Free online · No sign-up · Peak or RMS
Use this free online audio normalizer to match one file to a Peak or RMS target with constant gain. No sign-up or payment is required. Inspect the input and output levels, compare original and normalized playback, and export a 16-bit WAV without uploading the audio.
Audio normalization workspace
Peak or RMS target · Constant gain · WAV export
Files stay local
Measure the complete file, choose a level target, and compare the original with one constant-gain result. MP3, WAV, FLAC, M4A, AAC, or OGG up to 80 MB.
Three local steps
Load a file into the audio normalizer, choose a measured target, and compare before exporting.
Choose an MP3, WAV, FLAC, M4A, AAC, or OGG file up to 80 MB. The audio normalizer decodes it in this tab, rejects empty, oversized, silent, non-finite, or unsupported-channel input, and keeps the original samples immutable while it measures every finite sample across every channel.
Peak targets are −0.1, −1, and −3 dBFS. RMS targets are −20, −18, and −16 dBFS with a fixed −1 dBFS sample-peak ceiling. The audio normalizer shows input peak, input RMS, output peak, output RMS, applied gain, decoded sample rate, channel count, and whether the RMS gain was reduced to stay under the ceiling.
Switch listening source without moving the playhead. Export writes the full decoded duration as 16-bit PCM WAV using the displayed constant gain. The audio normalizer clears an older download after a method or target change so you cannot save a file that no longer matches the visible plan.
What the tool shows and controls
The audio normalizer reports measured levels and peak-ceiling warnings before you accept a gain change.
The audio normalizer walks every finite sample on every decoded channel. Peak is the largest absolute sample. RMS is the root-mean-square of those same samples. The page reports both input and output values after the planned gain so you can see whether the file moved to the selected target or stopped earlier because of the RMS peak ceiling.
The audio normalizer computes the Peak gain that would place the loudest sample on −0.1, −1, or −3 dBFS. This is the default path, with −1 dBFS selected at first load. It is useful when you want headroom that you can describe from the waveform itself. It is not a loudness-unit match and does not look at dialog, gating, or K-weighted energy.
RMS mode aims at −20, −18, or −16 dBFS average energy, then limits the applied gain so the output sample peak does not exceed −1 dBFS. If the ceiling binds, the audio normalizer lowers the gain instead of clipping, labels the result ceiling limited, and shows the actual output RMS. The file is never driven through 0 dBFS to pretend the RMS target was hit.
Switch between Original and Normalized at the same playhead to compare a verse, snare, or sentence before export. Original plays the decoded source; Normalized applies the planned gain. Export uses that gain regardless of which preview you are listening to.
If the decoded peak already reaches full scale, the audio normalizer still allows a downward gain, but it states that constant gain cannot rebuild flattened transients or remove distortion that is already in the samples. Normalization is not a limiter, clipper repair, declipper, or mastering chain.
The audio normalizer applies the same gain to every sample, with no compression, gating, or EQ. It does not measure true peak or LUFS. Export is a full-duration 16-bit PCM WAV at the decoded sample rate and channel count; there is no A–B export selection.
Practical workflows
Use the audio normalizer for level adjustment while preserving the dynamics of the recording.
Use Peak −1 dBFS to give two takes the same sample-peak headroom, processing them one at a time. Compare a vocal or count-in before export. Matching peaks does not guarantee equal perceived loudness, especially when the takes differ in arrangement or tone.
Speech with a low peak can use Peak −0.1 dBFS when you only need it audible, or RMS −18 dBFS when average level matters more than the loudest plosive. The audio normalizer will reduce the RMS request if the peak ceiling binds, which is the honest outcome for a bursty recording.
A wildly quiet source can make later EQ or pitch preview hard to judge. Normalize first, export WAV, then open Online Equalizer or Pitch Changer with a more usable level. Keep the jobs separate: the audio normalizer changes gain, the equalizer changes bands, and the pitch changer changes musical pitch.
If the source is an MP3 that you already converted, the audio normalizer still measures the decoded buffer, not the compressed file size. Use MP3 to WAV Converter when the only task is format, then return here when the WAV still needs a documented gain.
Practical checklist
Choose an audio normalizer target from the input measurements, then check the actual output.
A peak near 0 dBFS leaves little RMS headroom. For a higher average beyond the ceiling, consider compression in another tool.
Start at −1 dBFS. −0.1 leaves less headroom; −3 leaves more. These sample-peak targets do not certify streaming loudness or true peak.
A silent file cannot be normalized; non-finite samples are rejected. Choose another file; damaged values are not replaced with invented samples.
Compare Original and Normalized on a revealing passage. Export always covers the full duration, without selected-range output.
Keep the original and note Peak or RMS plus the selected dBFS target; the tab saves no recipe or history.
Input, output, and privacy
The audio normalizer decodes one local file, applies one gain, and writes 16-bit WAV. It does not implement LUFS, true peak, or streaming-platform loudness rules.
The picker accepts MP3, WAV, FLAC, M4A, AAC, and OGG up to 80 MB when the browser can decode the codec. Sample rate and channel count come from the decoded buffer. Mono and stereo are supported; more channels fail before gain is applied. The audio normalizer does not upload the file to look for another decoder.
The audio normalizer output is one 16-bit PCM WAV. There is no MP3 export, no LUFS target, no true-peak limiter, no batch folder, and no A–B crop. Changing Peak, RMS, or the dBFS value clears an older download immediately.
PCM, measured levels, applied gain, and the WAV stay in memory. Analytics receive a coarse tool identifier and action, never a filename, sample value, or target number. Closing the tab discards the working state.
Related browser tools
Pitch, timing, direction, tone, automatic analysis, and tap-based tempo are different audio tasks. Open the tool whose controls match the result you need. Any file you choose stays inside that tool’s browser-local workflow.
Change ten frequency bands, compare Bypass, and export a locally filtered WAV when the remaining problem is tone rather than overall level.
Open Online Equalizer →Transpose the recording by semitones or cents and control tempo separately after the level is already usable.
Open Pitch Changer →Decode one MP3 to 16-bit PCM WAV first when the current task is format, not gain.
Open MP3 to WAV Converter →FAQ
Answers about Peak, RMS, clipping, and output limits.
An audio normalizer applies constant gain toward a peak or average-level target. This tool shows the actual output level before WAV export.
Choose a file, select Peak or RMS and a target, compare Original and Normalized, then create WAV. Processing stays in the browser.
Peak targets the loudest sample. RMS targets average energy, with a −1 dBFS sample-peak ceiling that can limit the achievable average.
The requested RMS gain would exceed −1 dBFS peak. The tool uses the smaller safe gain and shows the actual RMS you will hear and export.
No. It measures sample peak and RMS, without LUFS, gated loudness, or inter-sample true peak. It does not certify streaming or broadcast compliance.
No. Reducing gain leaves flattened transients and existing distortion intact, even when the output level is lower.
No. Those buttons affect listening only. WAV export uses the current Peak or RMS plan; switching back never applies gain twice.
Silence has no measurable level to normalize. Choose a file containing audio.
It exports 16-bit PCM WAV at the decoded sample rate and channel count, without source tags or compressed-format export.
Yes. No sign-up, payment, or audio upload. Coarse analytics exclude filenames, PCM, and level values.
Compare Original and Normalized in the audio normalizer, then download the WAV at your chosen target.
Open the audio normalizer