Trim, cut, reverse and re-level a recording, then save it as WAV or MP3 — all on your own machine
This browser cannot open sound
Reading a recording needs the Web Audio API, which this browser does not offer. Any current Chrome, Edge, Firefox or Safari will run this page. Everything else on the site works regardless.
The recording
Drop a recording hereor click to choose one — MP3, WAV, M4A, AAC, OGG, FLAC or Opus, up to 15 minutes
The file is read straight from the disk and never leaves the browser — nothing is uploaded and no account is needed. It is opened by the same decoder the browser uses to play sound, which is the machine's own, so even a long recording opens in a moment.
The waveform
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Drag across the waveform to choose a stretch, or tap it to move the playhead. The wheel zooms in and out around the pointer. Every change below acts on the selection, or on the whole recording when nothing is selected.
Changes
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Nothing here touches the file on disk: the recording is changed in memory and only becomes a file when it is saved. Fading works across the selection, so a long selection makes a slow fade.
The finished file
A WAV holds the sound exactly as it stands and is as big as that takes; an MP3 throws away what the ear is least likely to miss and is a fraction of the size. Sixteen bits is what a CD holds and is enough for anything meant to be listened to; the deeper settings are for material going on to be worked further.
Save it
A WAV is written the instant it is asked for, since it is the sound copied out as it stands. An MP3 has to be compressed, which the browser cannot do by itself, so that runs in a thread of its own at roughly twice the speed the recording plays — and can be called off part way.
About editing sound in a browser
Sound was the last part of a cutting room to leave the desk. Editing a recording means holding every sample of it at once — a minute of ordinary stereo is some ten million numbers — and for a long time only a program installed on the machine could do that comfortably. Browsers can now decode a recording with the same hardware that plays it, hand the raw numbers to a page, and write a finished file back out, which is why a job that used to mean installing something is now a page you open and close.
A waveform is not the sound itself but a picture of how far it swings, and reading one is a skill worth ten minutes of practice. Flat stretches are silence or near it, and are almost always where a cut belongs; a passage that touches the top and bottom of the lane is either loud or clipped, and clipping cannot be undone by turning it down afterwards. Evening out the level raises the whole recording until its loudest moment just fits, which is the safe way to make something quiet audible, whereas simply turning the volume up can push the peaks into distortion.
Two decisions matter more than any effect. Cut for the listener rather than for the tape: the useful part of a recording almost always starts later and ends earlier than the file does, and trimming the dead air at both ends is usually the single biggest improvement available. And choose the format for where the file is going — an uncompressed WAV for anything that will be edited again, a compressed MP3 for anything meant to be listened to or sent, because compressing something twice costs quality that no later step can put back.