I Will Try to Export It Again and Make Sure the Quality Is Higher

MP3 Consign Options let yous choose the quality of files exported to the popular MP3 format. You tin can choose betwixt variable, average or constant bit rate , or from one of four common presets. Encoding speed can be specified, and Joint Stereo encoding chosen as an option.

As with all lossy , compressed formats , there is a trade-off between the size of the file and the quality of the encoded file, higher quality requiring larger files.

Notation that MP3 files have a short silence at the get-go due to encoder delay. This is a limitation of the MP3 format. Audacity uses LAME Mp3 info tag to store the verbal length of added silence. Applications that support this tag, (including Audacity), are then able to automatically strip off the added silence. Many apps still practise not back up this feature, and volition therefore testify a pocket-size amount of added silence at the showtime of the file. If you need to synchronize files or are making Audio Loops, it is highly recommended to use a format that does not take this limitation, such every bit WAV, FLAC or Ogg Vorbis.

Audacity uses LAME for encoding MP3s, which is generally considered to exist the all-time MP3 encoding library, and is the only MP3 encoding library that is nevertheless being actively adult.

Accessed by:

Likewise accessed by: so choosing MP3 Files from the Relieve every bit blazon dropdown card. In this case the options dialog will appear in the centre of the Consign Multiple dialog.

Re-encoding to MP3 If yous import an MP3 into Audacity, edit it and then export it as an MP3, you will lose quality twice , once in the original MP3 encoding of the imported sound, then again when you export it from Brazenness every bit MP3. So never do production piece of work in MP3, instead piece of work with a lossless format such as WAV, AIFF or FLAC and for final utilise so export to MP3. See this folio in the Audacity Wiki for other applications that can be used to directly edit MP3 audio files, thereby avoiding lossy re-encoding.

MP3 Export Setup

Bit Charge per unit Fashion

These offering 4 different ways to control the trade-off betwixt the size and quality of the exported files.

• Preset: These are the settings recommended by the LAME developers for encoding music. Detailed descriptions of these settings are given in this article on hydrogenaudio.io.
  • Insane: The best possible encoding quality. This preset has a constant bit-rate of 320 kbps, which is equivalent to ii.4 MB per minute. This setting is more often than not considered to be overkill every bit there is little if whatever difference in audio quality from the "Extreme" preset, but with much greater file size.
  • Extreme: Extremely high quality. This setting volition normally produce transparent results, but with considerably smaller file size than the "Insane" preset.
  • Standard: Very skilful quality encoding.
  • Medium: Practiced audio quality suitable for casual listening or portable devices.

• Variable: This mode continuously varies the bit rate used co-ordinate to the complexity of the sound, in an attempt to maintain the quality of the recording at a consistent level. The settings range from 0 (highest quality) to 9 (smallest file size). Each setting defines a range of scrap rates within which it will generally operate, bold a stereo rails. For a mono rails, the achieved bit rate for each setting will usually be below the range indicated above.

  Level 0 is comparable to the Extreme preset mentioned in a higher place, level two is comparable to Standard and level four to Medium presets. Variable bit rate offers the all-time quality compared to the Average and Constant chip charge per unit options in most circumstances (extremely quiet music is one exception). It will tend to give yous somewhat smaller file sizes for a given degree of quality, only the bodily file sizes cannot be accurately predicted in advance.

• Boilerplate: This sets a known, average bit rate for the file, but inside this average permits some fluctuations in chip rate to reverberate the relative difficulty of encoding the file. This does not provide as consistently loftier a quality as variable scrap rate, but is generally preferable to constant bit rate if you need to know more or less how large your files volition be; it offers scrap rates from 8 kbps to 320 kbps.

• Constant: This sets a constant bit rate for the encoding, regardless of its complexity. Of the iv chip rate modes, this ordinarily gives the worst, to the lowest degree consequent quality for a given file size, but that size itself is completely predictable (note that if y'all choose a high scrap rate, the LAME encoder may use a lower constant bit rate if you choose 11,025 Hz or lower project rate). Utilise constant bit rate if you are streaming the file over the Net, as information technology ensures the audio cannot stutter due to sudden peaks in the scrap charge per unit. The available flake rates are the same as for average bit rate - the default rate (128 kbps) gives you a known file size of about i MB per minute of mono or stereo sound.

If yous are exporting a constant fleck rate spoken word MP3 such as an audiobook and have a stereo runway in Audacity where both channels are identical, it is preferable to use to convert to a single mono track before export. This will nevertheless sound the same on stereo equipment, merely take college quality because the fixed number of bits take less sound to process.

