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Supported Formats
Convert between all major file formats with high quality
Common Formats
MPEG-1 Audio Layer III - the most universal audio format worldwide, using lossy compression to reduce file sizes by 90% while maintaining excellent perceived quality. Perfect for music libraries, podcasts, portable devices, and any scenario requiring broad compatibility. Supports bitrates from 32-320kbps. Standard for digital music since 1993, playable on virtually every device and platform.
Waveform Audio File Format - uncompressed PCM audio providing perfect quality preservation. Standard Windows audio format with universal compatibility. Large file sizes (10MB per minute of stereo CD-quality). Perfect for audio production, professional recording, mastering, and situations requiring zero quality loss. Supports various bit depths (16, 24, 32-bit) and sample rates. Industry standard for professional audio work.
Ogg Vorbis - open-source lossy audio codec offering quality comparable to MP3/AAC at similar bitrates. Free from patents and licensing restrictions. Smaller file sizes than MP3 at equivalent quality. Used in gaming, open-source software, and streaming. Supports variable bitrate (VBR) for optimal quality. Perfect for applications requiring free codecs and good quality. Growing support in media players and platforms.
Advanced Audio Coding - successor to MP3 offering better quality at same bitrate (or same quality at lower bitrate). Standard audio codec for Apple devices, YouTube, and many streaming services. Supports up to 48 channels and 96kHz sample rate. Improved frequency response and handling of complex audio. Perfect for iTunes, iOS devices, video streaming, and modern audio applications. Part of MPEG-4 standard widely supported across platforms.
Free Lossless Audio Codec - compresses audio 40-60% without any quality loss. Perfect bit-for-bit preservation of original audio. Open-source format with no patents or licensing fees. Supports high-resolution audio (192kHz/24-bit). Perfect for archiving music collections, audiophile listening, and scenarios where quality is paramount. Widely supported by media players and streaming services. Ideal balance between quality and file size.
MPEG-4 Audio - AAC or ALAC audio in MP4 container. Standard audio format for Apple ecosystem (iTunes, iPhone, iPad). Supports both lossy (AAC) and lossless (ALAC) compression. Better quality than MP3 at same file size. Includes metadata support for artwork, lyrics, and rich tags. Perfect for iTunes library, iOS devices, and Apple software. Widely compatible across platforms despite Apple association. Common format for purchased music and audiobooks.
Windows Media Audio - Microsoft's proprietary audio codec with good compression and quality. Standard Windows audio format with native OS support. Supports DRM for protected content. Various profiles (WMA Standard, WMA Pro, WMA Lossless). Comparable quality to AAC at similar bitrates. Perfect for Windows ecosystem and legacy Windows Media Player. Being superseded by AAC and other formats. Still encountered in Windows-centric environments and older audio collections.
Lossless Formats
Apple Lossless Audio Codec - Apple's lossless compression reducing file size 40-60% with zero quality loss. Perfect preservation of original audio like FLAC but in Apple ecosystem. Standard lossless format for iTunes and iOS. Supports high-resolution audio up to 384kHz/32-bit. Smaller than uncompressed but larger than lossy formats. Perfect for iTunes library, audiophile iOS listening, and maintaining perfect quality in Apple ecosystem. Comparable to FLAC but with better Apple integration.
Monkey's Audio - high-efficiency lossless compression achieving better ratios than FLAC (typically 55-60% of original). Perfect quality preservation with zero loss. Free format with open specification. Slower compression/decompression than FLAC. Popular in audiophile communities. Limited player support compared to FLAC. Perfect for archiving when maximum space savings desired while maintaining perfect quality. Best for scenarios where storage space is critical and processing speed is not.
WavPack - hybrid lossless/lossy audio codec with unique correction file feature. Can create lossy file with separate correction file for lossless reconstruction. Excellent compression efficiency. Perfect for flexible audio archiving. Less common than FLAC. Supports high-resolution audio and DSD. Convert to FLAC for universal compatibility.
True Audio - lossless audio compression with fast encoding/decoding. Similar compression to FLAC with simpler algorithm. Open-source and free format. Perfect quality preservation. Less common than FLAC with limited player support. Perfect for audio archiving when FLAC compatibility not required. Convert to FLAC for broader compatibility.
