Lossless Audio Formats Explained: WAV, FLAC, AIFF Comparison

You’ve just finished mixing your track. It sounds perfect in your DAW. Now you need to export—and you’re staring at a dropdown menu with WAV, FLAC, AIFF, ALAC, and a dozen other abbreviations that all claim to be “lossless.”

What’s the actual difference? Does it matter which one you choose? And why do some formats create massive files while others are surprisingly small?

Here’s what you need to know about lossless audio formats.

What “lossless” actually means

Lossless audio contains the complete, uncompressed audio data exactly as it was captured or created. No information gets discarded during encoding.

Think of it this way:

• Lossless formats (WAV, FLAC, AIFF): A photograph at full resolution
• Lossy formats (MP3, AAC, OGG): A JPEG-compressed version of that photo

With lossy formats like MP3, an encoder analyzes the audio and removes frequencies it assumes you won’t hear (psychoacoustic masking). The file gets smaller, but you can never get that data back.

With lossless formats, you preserve every sample. The waveform is identical to the original.

Why lossless matters for production

If you’re producing, mixing, or mastering audio:

• Processing headroom: Lossy compression artifacts compound when you add EQ, compression, and other effects
• Professional deliverables: Clients expect uncompromised quality
• Archival integrity: You can’t restore lost data—always archive in lossless
• Format flexibility: Convert lossless to any other format without quality loss

Use lossless for production, mixing, mastering, and archiving. Use lossy only for final delivery when file size matters (streaming, consumer downloads).

WAV (Waveform Audio File Format)

Developed by: Microsoft & IBM (1991)

How it works: Uncompressed PCM (Pulse Code Modulation) audio in a RIFF container.

File extension: .wav

Pros:

• Universal compatibility—every DAW, media player, and device supports WAV
• Zero compression overhead—instant playback, no CPU needed for decoding
• Simple structure makes it reliable and stable
• Supports metadata (though not as robustly as some formats)

Cons:

• Large file sizes (no compression)
• Limited metadata support compared to modern formats
• 4GB file size limit (though BWF extended this)

File size for a 5-minute stereo track:

• 16-bit/44.1kHz: ~50MB
• 24-bit/48kHz: ~140MB
• 24-bit/96kHz: ~280MB

When to use WAV:

• Exporting from your DAW for mixing or mastering
• Client deliverables where compatibility is critical
• Sending audio to anyone who might not have modern codec support
• Broadcast and video production workflows

AIFF (Audio Interchange File Format)

Developed by: Apple (1988, based on IFF)

How it works: Uncompressed PCM audio in an IFF container (similar to WAV but Mac-native).

File extension: .aiff or .aif

Pros:

• Native to macOS and Logic Pro—seamless integration
• Better metadata support than WAV (ID3 tags, artwork)
• High compatibility across professional audio software
• Handles long files better than WAV

Cons:

• Large file sizes (uncompressed, like WAV)
• Slightly less universal than WAV on Windows systems
• Same file sizes as WAV for identical audio

File size: Identical to WAV

When to use AIFF:

• Working on macOS or Logic Pro
• Archiving with rich metadata (album art, comprehensive tags)
• Projects that need extensive metadata preservation
• Any situation where WAV would work, but you prefer better metadata

FLAC (Free Lossless Audio Codec)

Developed by: Xiph.Org Foundation (2001)

How it works: Lossless compression algorithm—reduces file size without losing data (like a ZIP file for audio).

File extension: .flac

Pros:

• 50-60% smaller files than WAV/AIFF (lossless compression)
• Excellent metadata support (Vorbis comments)
• Open-source and royalty-free
• Supports up to 32-bit/192kHz audio
• Widely supported in modern software and devices

Cons:

• Requires CPU for decoding (minimal overhead on modern systems)
• Not universally supported in older hardware/software
• Some DAWs don’t support FLAC natively (though this is improving)

File size for a 5-minute stereo track:

• 16-bit/44.1kHz: ~25-30MB (vs. 50MB WAV)
• 24-bit/96kHz: ~140-170MB (vs. 280MB WAV)

When to use FLAC:

• Archiving large libraries (saves significant storage space)
• Distributing lossless audio online (smaller transfers)
• Personal music libraries where you want lossless quality
• Backup copies of projects to save storage

ALAC (Apple Lossless Audio Codec)

Developed by: Apple (2004, open-sourced 2011)

How it works: Apple’s lossless compression (similar to FLAC, optimized for Apple ecosystem).

