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Online audio equalizer

10-band parametric EQ with draggable curve, spectrum analyzer, and genre presets.

Free & unlimited
All processing happens in your browser. No data is sent to any server.

A ten-band equalizer that applies real filters to the file and gives you the result as a download, rather than just changing what a player sounds like. The bands sit at 32, 64, 125, 250, 500 Hz and 1, 2, 4, 8 and 16 kHz. The 32 Hz band is a low shelf and the 16 kHz band is a high shelf, so they lift or cut everything past them; the eight in between are peaking filters whose bandwidth you control with a shared Q setting. Each band ranges from -12 to +12 dB. You can drag the curve directly, use the sliders, or start from one of twelve presets. A live spectrum analyser runs while you preview, and a bypass switch lets you A/B against the untouched file.

Key facts about Online audio equalizer

Key facts about Online audio equalizer
Bands32, 64, 125, 250, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz, 16 kHz
Filter types32 Hz is a low shelf, 16 kHz is a high shelf, the eight middle bands are peaking filters
Gain range-12 dB to +12 dB per band
Q controlOne shared Q applied to every peaking band, default 1.0 — lower is broader, higher is a narrower notch
EngineA chain of BiquadFilterNodes rendered through an OfflineAudioContext, so the export matches the preview exactly
PresetsFlat, bass boost, treble boost, vocal, rock, jazz, classical, electronic, acoustic, podcast, hip-hop and loudness
Podcast presetCuts -4 dB at 32 Hz and -3 dB at 64 Hz, lifts +4 dB at 500 Hz and +6 dB at 1 kHz for speech clarity
Spectrum analyser512-point FFT running during preview playback
Settings exportThe copy button puts the ten band values on the clipboard so you can reuse or share a curve
Output16-bit PCM WAV with an -eq suffix on the filename
Accepted inputMP3, WAV, OGG, FLAC, AAC and M4A, up to 500 MB

What happens to your file

Nothing is uploaded and no engine is downloaded. The file is read into an ArrayBuffer in this tab, decoded by the browser's own decodeAudioData, passed through a chain of BiquadFilterNodes in an OfflineAudioContext on your CPU, and written back as a 16-bit WAV by JavaScript on this page. The preview uses the identical filter chain in a live AudioContext, which is why what you hear is what you get. After the page loads there is no network request at all, and the result is a blob: URL in your own tab's memory.

About this tool

  1. 1

    Load the file

    Drop an MP3, WAV, OGG, FLAC, AAC or M4A up to 500 MB. The page decodes it and shows duration and sample rate.

  2. 2

    Start from a preset

    Twelve presets cover common material: podcast and vocal for speech, bass boost and hip-hop for low end, classical and acoustic for a gentle shape, flat to reset.

  3. 3

    Shape the curve

    Drag the response curve directly or move the ten sliders. Each band spans -12 to +12 dB; the curve updates live as you drag.

  4. 4

    Set the Q

    Q controls how wide each peaking band reaches. Low Q makes broad, musical tonal shaping. High Q makes a narrow surgical notch for removing a specific resonance.

  5. 5

    Preview with bypass

    Play the file and toggle bypass on and off. The spectrum analyser shows what the filters are actually doing to the signal while it plays.

  6. 6

    Apply and download

    The same filter chain renders the whole file offline. The result is a WAV; convert it afterwards if you need MP3.

