6 Best Free 320kbps YouTube to MP3 Downloader Online (2020)

SOURCE: Download the Copyright Free Video Background for Creating New Videos
Are you a video editor who have needs of some video backgrounds? As we know, if you want to make your videos look more fantastic, some cool effects, or an attractive video backgrounds are necessary to get to the point, assisting you to make the whole video look awesome. For professional video editors, doing a video background is not a difficult task. But for the beginners who are not familiar with how to make good video background, it would be better for them to get some well-designed ones for using directly.
So today, except for introducing the great video effects (you may be more professional than me), I would like to offer you some copyright free video backgrounds that can be used directly, and three easy ways to save them offline so that you access to them whenever you need.

Part 1. The Best 5 Copyright Free Video Background Playlists for Free Using

We should not look down upon the power of the Internet, because we can almost get the exact video resources we need in all aspects here. So for the copyright free video background. Here we have collected five royalty-free video backgrounds that are completely free for using, up to thousands of videos in totally. You must be able to find the one you like the most from these lists. Click the title of the playlist and you will be navigated to its YouTube playlist for selecting.

Part 2. 3 Easy Ways to Download the Copyright Free Video Background for Editing Videos Offline

As you have chosen a copyright free video background, now another problem comes - how can we save it for offline using and editing? VidPaw is the tool we are searching for, which enables users to free download online videos/audios from over 1,000 platforms for offline collections. Video sites like YouTube, Vevo, Dailymotion, etc. and popular social platforms such as Facebook, Twitter, and Instagram, are all supported by VidPaw. Therefore, when you dig out or discover any video you want to save offline, VidPaw can greatly help you.

VidPaw offers different output formats and quality for users to choose randomly, such as MP3, MP4, WEBM, M4A and 3GP, with video quality ranging from 360p to 8K, audio quality from 128kbps to 320kbps. Users can absolutely get the one they need for saving their favorite videos/audios. Moreover, VidPaw is compatible with different devices, including iOS, Android, Mac, and Windows. This also means that VidPaw can be used more flexibly. Are you an Android or a Mac user? VidPaw brings you a great news here! Currently, VidPaw App for Android and Mac are both available for using on corresponding devices. By installing VidPaw App on Android or Mac device, you can stream the videos and save them offline more conveniently. Just go to VidPaw App or VidPaw for Mac to download them if you need. Back to VidPaw online platform, to help users use the download service easily, three solutions are avail for free selection. People can choose the way they feel the most convenient for using VidPaw to save online videos/audios offline. If you are a new users, simply go through the guidance below.

Solution 1. Download Copyright Free Video Background with URL

The most direct way to download online videos is using the URL of the video. By pasting the URL to the downloader, you can easily save it offline within a few clicks.
STEP 1. Copy the URL of the Copyright Free Video Background
To get started, please go to YouTube or the video page of the copyright free video background you want to use for editing or creating a new video. Like on YouTube, you can enter keywords like 'video background' and browse from the results. Or you can directly go to the video you like from the listed playlists above. After sorting the one you want to download, open its video page and copy its URL.
STEP 2. Paste the Video URL to VidPaw
Now that you have gotten the URL of the copyright free video background you want to use for offline video editing, please navigate the page to VidPaw.com. As the site is loaded in browser, you find a search bar located right on top of the interface. Here you need to insert the URL of the video you get, then click on the search icon beside the download bar. After that, VidPaw will resolve the URL for you.

STEP 3. Download the Copyright Free Video Background
When VidPaw solves the conversion for you successfully, it will also generate a list of output formats and quality that you can freely choose to download the copyright free video background offline. There are up to 1080p you can choose for saving the video background, so the resolution of your editing video will also be high. After choosing, just hit the Download button to save the video background offline.
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Solution 2. Edit YouTube Copyright Free Video Background URL to Download It

