WAV vs MP3: Which Should You Export?
Lossless WAV keeps every detail but eats storage. MP3 is smaller and convenient, but every re-encode loses information. Here is how to decide which to export.
Every time you finish a song, the same question turns up: should you export WAV or MP3? The answer is not a badge of audiophile honour. It is a practical choice about file size, compatibility, and how much data you are willing to throw away. Both formats have a place, and once you understand what the settings actually mean, choosing stops being guesswork.
What WAV actually is
WAV is a container that usually stores uncompressed, linear PCM audio. The file keeps the raw numbers that came out of the analogue-to-digital converter, which means it is lossless. It is not a compression format in the way MP3 is; it is more like a straight list of samples. If you record at 44.1 kHz and 16-bit, each second of stereo audio takes up 176,400 bytes. That works out to roughly 10.1 MB per minute, or just over 40 MB for a four-minute stereo song.
The big advantage is fidelity. Nothing has been removed, so you can re-process the file as much as you like without the cumulative damage that comes from repeatedly encoding lossy files. The downside is the size. A full album of uncompressed WAVs can easily eat several gigabytes, which matters on laptops with limited SSD space and on mobile data caps.
What MP3 actually removes
MP3 is a perceptual codec. It throws away audio information that its psychoacoustic model thinks most people will not notice. It does this by reducing precision in frequency bands that are masked by louder sounds, and by discarding content above a certain threshold. The bitrate setting controls how much data is allowed per second. At 320 kbps, MP3 is considered transparent by many listeners on most material. At 192 kbps, you can still get excellent results, although dense mixes with cymbals and reverb tails may start to show subtle artefacts. At 128 kbps, the compromises are usually obvious: smeared stereo imaging, a grainy top end, and a general loss of air.
Bitrate is not the only thing that matters. The encoder matters too. NovaStudio uses a LAME-based encoder for MP3 export, which is widely regarded as one of the best available. A 192 kbps LAME file often sounds better than a 256 kbps file from a poorer encoder. So when you compare bitrates, make sure you are comparing the same encoder.
File size in real numbers
Here is a worked example for a four-minute stereo song. The uncompressed WAV at 44.1 kHz and 16-bit comes to about 42 MB. The same song at 24-bit, which is common for intermediate masters, would be about 63 MB. Now compare MP3s from the same 44.1 kHz / 16-bit source:
| Format | Bitrate / bit depth | Approximate size |
|---|---|---|
| WAV | 16-bit / 44.1 kHz | 42 MB |
| WAV | 24-bit / 44.1 kHz | 63 MB |
| MP3 | 320 kbps | 9.2 MB |
| MP3 | 192 kbps | 5.5 MB |
| MP3 | 128 kbps | 3.7 MB |
The 320 kbps MP3 is only about one-fifth the size of the 16-bit WAV, and for many listeners it will be indistinguishable. The 192 kbps file is one-eighth the size and still sounds good on earbuds, phone speakers, and streaming services. The 128 kbps file is tiny, but the trade-off in quality is usually too severe for music you care about.
When generation loss matters
Generation loss is the damage that happens when you encode a lossy file from another lossy file. If you mix an MP3 and then export another MP3, you are re-applying the psychoacoustic model twice. Artifacts from the first encode can confuse the second encode, and the result tends to deteriorate faster than you would expect. This is why it matters to keep your master archive in WAV, or at least in a lossless format such as FLAC, even if you distribute MP3s. The archive is your clean source. You can always make a new MP3 from it; you cannot recover the original data from an MP3.
What distributors and streaming sites want
Most streaming platforms and digital distributors accept WAV or FLAC for upload. They then transcode the file into their own streaming formats, typically at various bitrates for adaptive streaming. Sending them a WAV gives their encoder the cleanest possible source. If you send them an MP3, especially a low-bitrate one, their encoder is working from an already compromised file, and the result can sound worse than if you had uploaded WAV.
Bandcamp and similar stores often let fans download the exact file you upload, so WAV or FLAC is the best choice if you want buyers to get the highest quality. For email, social media clips, and quick previews, MP3 is far more practical because of the size cap on most platforms.
A simple decision table
| Scenario | Recommended format | Why |
|---|---|---|
| Master archive, further mixing | WAV or FLAC | No loss; safe to re-process later |
| Upload to streaming/distributor | WAV or FLAC | Cleanest source for their encoder |
| Sharing with collaborators | WAV or 320 kbps MP3 | Collaborators may re-edit the file |
| Social media preview | 192-256 kbps MP3 | Small enough to attach or upload quickly |
| Phone / offline player with limited storage | 256-320 kbps MP3 | Good balance of quality and size |
Exporting from NovaStudio
NovaStudio lets you export either WAV or MP3 directly from the deck. If the song is not finished yet, export WAV so you have a clean reference. If you are sending a final mix to someone else, ask what they prefer. Mastering engineers almost always want WAV. Friends listening on headphones will be perfectly happy with a 256 kbps MP3.
The key habit is to keep the original project and a lossless bounce as your archive, then generate MP3s as needed for the destination. That way you never paint yourself into a corner with a compressed file you cannot undo.