Convert between MP3, WAV, OGG, FLAC, AAC and other audio formats online for free. No software needed — understand audio codecs, bitrates, and quality tradeoffs.
I spent three hours last week trying to figure out why a podcast episode sounded like it was recorded inside a tin can. The audio was fine in my editor. The WAV file played beautifully. But the moment I exported to MP3 at 64 kbps to "save space," the host's voice developed this watery, metallic quality that made the whole thing unlistenable.
The fix took 30 seconds: re-export at 192 kbps.
That's the thing about audio conversion. The actual process is trivial — pick a format, click convert, done. But understanding why you're choosing a particular format, what you're trading off, and when quality loss matters versus when it genuinely doesn't? That's where most people get tripped up.
And it costs them. Musicians upload FLAC files to platforms that re-encode to AAC, stacking lossy compression on top of lossy compression. Podcasters distribute WAV files that are ten times larger than they need to be. Game developers ship OGG assets that their engine can't decode efficiently. Video editors spend hours troubleshooting sync issues caused by sample rate mismatches they introduced during a careless conversion.
This guide is the one I wish I'd had years ago. We'll cover every major audio format, when to use each one, what actually happens to your audio during conversion, and how to do it all for free without installing anything.
Before we talk about formats, you need to understand what conversion actually does. Because "converting" audio isn't one thing — it's at least three different things, and they have very different consequences.
This is when you convert between two compressed formats — say, MP3 to AAC, or OGG to MP3. Each of these formats achieves small file sizes by permanently discarding audio data that the codec's psychoacoustic model deems "less important." The problem is, each codec has a different model. They throw away different things.
When you transcode from one lossy format to another, the second codec can't recover what the first one discarded. It can only discard more. The result is generational quality loss — like making a photocopy of a photocopy. Each pass degrades the signal.
Rule of thumb: Avoid lossy-to-lossy transcoding whenever possible. If you need both MP3 and AAC versions of a track, encode each one separately from the original lossless source.
This is the most common conversion: taking a WAV or FLAC file and compressing it to MP3, AAC, or OGG. Here, you're making a one-time quality tradeoff for a much smaller file. Done correctly with appropriate bitrate settings, the quality loss is imperceptible to most listeners on most playback systems.
Converting WAV to FLAC, or AIFF to ALAC, doesn't lose any quality at all. You're either changing the container format or switching between uncompressed and losslessly compressed representations. The audio data is bit-for-bit identical. This is always safe to do.
Here's every format you're likely to encounter, what it's for, and when you should use it.
The format that changed everything. MP3 was standardized in 1993 and essentially created the digital music revolution. It uses perceptual coding to reduce file sizes by 80-90% compared to uncompressed audio.
At 320 kbps, MP3 is transparent for the vast majority of listening scenarios. At 128 kbps, trained ears can detect artifacts on complex material (cymbals, reverb tails, high-frequency transients). Below 96 kbps, quality degrades noticeably.
The uncompressed standard. WAV stores raw PCM audio data with zero compression, which means zero quality loss — and very large files.
WAV is the format you should work in during production. Edit in WAV, master in WAV, archive in WAV (or FLAC). Convert to lossy formats only as the final delivery step.
FLAC compresses audio losslessly — meaning the decompressed output is bit-for-bit identical to the original. File sizes are typically 50-70% of the equivalent WAV, with zero quality penalty.
FLAC is the ideal archival format. If you have a music collection and storage space isn't critically limited, FLAC is strictly better than MP3 — you preserve full quality and can always convert to any lossy format later without generational loss.
An open-source lossy codec that generally outperforms MP3 at equivalent bitrates, especially at lower bitrates where MP3 struggles.
Game developers love OGG Vorbis because it's royalty-free, efficient to decode, and sounds great at moderate bitrates. If your target platform supports it, OGG at quality 5 (~160 kbps) often sounds as good as MP3 at 192 kbps.
The successor to MP3, developed by a consortium including Dolby, Sony, and Nokia. AAC delivers better quality than MP3 at the same bitrate, and it's the default format for Apple Music, YouTube, and most streaming platforms.
Apple's AAC encoder is considered one of the best. At 256 kbps AAC (Apple Music's format), quality is indistinguishable from lossless for virtually all listeners in controlled tests.
Apple's equivalent of WAV. Uncompressed, lossless, large files. Functionally identical to WAV for audio quality, but with better metadata support.
Apple's answer to FLAC. Lossless compression, bit-for-bit perfect audio, native Apple ecosystem support.