Audio Interchange File Format - Apple's uncompressed audio format, equivalent to WAV but for Mac. Stores PCM audio with perfect quality. Standard audio format for macOS and professional Mac audio applications. Supports metadata tags better than WAV. Large file sizes like WAV (10MB per minute). Perfect for Mac-based audio production, professional recording, and scenarios requiring uncompressed audio on Apple platforms. Interchangeable with WAV for most purposes.
Modern Formats
Opus Audio Codec - modern open-source codec (2012) offering best quality at all bitrates from 6kbps to 510kbps. Excels at both speech and music. Lowest latency of modern codecs making it perfect for VoIP and real-time communication. Superior to MP3, AAC, and Vorbis at equivalent bitrates. Used by WhatsApp, Discord, and WebRTC. Ideal for streaming, voice calls, podcasts, and music. Becoming the universal audio codec for internet audio.
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Matroska Audio - audio-only Matroska container supporting any audio codec. Flexible format with metadata support. Can contain multiple audio tracks. Perfect for audio albums with chapters and metadata. Part of Matroska multimedia framework. Used for audiobooks and multi-track audio. Convert to FLAC or MP3 for universal compatibility.
Legacy Formats
MPEG-1 Audio Layer II - predecessor to MP3 used in broadcasting and DVDs. Better quality than MP3 at high bitrates. Standard audio codec for DVB (digital TV) and DVD-Video. Lower compression efficiency than MP3. Perfect for broadcast applications and DVD authoring. Legacy format being replaced by AAC in modern broadcasting. Still encountered in digital TV and video production workflows.
Dolby Digital (AC-3) - surround sound audio codec for DVD, Blu-ray, and digital broadcasting. Supports up to 5.1 channels. Standard audio format for DVDs and HDTV. Good compression with multichannel support. Perfect for home theater and video production. Used in cinema and broadcast. Requires Dolby license for encoding.
Adaptive Multi-Rate - speech codec optimized for mobile voice calls. Excellent voice quality at very low bitrates (4.75-12.2 kbps). Standard for GSM and 3G phone calls. Designed specifically for speech, not music. Perfect for voice recordings, voicemail, and speech applications. Used in WhatsApp voice messages and mobile voice recording. Efficient for voice but inadequate for music.
Sun/NeXT Audio - simple audio format from Sun Microsystems and NeXT Computer. Uncompressed or μ-law/A-law compressed audio. Common on Unix systems. Simple header with audio data. Perfect for Unix audio applications and legacy system compatibility. Found in system sounds and Unix audio files. Convert to WAV or MP3 for modern use.
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RealAudio - legacy streaming audio format from RealNetworks (1990s-2000s). Pioneered internet audio streaming with low-bitrate compression. Obsolete format replaced by modern streaming technologies. Poor quality by today's standards. Convert to MP3 or AAC for modern use. Historical importance in early internet audio streaming.
Specialized Formats
DTS Coherent Acoustics - surround sound codec competing with Dolby Digital. Higher bitrates than AC-3 with potentially better quality. Used in DVD, Blu-ray, and cinema. Supports up to 7.1 channels and object-based audio. Perfect for high-quality home theater. Premium audio format for video distribution. Convert to AC-3 or AAC for broader compatibility.
Core Audio Format - Apple's container for audio data on iOS and macOS. Supports any audio codec and unlimited file sizes. Modern replacement for AIFF on Apple platforms. Perfect for iOS app development and professional Mac audio. No size limitations (unlike WAV). Can store multiple audio streams. Convert to M4A or MP3 for broader compatibility outside Apple ecosystem.
VOC (Creative Voice File) - audio format from Creative Labs Sound Blaster cards. Popular in DOS era (1989-1995) for games and multimedia. Supports multiple compression formats and blocks. Legacy PC audio format. Common in retro gaming. Convert to WAV or MP3 for modern use. Important for DOS game audio preservation.
Speex - open-source speech codec designed for VoIP and internet audio streaming. Variable bitrate from 2-44 kbps. Optimized for speech with low latency. Better than MP3 for voice at low bitrates. Being superseded by Opus. Perfect for voice chat, VoIP, and speech podcasts. Legacy format replaced by Opus in modern applications.