Specs & compatibility
Input formatsMP3, WAV, OGG, FLAC, AAC, M4A
Maximum file size500 MB
Output format16-bit PCM WAV at the source sample rate and channel count
Band count10, fixed frequencies
Per-band range-12 dB to +12 dB
Q rangeAdjustable, shared across all peaking bands; 1.0 is roughly a one-octave bandwidth
BrowsersChrome, Edge, Firefox and Safari 14.1+ — BiquadFilterNode is universally supported
SpeedTen biquads is a cheap chain; a full track renders offline in a second or two
  • Cutting sounds better than boosting. If a mix is muddy, pull 250 Hz down rather than pushing everything else up — boosting also raises the level and can clip.
  • The podcast and vocal presets both cut low end and lift the 500 Hz to 2 kHz range, which is where speech intelligibility lives.
  • High-pass style cleanup is not available directly, but pulling the 32 Hz low shelf to -12 dB removes most rumble below 60 Hz.
  • A low Q around 0.7 gives broad tonal shaping. Push Q above 4 only when hunting a specific resonance, such as a room mode or a hum harmonic.
  • Because the 32 Hz and 16 kHz bands are shelves, their effect extends past the label frequency, not just around it.
  • After heavy boosting, run the result through the normalizer in peak mode to pull it back below clipping.
  • For steady hiss or hum, the noise reducer works better than EQ, because it adapts to the noise spectrum instead of removing a fixed band.
  • Ten fixed bands from 32 Hz to 16 kHz
  • Low shelf, eight peaking bands and a high shelf
  • -12 to +12 dB per band with a draggable response curve
  • Adjustable shared Q for the peaking bands
  • Live spectrum analyser during preview
  • Bypass switch for instant A/B
  • Twelve genre and use-case presets
  • Copyable EQ settings
  • Making a voice recording clearer by lifting the presence range and cutting rumble
  • Taming boomy low end in a track recorded in an untreated room
  • Adding air to a dull transfer from tape or an old MP3
  • Shaping a music bed so it sits under speech without competing
  • Notching out a specific resonant frequency with a high Q setting
  • Applying a genre-appropriate tonal curve to a whole playlist before exporting
Q sets how wide each peaking band's effect spreads around its centre frequency. A low Q, around 0.5 to 1, affects a broad range either side — that is what makes tonal shaping sound musical, because it moves a whole region rather than a single pitch. A high Q, above about 4, narrows the effect to a thin slice, which is what you want for surgically removing one resonant frequency such as a room mode or a mains hum harmonic. The Q here is shared across all eight peaking bands; the two shelves ignore it.
Cut where you can. Boosting adds energy, which raises the overall level and can push the file into clipping, and it amplifies whatever noise sits in that band along with the signal you wanted. If a mix sounds muddy, pulling 250 Hz down gives the same relative result as boosting everything else and leaves headroom intact. Boosting is right when something is genuinely missing — adding air at 16 kHz to a dull recording, for instance. After any significant boost, check the level with the normalizer.
Because shelves are more useful than peaks at the extremes. The 32 Hz band is a low shelf: it lifts or cuts everything below its corner rather than just a bump around 32 Hz, which is what you want for rumble or weight. The 16 kHz band is a high shelf, doing the same at the top for air and brightness. The eight bands between are peaking filters, each affecting a region around its centre frequency. This is the standard layout for a graphic EQ and matches what most hardware units do.
Yes. The preview builds the same chain of BiquadFilterNodes in a live AudioContext that the export builds in an OfflineAudioContext, with the same frequencies, gains, filter types and Q. What you hear while auditioning is the rendered result, not an approximation. The bypass switch simply routes around that chain so you can compare against the untouched file, and the spectrum analyser sits at the end of the chain so it shows the post-EQ signal rather than the source.
16-bit PCM WAV, at the source's own sample rate and channel count, with an -eq suffix on the filename. WAV is used because it is the only lossless container a browser can write without loading an external encoder, so the EQ stage adds no compression artefacts of its own. The cost is size — roughly 10 MB per stereo minute at 44.1 kHz — so if the destination is a phone or a podcast host, run the result through the audio converter and encode to MP3 or AAC once.
No. This tool runs entirely on the Web Audio API in your browser: decodeAudioData reads the file, a chain of BiquadFilterNodes processes it inside an OfflineAudioContext on your own CPU, and JavaScript on this page writes the WAV. Unlike the converter tools here, it does not download a processing engine either, so once the page has loaded there is no network request at all. The result is a blob: URL pointing at memory in your tab and is released when you close the page.

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