① Drop an audio file
② Drag on waveform → region
③ Click on waveform → seek
④ Drag seek bar thumb → seek
⑤ Tune effects per region
⑥ Export WAV
🎵
Drop audio file here
MP3 · WAV · OGG · FLAC · AAC
drag → region · click → seek
0:00.0—
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✂️
Load a file, then drag on the waveform to create your first region
✦ Effect Reference
🔊
Volume
Always On
Sets the output loudness of the selected region. 100% means no change — the audio plays exactly as recorded. Below 100% reduces volume; above 100% amplifies it. At 0% the region is completely silent. Unlike the master volume, this affects only the selected region in the final exported file.
Parameters
Level
Controls the amplitude multiplier for this region.
One speaker recorded quieter than the others. Select their sections and boost to even out the conversation.
Level → 140–160%
🎵Ducking music under voice-over
Background music is too prominent when someone speaks. Select the music region during speech and reduce it.
Level → 25–40%
🔇Silencing an unwanted sound
A cough, chair squeak, or door slam appears mid-recording. Mute it without cutting the clip — the timing stays intact.
Level → 0%
🎵
Pitch
Creative
Raises or lowers the pitch of the region in musical semitones, without changing the speed or duration of the audio. Positive values shift pitch upward; negative values shift it downward. One octave equals 12 semitones.
Parameters
Semitones
The pitch shift amount in musical semitones.
−12 = one octave down · 0 = unchanged · +12 = one octave up · ±1 is a subtle shift · ±5–7 creates harmonies
Practical scenarios
🎤Creating a vocal harmony
Duplicate a region and shift the copy up. Layered with the original it creates an instant harmony part without recording again.
Semitones → +5 (a fourth) or +7 (a fifth)
👾Character and voice effects
Transform a normal voice into a character. Lowering creates a deep villain; raising creates a cartoon or chipmunk effect.
Deep → −4 to −6Chipmunk → +7 to +10
🎸Correcting a slightly off-key note
A recorded note is slightly flat or sharp. Nudge it by one or two semitones to bring it into tune without re-recording.
Semitones → +1 or +2 (flat note) · −1 or −2 (sharp note)
⚡
Speed
Timing
Changes how fast the audio plays back. Unlike pitch shifting, changing speed also changes the duration of the region — slower speed stretches it out, faster speed compresses it. Because playback rate and pitch are linked physically, slowing down also lowers pitch and speeding up raises it, just like a tape machine.
Parameters
Speed
The playback rate as a percentage of normal speed.
Slow down a dramatic moment — a punch, explosion, or water splash — to give it weight and cinematic tension.
Speed → 35–50%
📻Skipping through low-content audio
A recording has long pauses or slow sections. Speed them up without cutting — keeps pacing while retaining context.
Speed → 150–200%
📼Vintage tape effect
Combine a slight speed reduction with pitch to mimic the character of a slowing reel-to-reel tape machine winding down.
Speed → 85%Pitch → −1 semitone
🔁
Echo
Spatial
Repeats the audio after a fixed interval, with each repeat quieter than the last. The individual repeats are clearly audible — this distinguishes echo from reverb, which blends reflections into a smooth tail. Echo is great for creating a sense of large open spaces or adding a rhythmic texture to a sound.
Parameters
Delay
The time gap between each repeat.
0.05–0.15s = tight enclosed space · 0.2–0.4s = large room · 0.4–0.8s = outdoor canyon or stadium
Feedback
How much energy each echo repeat carries into the next repeat.
10–30% = 2–3 faint repeats · 50–70% = many audible repeats · Above 80% = very long tail (use carefully)
Mix
The blend between the original dry signal and the echo effect.
20–40% = natural and subtle · 50–60% = prominent echo · Above 70% = stylised or surreal
Practical scenarios
🏔️Vast outdoor landscape
Makes a voice or sound effect feel like it is in an enormous open space — canyon, mountain valley, or empty stadium.
Delay → 0.45sFeedback → 55%Mix → 40%
🎸Slapback guitar (classic rock tone)
A single very short repeat with barely any feedback — the defining sound of 1950s rockabilly and vintage rock recordings.
Delay → 0.07–0.09sFeedback → 10%Mix → 35%
🎙️Dramatic emphasis on a word
Apply to a single important word or phrase to make it hang in the air and feel weighty or ominous.
Delay → 0.3sFeedback → 40%Mix → 50%
🏛️
Reverb
Spatial
Simulates the natural reverberation of a physical environment — the way sound reflects off walls, floors, and ceilings before reaching your ears. Unlike echo, the individual reflections blend into a smooth, continuous tail. Reverb is one of the most important tools for placing audio in a believable space.
