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Guide · aiff → mp3

AIFF: Complete Guide to Audio Interchange File Format

✓ ISO/IEC Verified · 6 min · · By Pablo Cirre
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Frequently Asked Questions

AIFF and WAV both store uncompressed PCM audio and are functionally equivalent in quality for any given bit depth and sample rate. The key differences are: (1) Byte order — AIFF uses big-endian (Apple/Motorola order); WAV uses little-endian (Intel order). A custom binary parser must account for this. (2) Platform conventions — AIFF is the standard on macOS (Logic Pro, Final Cut Pro, Pro Tools on Mac); WAV is the standard on Windows (Audacity, Pro Tools on Windows, most Windows DAWs). (3) Sample rate field — AIFF stores it as an 80-bit extended float, WAV as a 32-bit integer. (4) 8-bit samples — AIFF stores them signed; WAV stores them unsigned. For professional audio exchange, either format works — convert as needed for the target platform.

For long-term archiving choose <strong>FLAC</strong> (lossless, ~50% the size of WAV). For everyday listening on phones and streaming use <strong>MP3 320 kbps</strong> or <strong>Opus 192 kbps</strong> (transparent quality, no audible difference at normal volumes). Avoid converting lossy → lossy → lossy: every step compounds artifacts.

Yes. Standard AIFF stores uncompressed PCM audio — every sample is preserved exactly. It is lossless by definition. AIFF-C (AIFC) can store compressed audio with various codecs (ALAC lossless, μ-law lossy, A-law lossy, etc.) — only the compression type determines whether the file is lossless. ALAC-compressed AIFC is lossless; μ-law AIFC is lossy. When in doubt, check the compression type: `compressionType == b'NONE'` or `b'sowt'` (little-endian PCM) means uncompressed lossless; any other type requires checking the specific codec.

Spoken-word podcasts: 44.1 kHz mono, 64–96 kbps Opus or 96 kbps MP3. Music podcasts: 44.1 kHz stereo, 128–192 kbps. Going above wastes bandwidth — speech has limited frequency content above 7 kHz, and listeners on data plans appreciate the smaller file. Apple Podcasts and Spotify both accept up to 48 kHz / 320 kbps.

AIFF was designed in 1988 when the Motorola 68881 floating-point coprocessor (used in Macs of that era) natively supported 80-bit extended precision. The Apple engineers chose the native FPU format to avoid precision loss in sample rate arithmetic. The IEEE 754 80-bit extended format provides 18-19 significant decimal digits, ensuring sample rates like 44,100 Hz, 48,000 Hz, 96,000 Hz, and 192,000 Hz are represented exactly. Modern 64-bit IEEE 754 doubles have enough precision for sample rates too, but the 80-bit field is part of the standard and all conforming parsers must implement the decoder.

Lossy → lossy compounds quantization noise. Each encode discards the same kind of perceptual information again, multiplying artifacts. Always re-encode from a lossless master if you have one (WAV, FLAC, or the original recording). If only an MP3 is available, keep the bitrate at or above the source — never go up to "improve quality".

FLAC is the better choice for archiving: it is lossless, compresses to approximately 55% of the WAV/AIFF size, is royalty-free, has wide cross-platform support, and carries rich Vorbis Comment metadata (Artist, Album, Date, Genre, etc.). AIFF at the same sample rate and bit depth produces identical decoded audio but is 2× the file size. Use AIFF when: you are working within the Apple Logic Pro ecosystem (Logic natively reads/writes AIFF), you need to exchange files with Pro Tools on Mac, or you need compatibility with older Apple hardware that predates FLAC support. For long-term storage where space matters, FLAC is the clear winner.

Most modern tools (FFmpeg with <code>-map_metadata 0</code>, foobar2000, dBpoweramp) preserve ID3 tags and embedded cover art. Some quick-and-dirty converters strip them silently. KaijuConverter preserves tags in its <a href="/convert/flac-to-mp3">audio conversions</a>; if metadata is critical to you, verify the output with <code>ffprobe</code> before deleting the original.

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