How to equalize audio online in 3 steps
- 01
Open your audio
Click Open file, drag a track into the drop zone, or select Try a demo to test the equalizer on a sample loop first. Files decode locally in your browser and are never uploaded anywhere.
- 02
Shape the bands
Pick a preset like Vocal clarity or Podcast voice in Studio settings, or set each of the 8 bands' type, frequency, gain and Q by hand. Watch the response curve and spectrum analyzer update live as the track plays.
- 03
Render, compare and export
Click Render preview, use the Original/Processed toggle to A/B your changes, then choose an output format and click Download audio. Use Save preset first if you want these settings again later.
What you can do with this equalizer
- Shape sound with 8 parametric bands, each switchable between low cut, low shelf, bell, notch, high shelf and high cut.
- Dial in any frequency from 20 Hz to 20 kHz, gain up to plus or minus 18 dB, and Q from 0.1 (wide) to 18 (narrow) on every band.
- Watch a frequency-response curve drawn from the real filters you are applying, not a generic illustration.
- See a real-time spectrum analyzer while the track plays, so you can spot resonances and problem frequencies by eye.
- Hear every change as you make it with live preview, before you commit to a render.
- Trim overall level afterward with output gain, up to plus or minus 12 dB, so a heavy boost does not leave the track too loud.
- Start from 9 built-in presets — Flat, Vocal clarity, Podcast voice, Warm analog, Bright & open, Bass boost, De-mud, Telephone and Lo-fi — then fine-tune from there.
- Save your own settings with Save preset and reload them anytime; presets are stored locally in your browser.
What is an online equalizer?
An equalizer, or EQ, changes the balance of frequencies in an audio signal — turning specific parts of the sound up or down without changing its speed or pitch. This online equalizer runs entirely in your browser: open a file, adjust the bands, and hear the result immediately, with nothing uploaded to a server or processed anywhere but your own device.
Underneath, each band is a real digital filter, not a simple volume knob for a slice of the spectrum. That is what separates an equalizer from a couple of its siblings here — bass boost focuses on one low-end shape, and volume booster changes overall level and loudness rather than tone. An EQ works across the whole frequency range at once.
Graphic EQ vs. parametric EQ: what's the difference?
A graphic EQ gives you a fixed row of bands at set frequencies, often spaced in steps like 100 Hz, 200 Hz and 400 Hz, with one slider per band, so the layout visually resembles the curve you are drawing. A parametric EQ instead gives you a handful of fully adjustable bands — you choose the exact frequency, gain and width of each one yourself.
This tool is a parametric equalizer online: all 8 bands are fully adjustable, and each can switch between low cut, low shelf, bell, notch, high shelf and high cut. That is more flexible than a fixed graphic layout. If you want the fixed-step feel of a graphic equalizer, you can still set your own bands at round frequencies like 100 Hz, 1 kHz and 10 kHz and use them the same way.
Band types and Q, explained
Each of the 8 bands can be set to one of six filter types. Picking the right type matters as much as picking the right frequency, since a shelf, a bell and a cut all shape the sound in very different ways even centered on the exact same frequency, so it pays to know what each one is actually doing before you reach for gain.
Q controls how wide or narrow a bell or notch band is around its center frequency. A low Q, around 0.3 to 1, spreads the boost or cut across a broad swath of the spectrum for gentle, musical-sounding moves that barely announce themselves. A high Q, up toward 18, squeezes the same amount of gain into a sliver of frequencies — useful for surgically cutting a single problem tone, like a resonant ring or an electrical hum harmonic, without touching anything around it.
A useful way to find a problem frequency is to temporarily set a bell to a high Q and a noticeable boost, then sweep it slowly across the range while the track plays. Where the sound turns harsh, boxy or unpleasant is usually the frequency worth cutting — once you find it, flip the gain from a boost to a cut and widen the Q slightly for a more natural result.
| Band type | What it does | Typical use |
|---|---|---|
| Low cut (high-pass) | Removes everything below the frequency | Clear rumble or handling noise under a vocal or acoustic track |
| High cut (low-pass) | Removes everything above the frequency | Tame harsh cymbals or hiss, or fake a telephone or vintage tone |
| Low shelf | Boosts or cuts everything below the frequency by a flat amount | Broad warmth or an overall low-end cleanup |
| High shelf | Boosts or cuts everything above the frequency by a flat amount | Broad brightness or air, or an overall dulling |
| Bell (peak) | Boosts or cuts a range centered on the frequency; width set by Q | The most common move — fixing mud, adding presence |
| Notch | A narrow, deep bell cut | Removing a whine, buzz or resonant ring at one exact frequency |
Frequency cheat sheet: what lives where
Use this table as a starting point, not a rulebook — the exact frequency that needs attention shifts a little from one recording to the next depending on the voice, instrument or room involved. Sweep a narrow bell around the range listed for the problem you are hearing, and let your ears make the final call before committing to a cut or boost.