Microsoft's audio format. WMA Pro and WMA Lossless exist, but the format has largely been superseded by AAC and FLAC. You'll still encounter WMA files from the early 2000s.
The newest contender and arguably the most technically impressive lossy codec. Opus excels at low bitrates and handles both speech and music extremely well. It's the codec behind Discord, WhatsApp calls, and most VoIP applications.
At 96 kbps, Opus sounds as good as MP3 at 192 kbps for speech content. For podcasters trying to minimize bandwidth costs, Opus is the clear winner.
| Format | Type | Quality | File Size | Compatibility | Best Use Case |
|---|---|---|---|---|---|
| WAV | Uncompressed | Perfect | Very Large (~10 MB/min) | Universal | Editing, mastering |
| AIFF | Uncompressed | Perfect | Very Large (~10 MB/min) | Excellent | Apple production |
| FLAC | Lossless | Perfect | Large (~6 MB/min) | Very Good | Archiving, audiophile |
| ALAC | Lossless | Perfect | Large (~6 MB/min) | Good (Apple native) | Apple ecosystem |
| MP3 | Lossy | Good-Excellent | Small (~1 MB/min at 128k) | Universal | General distribution |
| AAC | Lossy | Very Good | Small (~1 MB/min at 128k) | Very Good | Streaming, mobile |
| OGG | Lossy | Very Good | Small (~1 MB/min at 128k) | Moderate | Games, web apps |
| Opus | Lossy | Excellent | Very Small | Good (growing) | VoIP, podcasts |
| WMA | Lossy/Lossless | Good | Small-Large | Windows only | Legacy use |
Bitrate is the single most important setting when converting to a lossy format. It determines how much data per second the codec uses to represent your audio. Higher bitrate means more data, larger files, and better quality.
Music distribution (MP3):
Podcasts and speech (MP3):
Music distribution (AAC):
Game audio (OGG):
Constant Bitrate (CBR) uses the same amount of data for every second of audio, whether it's a loud, complex passage or silence. Simple but wasteful.
Variable Bitrate (VBR) allocates more data to complex passages and less to simple ones. The result is better quality at the same average file size, or smaller files at the same quality. VBR is almost always the better choice.
Most modern encoders default to VBR. If you're given the option, use it.
Here's the decision tree I use for every audio conversion:
Are you editing or producing? Use WAV. Always. Work in uncompressed until you're ready for final delivery.
Are you archiving? Use FLAC. It preserves perfect quality at roughly half the file size of WAV, and you can always convert to anything else later without quality loss.
Are you distributing music online? Use MP3 at 320 kbps for maximum compatibility, or AAC at 256 kbps if your platform supports it. If your audience is primarily mobile, AAC at 192-256 kbps is the sweet spot.
Are you publishing a podcast? Use MP3 at 128 kbps stereo (or 64 kbps mono for talk-only shows). Every podcast player on earth supports MP3. If you're hosting-cost-conscious and your platform supports it, Opus at 64-96 kbps is dramatically more efficient.
Are you building a game or web app? Use OGG Vorbis if your engine supports it (most do). It's royalty-free, efficient, and sounds great. For web-only applications, Opus is even better but check browser support for your target audience.
Are you sending files to a client or collaborator? Use WAV or FLAC. Never send lossy files as deliverables unless specifically requested. Your client might need to re-encode for their platform, and starting from a lossy source means double quality loss.
Bitrate isn't the whole story. For lossless formats, sample rate and bit depth determine quality.
Sample rate is how many times per second the audio is measured. CD quality is 44,100 Hz (44.1 kHz), meaning 44,100 samples per second. By the Nyquist theorem, this captures frequencies up to 22,050 Hz — well above the ~20,000 Hz limit of human hearing.
Bit depth determines the dynamic range — the difference between the quietest and loudest sounds that can be represented.
Practical advice: If someone sends you a 96 kHz/24-bit WAV and you need to convert it for web distribution, downsample to 44.1 kHz/16-bit WAV first (with proper dithering), then encode to your target lossy format. This ensures the lossy encoder isn't wasting bits on ultrasonic content nobody can hear.
The good news: you don't need expensive software to convert audio files. Browser-based tools handle the job perfectly, and your files never leave your device when processing happens client-side.
On akousa.net, we've built over 200 converter tools, including dedicated audio converters. No account required, no watermarks on your output. You pick your source file, choose your target format and quality settings, and export the result.
