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Audio Equalizer - 10-Band Graphic EQ

Shape the tone of any recording with ten sliders from 31 Hz to 16 kHz. Cut mud, lift vocals, tame harsh treble, then save the result as MP3, WAV or M4A. The file is processed in your browser and never uploaded.

Decoding, filtering and encoding all happen in this tab. Your file stays on your device the whole time.

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或点击从本机选一个

MP3、WAV、M4A、AAC、OGG、FLAC · 最大 200 MB

What ten bands actually change

A graphic equalizer splits the spectrum into fixed bands and gives you one fader for each. This one uses ten, centered at 31, 62, 125, 250 and 500 Hz and at 1, 2, 4, 8 and 16 kHz. Each slider drives FFmpeg's equalizer filter as a peaking band one octave wide, so moving the 1 kHz slider affects roughly 700 Hz to 1.4 kHz with the most change at the center and a smooth fade on either side. Neighbouring bands overlap, which is why lifting two adjacent sliders by 3 dB gives a bigger lift between them than either slider suggests.

Every band can be moved by 12 dB in either direction. In practice, most corrections are far smaller. A 3 dB change is clearly audible, 6 dB is a strong statement, and 10 dB or more is a special effect, like a telephone voice made by cutting the lows and highs and leaving the middle.

Headroom, the preamp and the limiter

Digital audio has a hard ceiling at full scale. A mastered track often peaks within a decibel of it, so a 5 dB boost at 125 Hz has nowhere to go and the tops of the waveform are flattened. That flattening is clipping, and it sounds like fizz and crackle. The preamp is the clean fix: it lowers the entire signal by up to 12 dB before the bands run, so a boosted band lands below the ceiling. Quieter output is easy to correct later with the volume booster or the audio normalizer.

The limiter is a safety net that engages only when a band is boosted. If a few peaks still overshoot after the preamp, it presses them back under full scale instead of letting them clip. It trades a small amount of dynamic range for a clean result. For the purest output on a flat or cut-only curve, there is nothing for it to do.

Fixing common problems and choosing an export

Muddy vocals and boxy acoustic guitars usually live around 250 to 500 Hz, so a cut there clears space. Harsh, tiring treble tends to sit near 4 kHz, and hissy sibilance near 8 kHz. Small speakers cannot reproduce 31 or 62 Hz anyway, so lifting those on a laptop mostly adds distortion. Test your curve on the speakers or headphones the audience will actually use, because every playback device has its own response.

An EQ cannot restore frequencies that were removed before you got the file. A 128 kbps MP3 has usually lost everything above about 16 kHz, so the top slider has little to lift. Export as WAV if you will keep editing, MP3 at 192 or 320 kbps for sharing, or M4A for a small file that plays everywhere on phones.

Equalizer band guide

What each of the ten sliders controls and the usual reason to touch it.

31 HzSub-bass rumble. Felt more than heard; cut to remove stage rumble, lift for movie-style weight.
62 HzKick drum thump and bass fundamentals. Lift for punch, cut if the mix pumps on small speakers.
125 HzBass guitar body and male-voice warmth. Too much sounds boomy.
250 HzMud and boxiness in vocals and guitars. The most common cut.
500 HzHonk or cardboard tone in the lower mids. A small cut opens up a crowded mix.
1 kHzCore of voices and snare. Lifting adds forward, nasal presence.
2 kHzConsonant clarity and speech intelligibility.
4 kHzAttack, presence and harshness. The ear is most sensitive here.
8 kHzCymbal brightness and sibilance (the s sound).
16 kHzAir and sparkle; there is often little content here in an MP3.
Range and gainPlus or minus 12 dB per band, with a preamp from -12 to 0 dB.
OutputMP3 at 128, 192 or 320 kbps, WAV or M4A. Up to 200 MB per file.

How to Equalize Audio Online

Three steps, all inside your browser

  1. 01

    Add your audio file

    Drop in an MP3, WAV, M4A, AAC, OGG or FLAC up to 200 MB. It is read from your disk and decoded on your device.

    The EQ can only shape what is in the file. If a recording is already very bright or very dull, start from a better copy when you have one.

  2. 02

    Move the bands and set the preamp

    Drag any of the ten sliders between -12 and +12 dB. If you boost anything, pull the preamp down toward -3 to -6 dB first so the boosted bands have room before they hit full scale.

    Small moves of 2 to 4 dB do most of the useful work. Cutting a problem band usually sounds better than boosting its neighbours.

  3. 03

    Apply, compare and download

    Press Apply, listen to the result next to the original, then export it as MP3 at 128, 192 or 320 kbps, as WAV, or as M4A.

    Keep the limiter on while boosting. Switch it off only when every band is flat or cut and you want the raw, unprocessed peaks.

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Audio Equalizer Questions

What the ten bands do and how to use them without damaging the sound.

No. The equalizer runs on a WebAssembly build of FFmpeg inside this tab. Your file is read from disk, filtered on your device and offered back as a download. Nothing is sent anywhere, and you can confirm that in your browser's network panel.
Ten bands at 31 Hz, 62 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. Each can be moved up or down by as much as 12 dB. The centers are one octave apart, which is the classic layout of a ten-band graphic equalizer.
Boosting a band makes the signal louder at that frequency, and a track that is already near full scale will clip. The preamp lowers the whole signal by 0 to 12 dB before the bands are applied, so there is headroom for the boost. A rule of thumb is to drop the preamp by about as much as your largest boost.
It only runs when at least one band is boosted. It catches peaks that would go past full scale after the boost and squeezes them back under the ceiling, which prevents the harsh crackle of digital clipping. If every band is flat or cut, there is nothing to limit and it stays out of the way.
Try cutting 250 Hz by 2 to 4 dB to remove boxiness, then lift 2 kHz and 4 kHz by 2 to 3 dB so consonants stand out. For a recording that is thin instead of muffled, do the opposite and add a little at 125 Hz. Change one band at a time and compare against the original.
Not at the moment. The sliders are applied to the file you loaded, and the page does not store a curve between visits. If you find a setting that works for a batch of files, note the values and enter them again. For a single-purpose fix, the bass booster handles low end with one control.
Exporting to MP3 re-encodes the audio, so a lossy source goes through a second round of compression. For the cleanest result, export WAV, or choose 320 kbps if you need a small file. M4A is a good middle ground for phones.

Other one-click audio effects

Narrower fixes for the same job: lift only the bass, change the level, or reshape the sound with reverb. All run in your browser.

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