The De-mud and Bright & open presets are both built around this map: De-mud starts with a cut in the low-mids, and Bright & open starts with a shelf up in the air range. Loading either one first, then nudging the exact frequency to match your own recording, is usually faster than building a curve from a flat starting point.
| Range | Frequency | Typical move |
|---|---|---|
| Sub-bass | 20–60 Hz | Low cut most vocals and acoustic instruments here; boost gently on kick or bass with a low shelf |
| Bass | 60–250 Hz | A small shelf boost adds warmth; cutting here tightens a boomy mix |
| Low-mids (mud) | 250–500 Hz | The most common cut on a mix — a narrow bell, Q around 2 to 4, clears boxiness |
| Midrange | 500 Hz–2 kHz | Bell boosts add body and presence; bell cuts reduce honk or harshness |
| Presence | 2–6 kHz | A gentle bell boost, 1 to 3 dB, adds clarity and intelligibility to vocals |
| Air | 6–20 kHz | A high shelf boost adds sparkle; a high cut tames sibilance or hiss |
EQ for vocals and podcasts
Spoken word and lead vocals usually need the same short sequence: a low cut around 80 to 100 Hz to remove rumble and handling noise, a small cut in the low-mids to reduce boxiness, and a gentle presence boost around 3 to 5 kHz for intelligibility. The Vocal clarity and Podcast voice presets in this equalizer start from that shape — load one, then fine-tune it to your microphone and room.
Keep moves small on voice. A vocal or podcast track is usually the loudest, most exposed thing in the mix, so a few dB in the right place goes a long way, and heavy boosts tend to sound processed rather than clear. If a recording sounds thin or tinny after cleanup, a small low-mid boost around 200 to 400 Hz can restore some warmth without bringing back the mud you just cut.
EQ for a full mix
On a full mix, equalizing is mostly subtractive: sweep a narrow, boosted bell across the low-mids and midrange while listening, and cut wherever the mix turns boxy or harsh. Use low cuts on anything that does not need genuine low end — most instruments other than kick, bass and sub content do not — to free up headroom for the parts that do.
Save the boosts for last, and keep them gentle. A high shelf for air or a small presence bump can finish a mix, but if you find yourself boosting more than 4 to 5 dB anywhere, that is often a sign something needs a cut somewhere else instead, or that the instrument was recorded thin to begin with and needs more than EQ can fix.
What to expect from an online equalizer
This equalizer processes the whole file you give it — it does not separate instruments or isolate a single voice inside a mix, so a cut aimed at one element affects everything sharing that frequency range. To work on a single voice or instrument first, split it out with stem splitter or vocal remover, then use Continue in another tool to bring that stem here.
EQ changes tone, not level. A big boost raises the energy in that range, which can make a track feel louder or start clipping — that is what the output gain trim and the Original/Processed toggle are for. Check the level match before deciding a change is actually an improvement, and not just louder, since louder almost always sounds better in a quick A/B even when it is not actually a better mix.
Tips for better results
- Cut before you boost. Sweep a narrow, boosted bell across the spectrum to find problem frequencies, then flip that boost into a cut instead of leaving it as a boost.
- Keep moves small. Most useful EQ changes are 2 to 4 dB; anything much larger usually means the wrong frequency was chosen.
- Use the spectrum analyzer to see where energy is piling up before reaching for a boost — your eyes can catch what your ears miss on unfamiliar speakers.
- A/B constantly with the Original/Processed toggle, comparing at matched output gain, so you are judging an actual improvement rather than just a louder signal.
- Once you land on a shape that works for your voice or microphone, use Save preset so you do not have to rebuild it for the next file.
Frequently asked questions
What is an online equalizer?
An online equalizer is a tool for shaping the tone of an audio file by boosting or cutting specific frequency ranges, running entirely in your browser. This one gives you 8 fully parametric bands with live preview, so you hear every change as you make it.
Is this a graphic equalizer or a parametric equalizer?
It is a parametric equalizer: each of the 8 bands has a fully adjustable frequency, gain and Q, and can be switched between low cut, shelf, bell, notch and high cut. You can still set bands at fixed, round frequencies if you prefer the feel of a graphic EQ.
Do I need to upload my audio? Is this equalizer free?
No upload is needed — everything processes on your device in the browser, and your file is never sent to a server. It is also free to use, with no sign-up, no watermark on your exported audio, and no payment required.
What audio formats does it support?
Any format your browser can decode, including MP3, WAV, FLAC, OGG/Opus, M4A/AAC, AIFF and WebM as input. On export, choose WAV, MP3, FLAC, OGG Vorbis, Opus, M4A or AIFF, with your preferred sample rate and channel count.
Is there a file size limit?
Files up to 150 MB are supported. Very large files may run slower depending on your device's available memory, since decoding and processing both happen in your browser rather than on a remote server that could otherwise absorb the load.
Does this work on mobile or iPhone?
Yes, it runs in a mobile browser much the same as on desktop, including the live spectrum analyzer. Very large files or long sessions may be slower on a phone with limited memory, so shorter clips work best.
Can I use this for vocals or a podcast?
Yes. Load the Vocal clarity or Podcast voice preset as a starting point, then adjust the bands to your microphone and room. Both combine a low cut for rumble with a small presence boost for clarity.
How is this different from the bass booster?
The equalizer works across the whole frequency range with 8 independent bands, useful for detailed tonal shaping. Bass boost is a dedicated low-end shelf or peak with a built-in headroom limiter, better when all you want is more low end without building a full EQ curve.
Will boosting a band make my track distort?
It can, since a boost raises the energy at that frequency and can push peaks toward clipping. Use the output gain control to bring the overall level back down, and check the result with Render preview before exporting.
Can I save my own EQ settings?
Yes. Once you have a curve you like — for your voice, your microphone, or a particular kind of track — click Save preset to store it locally in your browser, and Load preset to bring it back later without rebuilding it.