Quality

This list lets y'all select the bit rate in kbps (kilobits per second) for encoding your file. A higher bit charge per unit ever gives meliorate quality but at the expense of a larger file size and vice versa. The bit rates are absolute for boilerplate and abiding bit rate modes, but expressed equally a range for the variable and preset modes (except for the Insane preset).

Channel Mode

These controls decide how the two channels of a stereo MP3 are encoded or if the exported MP3 should e'er be mono.

• Joint Stereo: Enabled by default, this button lets the encoder switch from frame to frame between "Stereo" (which just encodes the left and right channels independently) and Mid/Side stereo. Mid/Side stereo converts the Left and Right channels into two different signals: a "Mid" or "Sum" channel (Left plus Right, mono) and a "Side" or "Difference" aqueduct (the difference between the two channels, Left minus Correct). This allows recordings with relatively little stereo separation to be encoded more efficiently - more bits can exist allocated to the Sum channel because in that location is relatively lilliputian deviation information to encode.

  Every bit a result, files encoded every bit Articulation Stereo with variable or average fleck rate will be slightly smaller than comparable files encoded as Stereo, but the file size divergence volition be less noticeable at college fleck rates. For all bit rate modes (variable, boilerplate or constant) at that place will too be less audible deviation between Joint Stereo and Stereo at higher bit rates.

• Stereo: If this button is enabled, the left and right signals are encoded independently of each other.
• Force consign to mono: This is set "off" past default. Enabling this checkbox always produces a mono (single channel) MP3 file, mixing down to mono if the Audacity content is stereo or would otherwise produce a stereo file.
  • If yous are just exporting one mono Audacity track and providing that track is panned to heart, Brazenness will automatically consign as mono without enabling this checkbox. In that case the Joint Stereo and Stereo buttons have no result.
  • If you lot practice enable this checkbox, the Joint Stereo and Stereo radio buttons are disabled.

When forcing consign to mono and you choose variable or boilerplate bit rate or a Preset other than "Insane", the bit rate and the exported file size will be reduced compared to a stereo export. This tin can be washed without affecting the quality of the consign because less $.25 are needed for mono encoding than stereo.

ID3 Metadata Tags

MP3 files contain metadata at the starting time of the file as ID3 tags. These tags typically incorporate data such every bit Track Title, Artist Name, Year and Genre. Some of this information may be visible in the playing window of software and hardware players. The tags can exist edited with Audacity's Metadata Tags Editor.

By default, the Metadata Tags Editor will always appear at export time. Enter any metadata you lot crave in the editor, then click the OK button ( non Save).

To prevent Metadata Editor appearing at export time, click , then the tab, and in the "When exporting tracks..." section, uncheck "Testify Metadata Editor prior to export step". The tags can still exist viewed or edited at any time prior to export at , and the tags in the editor at consign fourth dimension volition still be exported.

Metadata tags with Export Multiple

When using Consign Multiple, Metadata Editor pops up as many times as there are files to export. This gives flexibility to adjust the tags separately for tracks which form compilations with different artists or genres.

If all the tracks to be exported have common information except for Track Title and Rails Number, y'all may prefer to set Preferences as above so that Metadata Editor does non announced prior to export. Then make whatsoever necessary edits to the common tags at prior to export, and the multiple export volition proceed silently with the Rail Title and Rails Number tags added automatically. The Track Title tag will be the same as the file proper noun chosen in the label or rails name, and the Track Number tag will be generated co-ordinate to the order of the labels or tracks.

Recommended settings

The default MP3 encoding options in Brazenness are 170 - 210 kbps VBR (preset "Standard"). While this is a good pick for stereo music, it is not generally recommended for Podcasts.

Podcast settings

For podcasts, "CBR" (constant bit-rate) is recommended, and not "VBR" (variable chip-rate).

The pick of mono/stereo depends on the type of podcast. For voice but podcasts, mono is ordinarily preferred every bit you can attain better audio quality with less information. If the podcast contains a lot of music you may adopt to use stereo, but higher bit-rates will probably be required (bigger file size).

• 64 kbps CBR mono can requite reasonable quality for voice if you are wanting to minimise the file size.
• 96 kbps CBR mono can give excellent quality for phonation.
• 128 kbps CBR stereo can requite reasonable quality where stereo is required.
• 192 kbps CBR stereo can requite very proficient quality where stereo is required.
• 256 kbps VBR stereo tin can give first-class quality stereo music, though not recommended for streaming.

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Source: https://manual.audacityteam.org/man/mp3_export_options.html

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