Audio Equalizer is shaped around how people actually use audio editing and conversion utilities online: open the page, drop in a file, get the result. 5-band parametric equalizer with sliders for 60 Hz (bass), 250 Hz (low-mids), 1 kHz (mids), 4 kHz (high-mids), and 12 kHz (treble). Each band can boost or cut by ±12 dB. Files are processed entirely in your browser with FFmpeg WebAssembly. The interface stays out of the way once the work begins so the engine can use the available CPU and memory for the actual transformation.
Reach for Audio Equalizer when you need a predictable result on a single file. The page works on the first visit, the controls are visible without a menu, and the output is delivered the moment the engine finishes.
Audio Equalizer runs the entire transformation inside your browser. The file is read by JavaScript running in the page, processed in-memory by standard browser APIs, and written back as a download. The browser is the runtime; the page is the interface. You can confirm what the tool does by opening the developer-tools Network tab during a run — the only requests are for the page's own static assets.
From a technical standpoint, Audio Equalizer is JavaScript and standard browser APIs running in your tab. The browser is the runtime; the page is the interface. Inputs accepted: MP3, WAV, M4A, AAC, OGG, Opus, FLAC, AIFF, and WMA. Maximum input size: 200 MB per run.
The architecture imposes only the limits the browser itself imposes. The published 200 MB ceiling is conservative; most modern devices comfortably handle inputs up to that size, and the cap exists so the tool degrades gracefully on phones and budget laptops rather than running out of memory.
The heaviest users of Audio Equalizer tend to be podcasters preparing episodes, streamers cleaning microphone tracks and musicians sharing demos. Each group brings slightly different expectations to the tool, but the same single-page architecture serves every one of them with the same response time.
Audio Equalizer returns the result as `{name}-edited.{ext}`. If you are running multiple jobs, the output names will not collide as long as the input names differ. You can re-run with different settings as many times as you like; each run produces a fresh file with no caching trickery in between.
If your task needs more than one step, chain Audio Equalizer with Audio Bass Booster, Audio Noise Reducer, and Audio Spectrum Analyzer. Each tool produces output that is a clean input to the next, so multi-step workflows are just a matter of opening the next tool in a new tab and continuing.
Audio Equalizer is honest about scope: it handles a single, well-defined audio editing and conversion step. Specialist edge-case work — uncommon formats, very large inputs, or pipelines that need scripting — is what dedicated desktop apps are for. This page handles the common case quickly.
A short note on how Audio Equalizer came to look the way it does: every iteration started by watching how someone unfamiliar with the tool actually used it, then removing whatever got in their way. That is why the upload area dominates the screen, the run button is bigger than the secondary controls, and the result panel is unmissable when the job finishes.
If you also use a command-line tool for audio equalizer, Audio Equalizer is a convenient alternative for the times you are on a different machine or helping someone who is not comfortable in a terminal. The output is a standard file in the format documented above.
Tips from users who reach for Audio Equalizer regularly: process one input first to confirm the settings produce what you expect before committing to a batch; treat the page as the working surface and avoid leaving large jobs running in a backgrounded tab where the browser may throttle JavaScript; and if a particular file fails, check whether the source is intact by opening it in its native viewer — most "tool errors" are actually input errors.
If the result is not what you expected, the most common causes are easy to check. Confirm the input is under the 200 MB ceiling — files just above the cap fail silently because the engine refuses to allocate the buffer. Confirm the input is one of the supported formats. And if the page itself feels slow, try closing other heavy tabs to free up memory; the engine runs in your browser, so it competes for the same resources as everything else open.
Open the workspace above to start using Audio Equalizer. The engine loads on the first interaction so the page itself stays light, and once the tool is warm it processes subsequent jobs quickly. The moment the page is interactive, the tool is ready to do real work on your file.
An equalizer adjusts the volume of specific frequency bands. Boost the 60 Hz band to add bass thump. Cut the 1 kHz band to remove harsh midrange. Boost the 12 kHz band to add airy sparkle to vocals. EQ is the most fundamental audio shaping tool — every recording, mix, and broadcast uses it.
