Enhance Audio Quality Online
An online audio enhancer for improving clarity, boosting bass, reducing noise, and normalizing volume. Supports MP3, WAV, FLAC, and other formats — all processing in your browser.
How to Enhance Audio Quality
Drag and drop an audio file into the upload zone or click to browse. Supports MP3, WAV, FLAC, OGG, M4A, AAC files up to 1 GB. On a phone the ceiling is lower.
Select the type of recording: Auto Enhance, Speech, Podcast, or Music. Each preset applies an optimized chain of audio filters.
Choose enhancement strength: Light for subtle improvement, Medium for balanced processing, or Strong for maximum effect.
Click "Enhance" and wait for processing. Compare before and after with the built-in player, then download the enhanced file.
Improve audio clarity, balance, and loudness — in your browser
What this tool does
Custom Mode: Parameter Reference
Adjust each parameter to shape your sound. Changes to filters, EQ, dynamics (threshold, ratio, attack, release, knee), de-esser and output gain are heard instantly during playback. Only noise reduction and noise gate are applied during export.
Filters
- High-pass (20–500 Hz) — removes low-frequency rumble: room hum, wind noise, handling sounds. Set to 80–100 Hz for voice, keep at 20 Hz for music.
- Low-pass (2k–20k Hz) — removes harsh high frequencies and hiss. Set to 12–14 kHz for speech, keep at 20 kHz for music to preserve full spectrum.
Equalizer — 6 Bands
- Bass (100 Hz) — controls low-end body and fullness. Boost for thin recordings, cut to reduce boominess or room resonance.
- Warmth (250 Hz) — adds richness and body to voice. Boost for thin or cold-sounding recordings, cut if the sound is muddy or boxy.
- Mid (1 kHz) — main vocal frequency range. Boost to bring voice forward, cut to push it back and create space.
- Presence (3 kHz) — articulation and definition. Boost to make speech more intelligible, cut to soften harsh or aggressive recordings.
- Clarity (5 kHz) — brightness and consonant detail. Boost for dull recordings, cut to tame sibilance or brittle sound.
- Air (10 kHz) — sparkle and openness. Boost to add "air" and shimmer, cut if the recording sounds too bright or noisy.
Dynamics
- Threshold (0 to −60 dB) — sets the level above which the compressor activates. Lower values mean more of the signal gets compressed.
- Ratio (1:1 to 20:1) — how much to reduce signal above the threshold. 2–4:1 for gentle leveling, 8–20:1 for heavy compression.
- Attack (0.1–100 ms) — how fast the compressor reacts when signal exceeds the threshold. Short attack (1–10 ms) catches transients, long attack (20–100 ms) lets them through.
- Release (10–1000 ms) — how fast the compressor stops reducing after signal drops below threshold. Short release (50–100 ms) for speech, long (200–500 ms) for music.
- Knee (0–40 dB) — transition smoothness around the threshold. 0 dB = hard knee (abrupt), 20–40 dB = soft knee (gradual, more natural).
- De-esser (0–12 dB) — reduces sibilance (harsh "s", "sh", "ts" sounds). Applies a narrow cut around 6.5 kHz. Start with 3–6 dB.
Output
- Gain (−12 to +12 dB) — final volume adjustment before export. Use to compensate for any volume changes from other settings.
What each preset does to the sound
The frequency band each chain keeps and the loudness it normalises to. These values do not depend on the Strength and Noise controls — the rest of the chain does.
| What's in your recording? | Band kept | Output loudness | True peak |
|---|---|---|---|
| Auto Enhance | 60–100 Hz+ | −16 LUFS · LRA 11 | −1.5 dBTP |
| Speech | 120 Hz – 10 kHz | −16 LUFS · LRA 8 | −1.5 dBTP |
| Podcast | 60 Hz – 15 kHz | −16 LUFS · LRA 11 | −1.5 dBTP |
| Music | 25 Hz+ | −14 LUFS · LRA 14 | −1.0 dBTP |
What processing cannot recover
- Clipping already recorded into the file. Where the waveform is flat-topped, the original signal no longer exists — leveling only makes the distortion easier to hear.
- Highs lost to a low bitrate. A 64 kbps MP3 has nothing above roughly 11 kHz; brightening only lifts the noise that sits there.
- Room reverb baked into the recording. Denoising removes steady hiss, not the reflections of the walls — those follow the voice itself.
- Two people talking at once. Separating overlapping speech is a different task from cleaning it; nothing in this chain does it.