This matters for privacy and speed. Your audio files — which might contain unreleased music, confidential voiceovers, or private recordings — never touch a third-party server. And because there's no upload/download step, conversions are fast even for large files.
Choose the right converter — Whether you need MP3 to WAV, FLAC to MP3, WAV to OGG, or any other combination, select the specific converter for your format pair. Using a dedicated converter rather than a generic "convert anything" tool typically gives you more control over output settings.
Upload your file — Drag and drop or browse to select your audio file. Remember, with client-side processing, the file stays on your machine.
Configure output settings — Set your target bitrate (for lossy formats), sample rate, channels (stereo/mono), and any other relevant parameters. When in doubt, refer to the bitrate recommendations earlier in this guide.
Convert and download — Hit convert, wait a few seconds (or longer for very large files), and download your converted file.
If you have dozens or hundreds of files to convert — say, an entire album or a podcast back-catalog — look for batch conversion support. Converting files one at a time is tedious and error-prone. A good batch converter lets you set your parameters once and apply them to all files.
After years of working with audio, these are the mistakes I see most often.
As discussed earlier, transcoding from MP3 to AAC (or any lossy-to-lossy conversion) means double quality loss. The only legitimate reason to do this is if you have no access to the original lossless source and absolutely need a different format. In that case, use the highest quality settings available.
Storage is cheap. Bandwidth is cheap. Your listeners' experience is not. There's rarely a good reason to encode music below 192 kbps MP3 or 128 kbps AAC in 2026. The "savings" of going from 192 kbps to 128 kbps on a 4-minute song is about 0.4 MB. Not worth it.
Converting an MP3 to FLAC or WAV doesn't restore lost quality. You get a larger file that sounds exactly like the MP3 — because it is the MP3 data, just stored in a lossless container. The information that was discarded during MP3 encoding is gone forever.
This is a common mistake among people building "lossless" music libraries. If the source was MP3, the FLAC is not truly lossless.
If you're combining audio from different sources in a project, make sure all files share the same sample rate before mixing. A 44.1 kHz file mixed with a 48 kHz file will cause pitch and timing issues in many editors.
Always keep your original files. Storage is cheap, and you can never go back from lossy to lossless. Convert copies, never originals.
No. Converting a lossy file (MP3) to a lossless format (WAV) does not restore any quality. The data discarded during MP3 encoding is permanently lost. The WAV file will be larger but will sound identical to the MP3. Always keep your original lossless files if quality matters to you.
It depends on your goal. For archiving and preserving maximum quality, FLAC is the best choice — lossless compression with broad compatibility. For distribution and everyday listening, MP3 at 320 kbps or AAC at 256 kbps provides excellent quality with small file sizes that work on every device. There is no single "best" format; the right choice depends on your use case.
FLAC preserves perfect audio quality (lossless), while MP3 permanently discards some audio data (lossy). For archiving, production, and critical listening, FLAC is objectively better. For casual listening, streaming, and mobile playback, a high-bitrate MP3 (256-320 kbps) is effectively indistinguishable from FLAC for most people on most equipment, and the file is 3-5 times smaller.
Yes. Browser-based audio converters — like the ones available on akousa.net — handle all major format conversions directly in your browser. Modern web technologies allow the conversion to happen locally on your device, so your files stay private and conversions are fast. No installation, no account, no file size limits imposed by server uploads.
For speech-only podcasts, 128 kbps MP3 (stereo) or 64 kbps MP3 (mono) is standard and sounds clean. Most major podcast platforms recommend 128 kbps. If bandwidth is a concern and your hosting supports it, Opus at 64-96 kbps delivers equivalent quality at roughly half the file size. Avoid going below 64 kbps for any public-facing audio.
Audio conversion is straightforward once you understand the fundamentals. Know your formats, understand the difference between lossy and lossless, choose appropriate bitrate settings for your use case, and always work from lossless sources when possible.
The most important takeaway: keep your originals. Storage costs fractions of a cent per gigabyte. Converting a lossless master to any format is trivial. Recovering quality from a poorly encoded lossy file is impossible.
Whether you're a musician distributing tracks, a podcaster optimizing file sizes, a game developer managing audio assets, or just someone who wants to play a FLAC file on a device that only supports MP3 — the conversion itself takes seconds. Making the right choices about format and quality is what separates professional-sounding results from amateur ones.
And with free browser-based tools available on sites like akousa.net — which offers over 200 converter tools covering audio, video, image, document, and data formats — there's no reason to pay for software or compromise on quality. Pick the right format, set the right bitrate, and let the converter handle the rest.
Akousa