60 Hz (Sub/Bass): bass guitar, kick drum thump, room rumble. 250 Hz (Low-mid): warmth, body of vocals and instruments. 1 kHz (Mid): vocal presence, snare crack, guitar attack. 4 kHz (High-mid): vocal clarity, harshness if boosted too much. 12 kHz (Treble): cymbal sizzle, breath sounds, "air."
Cut a few dB at 250 Hz (removes "muddiness"), then boost 2–4 dB at 4 kHz (adds presence). For voice recordings, also cut 60 Hz a few dB to remove low rumble (mic stand, room hum, traffic).
Cutting removes problem frequencies cleanly. Boosting adds gain that affects the noise floor and can sound unnatural. Pros generally cut to fix problems and only boost gently for character. Try cutting muddy frequencies before boosting clear ones — you'll often need much less boost.
Conceptually yes — a graphic EQ has fixed-frequency bands with gain sliders. This is a simplified 5-band version of the same concept. Pro tools have 10, 15, or 31 bands for finer control. For most listening enhancement and quick fixes, 5 bands is plenty.
Up to 200MB. EQ is fast — most files process in a small fraction of real-time.
Server-side tools use multi-threaded native FFmpeg running on dedicated CPUs with fast disks and parallel pipelines. Our engine is FFmpeg compiled to WebAssembly, which runs single-threaded inside your browser tab and has no access to native hardware acceleration. That makes browser-based jobs typically 3–8× slower than a server. The trade-off is total privacy: your audio file is never uploaded, never logged, and never stored — closing the tab erases everything from memory immediately. For most clips up to a few minutes the wait is small, and for sensitive recordings (voice memos, drafts, confidential meetings) the privacy gain is well worth it.
No. Everything runs entirely inside your browser tab using FFmpeg compiled to WebAssembly. The file is read into local memory only, processed in the same tab, and the result is offered as a direct download. Nothing is transmitted to any server, no account is required, no analytics are tied to your file, and closing the tab discards every byte from memory.
The file picker accepts audio inputs up to about 1 GB, which is well above what mainstream "free tier" online converters allow. The real ceiling is your device — everything runs inside your browser tab, which shares memory with the rest of the page. Most podcasts, songs, and voice memos sit comfortably under that limit even on a phone. If a very large lossless WAV or FLAC ever fails, trim it first or transcode to MP3 / Opus to bring the size down before re-running the tool.
MP3, WAV, OGG (Vorbis and Opus), FLAC, M4A (AAC), AAC, Opus, AIFF, and WMA all decode reliably via FFmpeg WASM. Output formats depend on the specific tool — most editing tools default to MP3 (universal) or WAV (lossless) but expose a format picker so you can pick the one that fits your downstream player or DAW.
Recent Chrome, Edge, Firefox, Safari, and other Chromium-based browsers all work. The tool relies on WebAssembly and SharedArrayBuffer, which require the page to be served over HTTPS with the right cross-origin headers — this site is configured correctly by default. On phones the same code runs but is slower than on a desktop because mobile CPUs are weaker.
No. The tool is completely free, requires no account, attaches no watermark, applies no usage caps, and shows no popup ads on your output. Because the work happens on your own device, there is no per-user quota for us to enforce — your hardware and browser memory are the only limits. The download is the file you would get from running FFmpeg locally, nothing more, nothing less.
Audio Equalizer runs in any modern mobile browser — Safari, Chrome, Firefox and the in-app browsers in most messaging apps all support the underlying APIs. Performance depends on the device: a recent phone handles typical inputs nearly as fast as a laptop, while older devices may take a few seconds longer near the 200 MB ceiling. The interface lays out cleanly on small screens, so you do not need to pinch-zoom to see the controls.