Here you get a quick way. If you are going to download the copyright free video background from YouTube, directly changing the URL of the video can help you download it within seconds. Let's see how it works.
STEP 1. Go to YouTube in the browser and then search for the copyright free video background you want to use as the background of your video. Then open its video page.
STEP 2. In the next, please click on the address bar and here you only need to add 'paw' behind 'YouTube'. So it will be changed like 'www.youtubepaw.com'.
STEP 3. Please press Enter key on keyboard for redirecting the page this new edited URL address. When it navigates, you will discover that the page is turned to VidPaw's download page.
STEP 4. Now you can choose the format and quality for saving the video offline. Directly hit the Download button and the video background will be downloaded.
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Solution 3. Download Copyright Free Video Background with VidPaw Extension

Before getting started, you may wonder how VidPaw Extension can help. Actually, by adding it to your browser, you are able to add a download icon to each online video, so that the whole download process can be simplified even you have tons of videos want to download. So how can we successfully install VidPaw Extension? Here are three steps you should follow.
STEP 1. Install Tampermonkey Extension
First, another extension, Tampermonkey, need to be installed. Tampermonkey is an extension manager that helps users to manage some installed extensions inside the browser. More than that, Tampermonkey can also enable a more fluent and stabler environment while VidPaw Extension is performing. Now please click on the hyperlink below according to the browser you are using for installing the right version of Tampermonkey to your browser.
Google Chrome Tampermonkey Mozilla Firefox Tampermonkey Safari Tampermonkey Microsoft Edge Tampermonkey

STEP 2. Insert VidPaw Extension
Now, please add VidPaw Extension to your browser as well by clicking here: 'VidPaw Extension'. The instruction to install it is simple.

STEP 3. Download Copyright Free Video Background Now
When VidPaw Extension is added, now please turn to a video-sharing platform like YouTube, and directly navigate the page to the copyright free video background that you want to download. After scrolling down the page to the place below the video, you will discover the newly-added download icon. Just hit the button and you can directly download the copyright free video background with the output format as well as quality on VidPaw.

When you get the video background offline, you can freely use it for creating your own new video clips as you want. Don't worry about this will cause any copyright infringement because the video backgrounds are completely copyright free. Now just get the one you want and download it with VidPaw!

Spek Guide 2017 Edition

If you download a track, it’s always a good idea to check on the quality using a program that can take the audio information from the file and turn it into a visual output. These outputs can sometimes be hard to read, and people who are good at faking the quality of a track can be very good at hiding a low quality file under the guise of something HQ. For this reason, we have updated u/Travdog‘s Spek guide to give a more in depth and accurate walkthrough on checking quality. We recommend using Spek and will use Spek in our examples.
The most important part of checking audio quality is hearing it yourself. No amount of Spek or spectrograph knowledge can outperform a pair of practiced ears, even for the average listener; it can only help make a more informed decision.

Using Spek to view the spectrograph of a file

Spek is a simple, compact program that is used to display a visual spectrogram of an audio file. Simply drag and drop the file from your computer’s file browser into the program and it will generate a frequency graph of the audio file, indicating which parts of the audio codecs frequency range are being used, and at which time.
If you want to determine the true audio quality in a digital file, you must first understand ‘sample rate.’ To put it simply, the sample rate refers to the number of times a slice of sound is captured per second, meaning a higher sample rate translates to higher fidelity file.
Another factor, one that will be more useful and also more noticeable to the average consumer, is bitrate. Bitrate is the number of bits which are being processed in a signal over a specified period of time. The standard unit for bitrate is kilobits per second, or “kbps.”

Lossy and Lossless Files

The most common types of digital audio currently available use some form of audio compression to lower the overall size of the audio file while conserving most of the information. There are 2 divided types of audio format, discussed here.

~ 'Lossless' & Uncompressed files ~

All of these audio files have no digital compression, therefore they often have a large file size [~30mb-100mb on average]. Lossless files have a frequency range that will peak at 22kHz or higher, and are typically encoded at bitrates of above 1000kbps (most all wav files are encoded at a constant 1141 kbps, while some encoders like alac will vary between 900 to 1200 kbps.)
Lossless file types include: .wav .aiff .flac .au .alac .ogg .m4a (etc)
- It should be noted that FLAC (Free Lossless Audio Codec, for those interested) and it’s Apple equivalent, ALAC, are in fact compressed audio formats that store the information such that it can retain full quality with a smaller filesize. This differs from lossy compression, where quality loss occurs.