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How to Convert Files
Upload your files, select output format, and download converted files instantly. Our converter supports batch conversion and maintains high quality.
Frequently Asked Questions
What is CDDA (Compact Disc Digital Audio)?
CDDA is the original audio format for music CDs, established by Philips and Sony in the Red Book standard (1980). It's uncompressed 16-bit PCM audio at 44.1kHz sample rate, stereo. When you play music CD in CD player, you're hearing CDDA. It's not a file format per se - it's the raw digital audio stored on physical CDs before MP3s and streaming existed.
Technical specs: 1411kbps bitrate (constant), maximum 74-80 minutes per disc, no built-in compression, no metadata in audio stream (CD-Text is separate optional feature). CDDA was designed for quality and simplicity - sounds great, works reliably, but huge file sizes by modern standards (~10MB per minute).
Should I rip CDs to FLAC or MP3?
Format choice for CD ripping:
FLAC for Archival
Lossless preservation of CD quality. Perfect for backing up CD collection. Large files but exact quality.
MP3 for Portability
320kbps MP3 sounds great, 1/10th size of FLAC. Works everywhere. Good for phone, car, portable players.
Hybrid Approach
Rip to FLAC for archive/home listening. Generate MP3 from FLAC for portable use. Best of both worlds.
Storage Costs
FLAC collection needs ~300-400MB per album. MP3 needs ~80-120MB. With cheap storage, FLAC makes sense now.
Rip to FLAC if you care about preserving CD quality perfectly. Use MP3 if portability and space matter more. You can always convert FLAC to MP3 later, but not reverse.
What's the best quality for ripping CDs?
CD ripping quality settings:
FLAC Lossless
Bit-perfect copy of CD. Identical quality to original disc. ~300-400MB per album. Best archival choice.
ALAC (Apple Lossless)
Same quality as FLAC, Apple ecosystem friendly. iTunes/Music app native support. Similar file sizes.
320kbps MP3
Maximum MP3 quality. Transparent to most listeners. ~80-120MB per album. Practical compromise.
256kbps AAC
Better than 320kbps MP3 technically. Efficient, high quality. Good for Apple devices and modern players.
V0/V2 MP3
Variable bitrate - efficient quality. V0 (~245kbps avg) is near-transparent. V2 (~190kbps) still great.
WAV Uncompressed
Same as CD audio, uncompressed. Huge files (same as FLAC but without compression). Usually unnecessary.
Lower Bitrates
192kbps MP3/AAC acceptable for casual listening. Below 192kbps, quality suffers noticeably.
For archival: FLAC or ALAC. For listening: 320kbps MP3 or 256kbps AAC. Don't use lower bitrates unless space is critical.
How do I rip CDs to FLAC or MP3?
Windows: Exact Audio Copy (EAC) is gold standard - accurate ripping, error correction, FLAC/MP3 encoding, metadata retrieval. Free, powerful, industry standard for serious rippers. Alternatively, foobar2000 with CD ripper component works well for simpler needs.
Mac: XLD (X Lossless Decoder) is EAC equivalent for macOS - accurate, free, supports all formats. Apple Music/iTunes can rip to AAC or Apple Lossless but less control over quality settings. For serious archival, use XLD.
Linux: Asunder, Sound Juicer, or command-line tools (cdparanoia + FLAC encoder). Most Linux distros include capable CD ripping tools. For command-line nerds, cdparanoia with FLAC/LAME is ultimate control.
What is AccurateRip and why does it matter?
AccurateRip is database verifying CD rips are bit-perfect. After ripping, software calculates checksum (digital fingerprint) and compares to database of other users' rips of same disc. Match means your rip is verified accurate. No match might indicate read errors, different pressing, or you're first to rip that specific edition.
Why it matters: CD drives can make errors reading damaged or poorly manufactured discs. AccurateRip confirmation means your FLAC files are perfect representation of CD, not corrupted by read errors. For archival quality, AccurateRip verification is essential - proves you've captured CD correctly.
How to use: EAC (Windows) and XLD (Mac) support AccurateRip automatically. After ripping, software shows how many tracks matched database. Green/matching results = perfect rip. Red/no match = investigate (might be damaged disc, drive issue, or rare pressing).
Should I use error correction when ripping CDs?