Audio Equalizer is built on standard browser APIs, which is the same class of engine used by professional audio editing and conversion pipelines. For deterministic operations, the output is byte-identical to what an equivalent CLI run would produce; for operations involving a codec or a model, the result is well within the range of what comparable tools generate. If you have a specific reference output you need to match, run a small test job first to confirm the configuration produces what you expect.
Audio Equalizer is free to use. The processing runs in your browser, which keeps the per-user cost low enough that the tool can be offered openly. The download is the same file the engine produced — you can use it for as many runs as you need.
Audio Equalizer only needs the standard web platform — file picker access for the inputs you choose to load, and optionally clipboard access if you copy the result rather than downloading it. There is no microphone, camera, geolocation or background-permission request, because none of those are needed for the work the tool does.
Audio Equalizer is a browser-only tool by design and does not expose a hosted API. The reason is the same as the privacy story: there is no Favtoo backend doing the work, so there is no service to call. If you need to script the same transformation, the underlying engine (standard browser APIs) is open-source and can be used directly from your own code.
Audio Equalizer accepts MP3, WAV, M4A, AAC, OGG, Opus, FLAC, AIFF, and WMA. If your input is in a format that is not directly supported, convert it first using one of Favtoo's converter tools — every Favtoo converter outputs a file that is a clean input to the next tool in the chain.
Audio Equalizer can be used for personal and commercial work alike — there is no separate "business" licence to purchase. The output you generate is yours to use however you want, including in client deliverables, internal documents, or commercial products. Favtoo's only ask is fair, individual use; the tool is not designed to be embedded as a backend service or wrapped behind an API for resale.
Desktop apps usually have more advanced features but require installation, maintenance and (often) a licence. Paid online tools are convenient but route your file through their servers and gate downloads behind accounts. Audio Equalizer sits in between: free, instant, and private, but intentionally narrow in scope. For one-off jobs and the common audio editing and conversion operations, it is usually the lowest-friction choice; for highly specialised work, a dedicated app is still the right answer.
Audio Recorder
Record from your microphone directly in the browser. Pick quality (high, medium, low), toggle echo cancellation, noise suppression and auto-gain, then save to WebM/Opus or M4A/AAC. Audio is captured locally — nothing is uploaded.
Text to Speech
Type or paste text, pick a system voice, and listen instantly. Adjust speaking rate (0.5×–2×), pitch, and volume in real time. Uses your browser's built-in Web Speech API — no cloud TTS, no API keys, no costs.
Tone Generator
Generate a pure tone at any frequency from 20 Hz to 20 kHz. Pick a sine, square, triangle, or sawtooth waveform, choose duration, amplitude, and mono/stereo. Exports a 16-bit PCM WAV file at 44.1 kHz with built-in click-preventing fades.
Silence Generator
Generate a perfectly silent WAV file of any length from 1 second up to 1 hour. Pick mono or stereo, get a 16-bit PCM WAV at 44.1 kHz. Useful as padding between clips, intro silence, leader audio for video timing, or test material.
White Noise Generator
Generate white, pink, or brown noise as a 16-bit PCM WAV file. Pick noise type, duration up to 1 hour, amplitude, and mono/stereo. Useful for sleep, focus, masking distractions, audio testing, and as a backing layer for ambient music.
Metronome
A precise browser-based metronome powered by the Web Audio API. Set BPM from 30 to 300, choose a time signature, accent the first beat, and use tap-tempo to sync. Click timing is sample-accurate using lookahead scheduling — much steadier than typical JavaScript setInterval beats.
Audio Trimmer
Trim any audio file to a precise start and end time. Outputs a lossless stream-copy by default (no quality loss, very fast) or re-encodes to MP3, WAV, OGG, or M4A. Files are processed entirely in your browser with FFmpeg WebAssembly.
Audio Splitter
Split a long audio file into N equal-length parts and download them as a ZIP. Each part is named sequentially. Great for chapterizing audiobooks, podcasts, or long DJ mixes. Runs entirely in your browser with FFmpeg WebAssembly.