~ 'Lossy' (AKA compressed) audio files ~

This type of audio format is of a smaller size when compared to uncompressed audio [~6mb-15mb on average]. Lossy files have a frequency range that peaks at 22kHz or lower (some 320’s can go up to 24 kHz depending on how it was encoded) and are encoded at different bitrates depending on the format/quality. However, the maximum bitrate for lossy files is typically capped at 320kbps. There are two types of bitrates when it comes to lossy encoding - CBR and VBR. They stand for constant bitrate and variable bitrate.
Lossy file types include: .mp3 .acc .m4a .opus .ogg (etc)

Reading a spectrogram via frequency shelving

When looking at a spectrograph, the most telling aspect is the frequency shelf. While encoding, which will be discussed below, each desired bitrate has a “maximum frequency” it can encode, due to the limits imposed by the bitrate (which, again, is measured in “kilobits per second”). This frequency is shown in the spectrograph by a flat line above which no colovery little color can be found.
Below is an example of a lossless file that has been transcoded down to specific lossy bitrates in order to clearly present the shelving limits in relation to the quality:

WAV ≥1141kbps - ≥22kHz (lossless encoding)

Fraunhofer CBR encoded 320 kbps mp3 - 22kHz

LAME encoded 320kbps mp3 - 22-20kHz (standard MP3)

iTunes encoded 256kbps AAC - 22-24kHz

Fraunhofer CBR encoded 256 kbps mp3 - 22kHz

LAME encoded 256kbps mp3 - 20-19.5kHz

Fraunhofer CBR encoded 192 kbps mp3 - 22kHz

LAME encoded 192kbps mp3 - 19.5-19kHz

iTunes encoded 128 kbps AAC - 17kHz

Fraunhofer CBR encoded 128 kbps mp3 - 16kHz

LAME encoded mp3 128kbps - 16kHz (standard internet audio stream)

Fraunhofer CBR encoded 64 kbps mp3 - ~11kHz

LAME encoded 64kbps mp3 - ~11kHz

^{note: 256/192kbps files are often encoded in a slightly different manner, allowing frequencies to extend past a solid 16kHz shelf like this:http://bit.ly/1IqcGdh. These extended frequencies are usually limited to around the 18kHz range for 192 and 20kHz for 256.}
The range of these shelving limits are a rough guide and may differ slightly depending on the codec & encoding method. For example, this Dieselboy VIP of Scatta is only 192 kbps, and yet is encoded such that it contains frequencies going up to 22 kHz. Generally, any file that peaks around 19-20kHz or higher is generally considered to be a 'high-quality file', however 256/320 kbps files usually indicate a higher quality “original” studio export of a track.
Note: When a track is ripped from vinyl using a lossless format, it is very common to have speks that range from 0 - 48 kHz, and will look more or less like this. There is a lot of black and blue in the frequencies past 22 kHz, and this comes from the vinyl record itself, not the encoding tool or any sort of third party editing.