Yes, always! CD drives don't detect errors by default - they'll happily produce corrupted files from scratched discs without warning. Error correction (C2 error detection, multi-pass reading) forces drive to re-read problematic sectors until successful or confirmed unreadable.
Secure mode (EAC) or burst mode (fast but risky): Secure mode reads each sector multiple times, compares results, detects errors. Slower (2-8x vs 40x+ burst) but guarantees accuracy. For archival ripping, speed doesn't matter - accuracy does. Use secure mode.
Damaged discs: Error correction can't fix physically destroyed data, but it detects problems so you know rip is incomplete. You'll get warnings about unreadable sectors rather than silent corruption. If CD is valuable, try professional disc repair or different drive before accepting lossy rip.
What sample rate and bit depth should I use?
Keep CD's native specs: 44.1kHz, 16-bit. This is what's on disc - upsampling to 96kHz/24-bit during ripping doesn't add quality, just file size. You can't extract information that wasn't recorded. 44.1kHz/16-bit FLAC is bit-perfect copy of CD.
Don't upsample: Some software offers 'HD quality' upsampling (96kHz, 192kHz). This is snake oil for CD ripping - you're creating larger files without quality improvement. CD is mastered at 44.1kHz/16-bit. That's the source resolution, period.
Exception: If converting to lossy (MP3, AAC), encoder will handle sample rate internally. You don't choose - it's automatic. For lossless ripping (FLAC, ALAC), always match source: 44.1kHz/16-bit for CDs. Anything higher is placebo with storage cost.
How do I get correct metadata when ripping CDs?
Metadata retrieval for CD ripping:
MusicBrainz
Best metadata database - accurate, community-maintained, comprehensive. EAC and XLD support it. First choice.
freedb/CDDB
Older database, less accurate than MusicBrainz. Still widely used. Automatic lookups in most rippers.
Gracenote
Commercial database (iTunes uses this). Accurate but proprietary. iTunes/Music app defaults to Gracenote.
Manual Tagging
For obscure releases, you'll type metadata manually. Tagging software (Mp3tag, MusicBrainz Picard) helps organize.
Album Art
Some rippers fetch cover art automatically. Or use Mp3tag to batch download artwork after ripping.
Use MusicBrainz for best metadata accuracy. Verify auto-tagged info before finalizing - databases occasionally have errors or multiple versions.
Why is ripping CDs slow?
Accurate ripping requires multiple passes. Drive reads each sector several times, compares results, detects errors. This takes time. Burst mode rips at 40x+ speed but risks errors. Secure mode (2-8x) is slower but accurate. You're trading speed for quality - for permanent archival, accuracy matters more.
Factors affecting speed: Drive quality (some drives are faster/more accurate), disc condition (scratched discs require more re-reads), error correction settings (more paranoid = slower), and encoding speed (FLAC is fast, MP3 is CPU-intensive). Old/cheap drives are notoriously slow.
Realistic expectations: Secure ripping takes 5-15 minutes per CD depending on drive and settings. Batch ripping entire collection is weekend project, not hour task. But you're creating permanent archive - do it once, do it right. Speed isn't priority for one-time archival task.
Can I rip CDs to my phone directly?
Mobile CD ripping challenges:
No Native Support
Phones lack CD drives. You need external USB CD drive + USB-C/Lightning adapter. Clunky setup.
Software Limitations
Mobile apps for CD ripping are rare and limited. No EAC/XLD equivalent. Quality questionable.
Storage Issues
FLAC rips are huge. Phone storage fills quickly. Impractical for large collections.
Better Workflow
Rip on computer (accurate, proper software), then sync to phone. Separate archival from portable use.
USB CD Drives
Some Android apps support USB CD drives. iOS support is nonexistent. Not worth hassle.
Streaming Alternative
Upload ripped FLAC to Plex/cloud, stream to phone. No local storage needed, access everywhere.
Recommendation
Don't rip CDs on phone. Use proper computer setup, then transfer files. Better quality, faster, more reliable.
Car Ripping
Some in-car systems can rip CDs to internal storage. Quality is usually poor. Not recommended.
Laptop Alternative
Laptop with CD drive is portable CD ripping station. Better than phone, still mobile.
