is permanently gone and cannot be recovered.

Converting lossless compressed (FLAC) to uncompressed (WAV) perfectly reconstructs the original because lossless compression preserves all data—this is reversible.

What’s the difference between lossless and uncompressed?

Uncompressed (WAV, AIFF): Raw audio data with no compression at all. Largest file size, instant playback with zero processing.

Lossless compressed (FLAC, ALAC): Mathematically compressed audio that decompresses to bit-perfect identical copies of the original. 50% smaller files, minimal processing overhead, identical quality when played back.

Analogy: Uncompressed is like a printed document. Lossless is like a ZIP file of that document—smaller to store, but perfectly reconstructs the original when opened.

How much storage do I need for uncompressed audio?

For producers:

• Beginner/hobbyist: 500GB-1TB (a few active projects, limited sample libraries)
• Active producer: 2-5TB (multiple ongoing projects, larger sample libraries)
• Professional studio: 10TB+ (hundreds of projects, extensive libraries, client sessions)

File size examples:

• Single 4-minute song (24-bit/48kHz WAV): ~70MB
• Full 12-song album session with stems: 15-25GB
• 1,000-song music library (16-bit/44.1kHz WAV): ~30GB

Storage recommendation: Use uncompressed WAV for active projects and archive finished masters as FLAC to cut long-term storage needs in half without quality loss.

Should I record in WAV or FLAC?

Always record in WAV (uncompressed).

Why: Most DAWs work natively with uncompressed audio for zero-latency playback and processing. Recording directly to compressed formats (even lossless) adds unnecessary encoding overhead and potential compatibility issues during production.

Best workflow:

1. Record → Uncompressed WAV (24-bit/48kHz)
2. Edit/Mix → Keep as WAV
3. Master → Export as WAV for delivery
4. Archive → Convert finished master to FLAC for long-term storage

You can always convert WAV to FLAC later for archival without quality loss. You cannot add quality back by converting FLAC to WAV during production if you recorded in FLAC originally.

Does Spotify use compressed audio?

Yes. Spotify uses lossy compressed audio in OGG Vorbis format at multiple quality tiers:

• Low (~24 kbps): Data saving mode for mobile
• Normal (~96 kbps): Default quality
• High (~160 kbps): Improved quality
• Very High (~320 kbps): Premium subscribers only, excellent quality

Spotify HiFi (lossless tier) has been announced but not yet launched as of 2025. Competitors like Tidal, Apple Music, and Amazon Music already offer lossless streaming tiers using FLAC or ALAC.

For most listeners on consumer equipment, Spotify’s 320kbps OGG Vorbis provides very good quality that’s difficult to distinguish from lossless.

What format should I use for archiving music?

Best format: FLAC (Free Lossless Audio Codec)

Why FLAC for archival:

• Bit-perfect quality preservation (identical to WAV when decompressed)
• 50% file size reduction compared to uncompressed WAV
• Excellent metadata support (album art, tags, comprehensive information)
• Open-source format not tied to corporate interests (future-proof)
• Checksum verification ensures file integrity over time
• Wide software and hardware support

Archival settings:

• Bit depth: Match original (24-bit preferred)
• Sample rate: Match original (48kHz or higher)
• Compression level: 5 (default, good balance)
• Metadata: Include complete tags, artwork, credits

Alternative: WAV if you have unlimited storage and prefer absolute simplicity. However, FLAC’s storage savings and superior metadata make it the superior archival choice for most users.

Conclusion: Making Informed Format Decisions

The choice between uncompressed and compressed audio isn’t binary—it’s contextual. Understanding the fundamental differences empowers you to choose the right format for each situation.

Key takeaways:

Uncompressed audio (WAV) offers perfect quality with zero artifacts and zero processing overhead. It’s essential for professional production—recording, editing, mixing, and mastering. The file size cost is worth it during the creative process.

Lossless compressed audio (FLAC) provides identical quality to uncompressed at half the file size through reversible mathematical compression. It’s ideal for long-term archival, hi-fi listening, and storage-conscious workflows. Convert finished masters to FLAC to save storage costs without compromising quality.

Lossy compressed audio (AAC, MP3) achieves massive file size reductions (75-90% smaller) by permanently removing audio data human ears theoretically can’t perceive. At high bitrates (256-320kbps), quality is excellent for casual listening on consumer equipment, making it perfect for everyday listening, streaming, mobile devices, and sharing demos.

The professional workflow:

1. Record in uncompressed WAV (24-bit/48kHz or 96kHz) for maximum quality capture
2. Edit and mix in uncompressed WAV to prevent cumulative quality degradation
3. Master and deliver uncompressed WAV to mastering engineers and distributors
4. Archive finished masters as FLAC for long-term storage (50% savings, bit-perfect quality)
5. Share demos and client previews as high-bitrate MP3 or AAC (convenient, adequate quality)
6. Listen using FLAC for audiophile enjoyment or AAC for everyday convenience

The golden rule: Always maintain lossless masters (WAV or FLAC). You can create lossy versions anytime from lossless sources, but you cannot recover quality lost to compression. Treat your uncompressed or lossless masters as the source of truth—everything else is a derivative created for specific purposes.

As audio technology evolves—better codecs, faster internet, cheaper storage—the fundamental principle remains: understand the trade-offs between quality, file size, and compatibility, then choose formats that match your specific needs.

Your music deserves proper care. Make format decisions that protect your creative work while fitting your workflow and storage reality.

Related Articles

• Audio File Formats Explained: WAV, FLAC, MP3, AAC, OGG
• Best Cloud Storage for Music Producers in 2025
• How to Organize 1,000+ Audio Files Without Going Insane
• Cloud Backup Strategies for Home Recording Studios