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Compress Audio

Make audio files Smaller Online

Choose your files

*Files deleted after 24 hours

Transform up to 1 GB files free, Pro users can convert up to 100 GB files; Sign up now

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How to Compress Audio

1 Drop your audio files into the box above, or pick them from your device — there is nothing to install and no account to create.
2 Choose how hard to squeeze: a quality or bitrate target, and optionally smaller dimensions if size matters more to you than detail.
3 Start the job and let the workers re-pack the file; your original is never modified in place.
4 Compare the new size against the original, then download the compressed Audio file.

Compress Audio FAQ

Does the format of my file change how much I can save?
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Very much so. this format is read and written by the same streaming pipeline as everything else we support. That determines both the headroom available and whether the saving costs you anything in fidelity.
Yes — the codec is detected from the stream, so a mislabelled extension does not derail the job. It is worth knowing before you overwrite an original you might need again.
Compressing the same file repeatedly. Each pass on a lossy format is a fresh generation of loss and the savings shrink while the damage accumulates. Go from the original to your target in one step, and keep the original.
Concretely, lossless sources are moved to compressed lossless where that is enough, and lossy sources are re-encoded to the bitrate you set, so nothing is needlessly put through a second generation. Nothing about it depends on you installing software: the job runs server-side and hands back a finished file.
Yes. The set queues in parallel with identical settings, which is how you process an album or a podcast back catalogue without repeating yourself.
Yes — ID3, Vorbis comments and MP4 atoms are carried across along with embedded artwork, so processed files still sort correctly in a music library.
Yes: free accounts process audio up to 200 MB per file whichever codec you brought; ffmpeg handles the decode and encode. In practice that limit only bites on uncompressed WAV; a compressed file of the same length is nowhere near it.
It depends on the source. Lossless input (WAV, FLAC, AIFF) is edited sample-exactly and loses nothing. Lossy input has already discarded detail once, so where the job can be done by copying the encoded stream rather than re-encoding it, that is the path taken.
WORD.to is built around the editable end of a document's life — the DOCX that is still being written, still being styled and still being argued over, before anyone flattens it for sending. Office files are containers full of other people's media — images, embedded audio, fonts — so the work people need on them is usually the work they would need on those contents anyway. Compress Audio shares the upload, the caps and the account with the conversions for that reason.
The converter on this site takes documents out to PDF for sending, to images for embedding and to plain text for anything that has to read them programmatically, and back the other way. Doing that afterwards keeps the editable original around, which is the part you cannot get back once it has been flattened.
The engines are shared — the same document toolchain, the same workers, the same limits. What a Word site adds is a view on what survives leaving the Office format and what does not, which is the question every one of these jobs actually turns on. It also starts from one fact about the format this site is named after: the document is a zip of XML, so text edits are cheap and the weight is almost always the embedded images.
No account, and nothing is kept: uploads are deleted from the workers shortly after the job finishes, nothing is read and nothing is indexed. Free accounts exist for history and batch size, not for access.

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