Proper Tools
Ripping requires proper software and verification. Phones can't provide this. Use desktop solutions.
What's the difference between CD-DA and audio CD?
They're the same thing! CD-DA (Compact Disc Digital Audio) is the technical name for audio CD format. 'Audio CD' is consumer term, 'CD-DA' or 'Red Book CD' are engineering terms. All refer to same thing - standard music CDs you buy in stores or burn at home.
Terminology confusion: Files ripped from CDs might have .cda extension in Windows Explorer. These aren't real audio files - they're shortcuts Windows creates representing CD tracks. You can't copy .cda files meaningfully - you must rip CD to actual audio format (FLAC, MP3).
Other CD types: CD-ROM (computer data), CD-R (recordable), CD-RW (rewritable), but these are media types. CD-DA/audio CD is the format specification for music content. A CD-R can contain CD-DA audio - it's recordable medium with audio format.
Is CD quality better than MP3?
CD (44.1kHz/16-bit uncompressed) is higher quality than MP3 (lossy compression). However, high bitrate MP3 (320kbps) is transparent to most listeners on most equipment - you can't hear difference from CD. Lower bitrate MP3 (128kbps, 192kbps) has audible quality loss, especially on good headphones/speakers.
Practical reality: CD is measurably superior (lossless vs lossy) but 320kbps MP3 is perceptually equivalent for most people. If you're casual listener on average equipment, 320kbps MP3 sounds identical to CD. If you're audiophile with $500+ headphones and trained ears, you might distinguish them.
Archival vs listening: Keep CD-quality lossless (FLAC) for archival - you can always generate lossy versions later. For everyday listening on phone/car, 320kbps MP3 or 256kbps AAC is excellent. Don't store lossy as only copy - you lose option to generate different formats later.
Why do CDs use 44.1kHz sample rate?
Historical video connection: 44.1kHz was chosen because it fit with existing video equipment used for digital audio mastering in early 1980s. Sony's PCM-1600 digital audio recorder used modified video recorders, and 44.1kHz worked with both NTSC and PAL video standards. Weird legacy compromise that became permanent standard.
Nyquist theorem: To capture 20kHz audio (human hearing limit), you need >40kHz sample rate. 44.1kHz provides enough margin above 20kHz for anti-aliasing filters. It's minimum practical rate for full human hearing range. Higher rates (96kHz, 192kHz) are overkill for music - inaudible frequencies.
Enduring standard: Despite 44.1kHz's arbitrary origins, it works perfectly well for music reproduction. Every music production tool, streaming service, and player supports it. No practical reason to change - 44.1kHz captures everything humans can hear with room to spare.
Can I improve CD audio quality after ripping?
No, you can't add information that wasn't on CD. Upsampling (44.1kHz to 96kHz), bit depth expansion (16-bit to 24-bit), or 'audio enhancement' processes don't improve quality - they create larger files with artificial changes. Source material is limited to CD's 44.1kHz/16-bit. That's the ceiling.
What you CAN do: Normalize volume (make tracks consistent loudness), remove DC offset (rare technical issue), or apply EQ to personal taste. These are useful adjustments but aren't 'quality improvements' - they're modifications. Original CD-quality rip should be pristine starting point.
Remastering difference: Professionally remastered CDs (not upsampling, but new mastering from original tapes) CAN sound better. This uses higher-quality sources than original CD release. But you can't replicate this from consumer CD - you need access to master tapes.
Should I keep physical CDs after ripping?
Yes, if possible! Hard drives fail, cloud services shut down, files get corrupted. Physical CD is permanent backup. If disaster strikes digital collection, you can re-rip CDs. Plus, CDs have resale value, collectible appeal, and album artwork/liner notes. Storage space permitting, keep them.
Sell/donate if: You're short on space, need money, CD is common/replaceable, or you've verified rips are perfect (AccurateRip confirmation). For rare/out-of-print CDs, definitely keep originals - you can't replace them if files are lost. Common albums are re-rippable if needed.
Backup strategy: Keep CDs as physical backup, FLAC rips on primary storage, and cloud backup of FLAC. This triple redundancy ensures music survives any single failure. Or keep CDs and lossy MP3s - you can re-rip lossless if needed. Physical media is long-term insurance policy.