File extension: .m4a (shares extension with AAC, but lossless)

Pros:

• Native support in Apple ecosystem (iTunes, Music app, iOS)
• 40-60% smaller than WAV/AIFF
• Good metadata support (iTunes tags)
• Works seamlessly with Apple devices and software

Cons:

• Less compatible outside Apple ecosystem than FLAC
• Similar file sizes to FLAC, but not as widely supported
• Compression efficiency slightly lower than FLAC

File size: Similar to FLAC (40-60% smaller than WAV)

When to use ALAC:

• Archiving music for Apple Music, iTunes, or iOS
• Sharing with collaborators in the Apple ecosystem
• When you want lossless on iPhone/iPad with smaller files

Format comparison

Lossy formats: quick reference

For context, here’s why you’d avoid lossy formats for production:

MP3 (MPEG Audio Layer 3):

• Lossy compression (removes audio data)
• File size: 5-10% of WAV
• Quality: Audible loss at < 256kbps
• Use case: Consumer distribution, podcasts, streaming (legacy)

AAC (Advanced Audio Coding):

• Lossy compression (more efficient than MP3)
• File size: 5-10% of WAV
• Quality: Better than MP3 at same bitrate
• Use case: Streaming, iTunes, YouTube, modern distribution

OGG Vorbis:

• Lossy compression (open-source alternative to MP3/AAC)
• File size: 5-10% of WAV
• Quality: Comparable to AAC
• Use case: Gaming, open-source projects, Spotify

Rule: Never use lossy formats as source files in production. Only use them as final delivery formats when file size is critical.

Which format should you use?

For DAW sessions and production work: Use WAV or AIFF. Maximum compatibility, no decoding overhead, industry standard.

For archiving large libraries: Use FLAC. 50% smaller files without quality loss, excellent metadata support, easy to convert back to WAV when needed.

For sharing with collaborators: Use WAV (safest) or FLAC (if they support it). WAV ensures anyone can open it. FLAC saves bandwidth and storage if both parties support it.

For client deliverables: Use WAV (or ask their preference). WAV is the safest default. Some clients may request AIFF (broadcast), FLAC (archival), or even high-bitrate MP3 (320kbps for streaming prep).

For macOS/Logic Pro users: Use AIFF. Better metadata than WAV, native macOS format, fully compatible with Logic Pro.

For Apple Music/iOS listening: Use ALAC. Lossless quality on iPhone/iPad, smaller files than WAV/AIFF, seamless Apple ecosystem integration.

Sample rate and bit depth

Format choice matters, but so does sample rate and bit depth:

Sample rates:

• 44.1kHz: CD quality, sufficient for most music
• 48kHz: Video production standard
• 96kHz: High-resolution audio, archival
• 192kHz: Extreme high-res (rarely necessary, huge files)

Match your project’s sample rate. Don’t upsample—it doesn’t add quality.

Bit depths:

• 16-bit: CD quality (96dB dynamic range)
• 24-bit: Professional standard (144dB dynamic range, more headroom)
• 32-bit float: Maximum headroom, prevents clipping during processing

Record and mix at 24-bit minimum. Export masters at 24-bit. Deliver to consumers at 16-bit if needed.

Common myths

“WAV sounds better than FLAC” False. FLAC is mathematically identical to WAV. It’s compressed (smaller file), but lossless. When decoded, the waveform is bit-for-bit identical.

“Higher sample rates always sound better” False. For playback, humans can’t hear above ~20kHz. 44.1kHz captures up to 22kHz (Nyquist theorem). Higher rates matter during recording/processing (headroom, plugin accuracy), but final delivery rarely needs > 48kHz.

“AIFF is Mac-only” False. AIFF works on Windows and Linux, though WAV is more common there. Most modern software supports both.

“MP3 at 320kbps is basically lossless” False. High-bitrate MP3 sounds great to most listeners, but it’s still lossy. You’ve permanently lost data. Don’t use it as a source file.

Practical workflow

Here’s how professionals typically handle formats:

Recording:

• Record at 24-bit (or 32-bit float if your interface supports it)
• Use your project’s sample rate (typically 48kHz or 96kHz)

Mixing:

• Work in WAV or AIFF at original bit depth and sample rate
• Never convert to lossy mid-project

Mastering:

• Deliver masters in WAV or AIFF at 24-bit/48kHz (or higher if requested)
• Keep uncompressed masters archived indefinitely

Client delivery:

• Ask client preference (usually WAV)
• Include metadata: artist, title, ISRC, copyright

Distribution:

• Master to streaming platforms: 24-bit/48kHz WAV (platforms convert to AAC/OGG automatically)
• CD: 16-bit/44.1kHz WAV (then to CDA)
• Vinyl: 24-bit/96kHz WAV (some cutting engineers prefer higher)

Archival:

• Store masters in lossless format (WAV, AIFF, or FLAC)
• FLAC saves 50% storage space without quality loss
• Keep multiple backups (local + cloud)

Related guides

Continue improving your audio workflow:

• How to Send Large Audio Files — Professional solutions for sharing lossless audio with clients
• How to Organize Audio Files — File naming and folder structures for audio pros

How Aliada handles lossless audio

When you upload audio to Aliada, we preserve your files exactly as you created them:

• No transcoding: Upload a 24-bit/96kHz WAV, and that’s what stays on our servers
• Format support: WAV, AIFF, FLAC, ALAC, and all common lossless formats
• Streaming player: Play lossless audio directly in the browser without downloading
• Version control: Keep multiple versions without renaming files or losing quality
• Download originals anytime: Get the exact file you uploaded, byte-for-byte

Whether you’re sharing works-in-progress with clients or archiving finished masters, your audio stays lossless from upload to download.

Ready to collaborate on lossless audio without the file size headaches of email attachments? Try Aliada free for 14 days—upload in any lossless format and share with a built-in player that preserves your mix exactly as you intended.