However, it has always been debatable just how much is lost when making an MP3 out of a lossless source like a track on a CD. There have been many comparisons and evaluations of lossy audio compression. Most people can pick out the tinny sound of a low bitrate MP3, and some can tell the difference even on higher bitrates, such as 128 kbps and beyond.
Despite the loss of quality, there are no major legally licensed online sources of lossless music. Most music stores sell audio tracks at a bitrate and format that is similar to 320 kbps MP3 (some use VBR MP3, some use AAC, but they are all fairly similar at high bitrates).
The question is, can most people tell the difference between a lossless track and a 320 kbps MP3 of the same track?
In fact, if you did a double-blind study, I doubt many people could tell the difference. If you want to prove me wrong, test yourself here: http://mp3ornot.com/
|That's how I did after 10 tests.|
Whether or not you can actually tell the difference between 320 kbps MP3s and 128 kbps MP3s is not what concerns me though. There is another matter that I feel is more important than whether or not we can "hear" the difference.
It is no doubt that information is lost when making an MP3 track at ANY bitrate. The human ear *probably* can't detect these differences (especially at 320 kbps) under any normal circumstances, it is below the just-noticeable difference threshold, but there are times when these small changes stand out a lot.
For example, if you have a CD version of a karaoke track and the actual track with voice, assuming that the studio simply muxed the voice over the karaoke track, you can reproduce the original voice track by playing one of the tracks inverted at the same time as the other track. This, in theory, cancels out any similar data, leaving only the difference.
Unfortunately, it only works reliably if you have lossless copies of each track. The MP3 copies have already changed too much data to be useful.
For the demonstration, I will invert a lossy MP3 track and play it against its lossless FLAC track and see what is left over.
If you have two identical lossless copies of an audio track, and you invert one of them and play them back synchronized, you will be left with pure silence. Try this out in Audacity if you don't believe me, import two copies of the same audio file, invert one, and play them both.
This is what I will demonstrate below: if you have two different tracks mixed together, and you play the second track inverted simultaneously with the mixed track, you should be left with a pure version of the first track.
For this example, I have made three recordings from my guitar. Both are <10s clips of playing a few chords. Mixed together, they sound awful, but it will get my point across.
I created FLAC versions of each recording, and a FLAC version of the two recordings mixed together.
I also created MP3s from the FLAC versions of each of those three files.
Here they are if you are interested in trying this yourself:
The MP3 versions are transcoded directly from their counterpart FLAC files.
In theory, if we invert (in Audacity, Effects > Invert) both chords1.flac and chords2.flac and play these two inverted tracks simultaneously with chords-mix.flac, we should get pure silence. And, indeed, we do! Here is the result: flac-merged-inverted.flac, a perfectly blank track!
(Fun fact: if you play "chords-mix.flac" and an inverted copy of "chords1.flac" in Audacity, you will be left with "chords2.flac")
|The mixed track played simultaneously with the inverted forms of the two individual tracks results in pure silence.|
Now, what happens when we do the same with the MP3 versions? The result is not pure silence, but additional noise! mp3-merge-inverted.flac
|This is all leftover noise from the MP3s. Their encoded forms lose data and introduce noise, and therefore, when we play the inverted MP3 tracks with the mixed MP3 track, we get erroneous noise when there should be silence.|
As you can see in the frequency analysis above (and you can hear scratchy noise on the track if you listened to it), there is definitely data in the MP3 files that shouldn't be there! This is because, in order to make use of space, lossy compression will mix and match data in ways that lose high frequencies that appear in Fourier analysis. Normally, you wouldn't notice this "noise", but when we isolate it, you can clearly hear it.