Encoding and File Types

Constant bitrate: If the bitrate is sufficiently low enough, the spectrograph will always have a flat shelf in it. This is because each frequency in a signal corresponds to a certain amount of data to be transmitted, and to guarantee a constant bitrate, an encoder calculates ahead of time exactly what the highest frequency it could use and ensure that the bitrate is the same throughout the track, and encodes everything under that frequency into an audio file. For a CBR 128 kbps file, if the whole frequency range were taken up for the entire duration of it, the filesize would be the same as a CBR 128 kbps file that never reaches 16 kHz.
Average bitrate: A more uncommon type of encoding, average bitrate works by starting with a predetermined kbps, not unlike the other encoding types. However, when using average bitrate encoding, as the file is being converted the encoder checks what frequencies are being used in the sample it is encoding. It then checks the current average bitrate of what has been encoded so far, and will only encode the frequencies that will be within reasonable bounds of the average kbps it is aiming for. This is technically a form of Variable bitrate encoding, which will be explained below, and is viewed as being between Constant bitrate and Variable bitrate when it comes to storage efficiency and compression quality.
Variable bitrate: Variable bitrate encodings are files that have been encoded with different bitrates throughout the song. This is to preserve as much quality as possible while making a smaller file size. If an encoder sees that some frequencies are not being used in certain range, it will lower the bitrate in that part of the song. Oftentimes, the reduction in file sizes compared between CBR and VBR encoded files are negligible.
Important Note: These encoding types also exist for lossless file formats, the effect that they have is generally very minimal, however.
File types: Sometimes, the file types and how the file was encoded can differ. For example, a LAME (MP3 encoder, most universal and common) encoded CBR MP3 and a LAME encoded VBR MP3 both use the same extension, .mp3. Another example would be how an ALAC (Apple Lossless Audio Codec) encoded file and an AAC (Advanced Audio Codec) file both commonly use the .m4a (mp4-audio) extension. For reference, the extension is sometimes referred to as the container. For example, this means if someone says they have the m4a of a file, that it could be a lossless file or a lossy file.
LAME encoding: LAME is a very common encoder that is the default for FL Studio and Audacity, but it creates very unique spectrographs. When something is encoded using LAME, it is extremely common to see a noticeable shelf at 16 kHz, and the maximum frequencies encoded for a .mp3 in LAME is 20 kHz, even if it is a 320 kbps file. In the “spotting fakes” section below, all examples of .mp3’s are created using LAME as an encoder.

Spotting Fakes

Sadly, many people try to deceive others by re-encoding low quality files in a different format in order to trick the person into thinking it's a real studio file. There are a few methods to faking an audio file, but here are the most common ones to look for:

1) Transcoding

Transcoding, by definition, is when a file is re-encoded to a different file type. People will often try and trick others into thinking a low quality 128kbps MP3 file (a common stream rip, like from SoundCloud or Youtube) is a real 320 kbps MP3 file by re-encoding the 128 kbps file at a higher bitrate. This does not improve the quality of the file. This is easy to spot as the frequency shelf will cut off at a low range (respective to the original files’ shelf) and will have nothing except occasionally trailing lines above that shelf. Here is an example of a transcode. The left is a 128 kbps file, and the right is a file that has been transcoded up into a lossless .wav file.
Both of these files have stray frequencies above the hard shelf at 16 kHz, and while previously this was labeled as a clear sign of a track being transcoded, these lines can also occur when a track is clipping. It may still occur frequently with transcoded tracks, but the more important sign is a shelf that does not match the bitrate of the file.
Transcodes from Lossy to Lossless are easily identifiable by the fact that they will peak at a lower shelf than 22kHz - no properly encoded studio lossless file will go below this. Occasionally, 320 mp3 or 256 acc will be re-encoded at a higher bitrate and look very close to a proper lossless file, but again they will almost always shelf before 22kHz, and be audibly distinguishable from a legitimate copy.

2) Track edits

It's common for people to create edits of songs using multiple set rips and/or live rips combined together to form a full track. This is usually easily spotted as the frequency shelf will be constantly shifting up and down between the different quality audio. Track edits also have an unusual looking colour palette compared to a regular studio export and may even have incorrect channel (left and right) balances, switch to mono instead of stereo or have massive gain differences. Here is an example of a file sliced together using multiple rips. The sharp fluctuations in shelving and/or colour usually gives it away.

