I second that.

Er, of course not. 10+10+10+10+10+10 = 60. Means 1 x2 x2 x2 x2 x2 = 32. 60dB is 32x louder than 10dB.

 

Thanks for the message, but next time verify UPLOAD and DOWNLOAD.
Yes, I downloaded and checked, 16-bit!

Download limitations:
YouTube audio extraction tools (e.g., downloader programs) often offer 16-bit exports by default, as the actual audio track provided by YouTube is rarely of higher quality. Even if the original video was uploaded with 24-bit audio, YouTube reduces the quality during transcoding.

 

Why should I care about upload? YouTube does not give you the option to playback the original audio, only the transcoded version, which is lossy compressed and therefore neither 24 bit nor 16 bit.

 

You should care about upload quality because YouTube's transcoding process uses your original audio as the source, meaning higher-quality uploads result in better-sounding transcoded versions despite the platform's inherent limitations. Here's why:

1. Transcoding Chain Preservation
   Uploading lossless formats (24-bit/48kHz WAV/FLAC) minimizes generational loss during YouTube's compression. When you upload already compressed audio (e.g., 128kbps MP3), YouTube's transcoder further degrades the signal, exacerbating artifacts like high-end rolloff and stereo imaging collapse.
   
   
2. Bit Depth Considerations
   While YouTube's final output uses lossy compression (Opus/AAC at ~128-160kbps), starting with 24-bit audio preserves dynamic range and reduces quantization noise during editing/exporting. This "headroom" translates to cleaner results even after YouTube's bit depth reduction.
   
   
3. Audible Quality Differences
   Tests show properly uploaded audio (48kHz/24-bit sources) yields transcoded results comparable to 320kbps MP3s, with minimal audible degradation for most listeners. Poor uploads (e.g., low-bitrate MP3s) suffer noticeable artifacts like metallic highs and smeared transients65.
   
   
4. Platform-Specific Optimization
   YouTube's Opus codec (format 251) delivers better quality than AAC at equivalent bitrates. By uploading high-quality sources, you ensure the best possible version of these lossy encodes.
   

Key Workflow Takeaway:
Always export/upload 48kHz/24-bit WAV/FLAC files. While YouTube reduces this to lossy formats, you're giving the transcoder the cleanest possible source material, maximizing final output quality86. For music, ensure mixes have consistent loudness (-14 LUFS recommended) to avoid YouTube's normalization introducing unwanted gain changes5.

Spoiler: Best Practices for Uploads

Best Practices for Uploads

- Upload lossless formats: FLAC, WAV, or 24-bit/48kHz PCM
- Avoid AAC/MP3 unless necessary (use 320kbps minimum)
- Normalize to -14 LUFS: Prevents volume mismatches with YouTube's loudness normalization
- Test transcoded output: Download your video post-upload to audit quality

Spoiler: MP3 encoding

MP3 encoding

- Assume the highest possible bit rate and the filters you need. MP3 mainly has difficulties with the high frequencies. Don't waste bandwidth with 32 kHz instead of 44.1 kHz. Your song will sound better.

- Don't overcompress everything with a compressor/limiter. Leave some of the dynamics of the song so that the encoding algorithm has something to work with.

- Set the encoder to “Best possible quality”. This will allow you to get the best possible results. It takes longer, but it's worth it.

- Remember: MP3 encoding makes the resulting material slightly hotter than the original mix in most cases
Limit the output level of the material intended as MP3 to - 1 dB, instead of the usual -0.1 dB or - 0.2 dB. Avoid digital overloads (overs).

- A high-quality MP3 encoder is LAME.
- 160 kbs: The lowest bit rate that is acceptable for files
- 320 kbs: The highest quality, but shows the largest files, but is hardly distinguishable from a CD.

 

Yeah, right. Also don't waste bandwidth with multiple channels. Convert everything to mono. Your song will sound more unified and focused with emphasized clarity and balance. Also don't waste bandwidth with a high frequency range. Use a high-pass filter at 800 Hz and a low-pass filter at 2 kHz. They will eliminate unwanted high-frequency sounds or hiss, ensuring a smoother audio signal, and clean up recordings by cutting out unnecessary low-frequency sounds, such as foot noise or microphone vibrations. These filters not only help with cleaning up recordings but will also allow you to sculpt sounds creatively, contributing to a polished and professional mix.