3) Extending the frequency shelf

Many people attempt to extend the frequency shelf of a low quality file in order to re-encode it in a higher bitrate & have it appear that all of the audio range is being used when in reality, it isn't. Usually this will be obvious, as you will be able to clearly see an extended shelf that overlaps with the original one. Here is an example of an extended frequency shelf. The leftmost is the true file, the middle is a mixrip of the track, at 128 kbps, and the rightmost is the boosted track, created from the mixrip. Some boosts are hard to determine, but something good to look for is if any frequencies below 16 kHz are mirrored at 2x their frequency (i.e if a particularly yellow area at 9 kHz has a dark green or yellow part at 18 kHz in the same timestamp). It may also be worth looking for shelves in lossless tracks, as even .wav’s exported by LAME should NOT have shelves unless it’s intended in the artists sound design (or is a remix that uses a low quality file of the original track), which is rare for most genres. It is important to note that, with many boosts, a spek that is completely solid green or has a lot of loud frequencies is not uncommon, but even legitimate files can look like this, as shown in the example above. Many Barely Alive tracks could look similar to boosted audio files due to how the track is mastered; they tend to add a lot of gain to the high end because they want their track to be incredibly loud and in-your-face (see: loudness wars).
Extending a frequency shelf is done in a variety of ways, but most people achieve this effect by using a harmonic exciter of some sort (available in most professional DAW’s); by adding noise to the track; or by layering an interpolated frequency pattern over the low quality track. Additionally, one can also achieve this by actually producing and layering new sounds/drums over the low quality file.
Most extended shelves are easy to spot due to the sheer amount of solid green throughout the tracks spek. However, some are more difficult. For example, this boosted version of Skrillex's VIP of Marshmello's Where Are Ü Now remix from last year is encoded in the WAV (lossless) format and looks somewhat convincing to the point of it being passed around the community as legit, but upon loading the file up in a DAW and phase inverting it with the lossy version of the track, it becomes fairly evident that all of the higher frequencies are simply pitch boosted versions of the frequencies below.

Conclusion

Hopefully this guide was useful and a good starting point for those who want to ensure their music collection is the best possible. Spectrographs are very powerful tools that can give a lot of insight on the quality of an audio file, though sometimes they can be hard to interpret, especially to those who have had little to no experience with the program itself. We recommend you practice with Spek (or your preferred spectrograph software) and get familiar with how songs and frequencies are visualized.
That being said, there is no better way of ensuring HQ audio than a trained ear. Never rely exclusively on a spectrograph to determine the quality of a file unless it’s incredibly obvious, and even then it helps to double check and verify by giving it a listen.

Special Mention: OPUS

While not necessarily crucial to an understanding of Spek, we'll briefly discuss OPUS as a lossy encoding format.
Originally designed for real time audio streaming, the purpose of OPUS was to take in an audio input, quickly convert it into a data packet, and send that data with little-to-no loss in quality. This meant that file sizes must be very low and encoding must be very fast. OPUS can be made with constant or variable bitrate encoding, and can encode frequencies up to 20 kHz at the highest quality setting.
YouTube has, fairly recently, taken advantage of this audio format. When YouTube videos reach a certain view count, YouTube will convert the audio from the video into .opus format so that it can be stored and retrieved without taking up a ton of bandwidth from the servers. Luckily, this means that certain videos can have audio ripped from them that contain frequencies from 0 Hz - 19.5/20 kHz, or as stated above, HQ audio.
If enough people are interested, there may be a more in-depth description on ripping audio from YouTube in the source OPUS format, which can be useful for tracks uploaded fairly recently that have not seen release anywhere else, or for tracks that are only available on YouTube or YouTube videos.

Special Thanks

Firstly, credit and big thanks to u/Travdog to making the original Spek Guide. It was large and very informative and served as the core to what we’ve written today not only in layout but in formatting as well. Thanks to u/actually_kanye for writing this giant block of text with me and reliably adding useful information. Big thanks to u/dmndlife, u/sixteenkilobytes, u/xCharli, and u/robbydthe3rd for giving insightful feedback and generally knowing their shit about spectrographs to keep us on track. Finally, thank you to the xTrill community (yes, even the skrillies here) for being the motivation to gather all these thoughts together and put them down onto something real. If you’re having trouble or have questions about this guide, put it in the comments and we’ll see if we can help sort things out, or feel free to message u/Call_Me_Pete.

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6 Best Free 320kbps YouTube to MP3 Downloader Online (2020)

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Download the Copyright Free Video Background for Creating New Videos