Parameters
Size
The decay time of the reverb tail — how long it takes to fade out.
0.3–0.8s = small room or closet · 1–2s = medium hall · 2.5–4s = concert hall · 5s+ = cathedral or cave
Blend between the dry signal and the reverberant signal.
10–25% = subtle room ambience · 30–50% = clearly spacious · 60–80% = immersive or washed out
Practical scenarios
🎙️Adding warmth to a dry voice recording
A voice recorded in a dead acoustic space sounds clinical. A small amount of reverb places it in a natural-sounding room.
Size → 0.8sPre-delay → 0.02sMix → 18%
🎹Concert hall piano
Give a piano recording the natural bloom and sense of space heard in a large performance venue.
Size → 2.5sPre-delay → 0.04sMix → 35%
👻Eerie or supernatural atmosphere
Wash audio into a ghostly, cavernous space with a very long tail. Ideal for horror soundscapes, ambient music, or dramatic transitions.
Size → 6–8sPre-delay → 0sMix → 65%
🎛️
Equalizer
Tonal
Independently boosts or cuts three frequency bands — bass (low end), midrange, and treble (high end). Use it to fix tonal problems in a recording, create character effects like telephone or radio, or make a region sit better alongside other sounds.
Parameters
Bass
Controls frequencies below approximately 200Hz — the weight and warmth of a sound.
Boost = more warmth, weight, and body · Cut = cleaner, less muddy, removes rumble or proximity effect
Mid
Controls frequencies around 1kHz — the presence and intelligibility range.
Boost = forward, prominent, in-your-face sound · Cut = scooped, hollow, or telephone-like character
Treble
Controls frequencies above approximately 4kHz — the air, clarity, and brightness of a sound.
Boost = crisper, more detailed, airy · Cut = warmer, darker, removes harshness or sibilance
Practical scenarios
📞Telephone or walkie-talkie effect
Narrow the frequency range drastically to mimic the lo-fi character of a phone call, radio transmission, or intercom.
Bass → −12dBMid → +5dBTreble → −10dB
🎤Cleaning up a boomy microphone recording
A voice recorded too close to a microphone builds up muddy low frequencies. A simple bass cut cleans it up instantly.
Bass → −6 to −10dB
📺Vintage speaker or vinyl sound
Mimic the limited, coloured frequency response of old speakers, AM radio, or vinyl records played on a cheap turntable.
Bass → −8dBMid → +3dBTreble → −10dB
🔥
Distortion
Creative
Clips and saturates the audio waveform, generating harmonic overtones that make the sound warmer, louder-feeling, or more aggressive. At low drive levels it simulates the gentle saturation of analog tape or tube amplifiers. At high drive levels it produces crunchy, gritty fuzz effects.
Parameters
Drive
How hard the signal is pushed into the clipping stage.
Blends the clean original signal with the fully distorted signal.
20–40% = warmth without losing clarity · 50–70% = clearly distorted · 90–100% = fully distorted character
Practical scenarios
🎸Electric guitar overdrive
Simulate the classic sound of a tube amplifier pushed past its clean headroom — the defining tone of rock and blues guitar.
Drive → 60%Mix → 70%
📼Lo-fi tape warmth on any audio
Add the subtle harmonic richness and gentle compression that people associate with analog recordings and vintage gear.
Drive → 12–18%Mix → 25–35%
👾Destroyed or industrial texture
Combine maximum distortion with a bass cut in EQ for a harsh, digital, sci-fi sound on voices or synthesisers.
Drive → 90%Mix → 100%EQ Bass → −8dB
🗜️
Compressor
Dynamics
Automatically reduces the gain of audio that exceeds a set threshold level. This narrows the dynamic range — loud peaks are tamed, quieter moments feel relatively louder, and the overall sound becomes more consistent and controlled. Compression is widely used in professional audio to make recordings feel polished, balanced, and ready for broadcast.
Parameters
Threshold
The level above which compression begins to act.
−6dB = only the loudest peaks are compressed · −18dB = most of the signal is affected · −30dB = very heavy, affects everything
Ratio
How much gain reduction is applied above the threshold.
How quickly compression engages after audio exceeds the threshold.
1–5ms = fast, catches transients immediately · 20–50ms = medium · 50–100ms = slow, lets transients punch through
Practical scenarios
🎙️Taming an expressive speaker
A passionate speaker has loud peaks and quiet moments. Compression evens out the delivery without flattening the emotion.
Threshold → −18dBRatio → 4:1Attack → 10ms
🥁Punchy drum hits
Slow attack lets the initial crack of the drum through before compression clamps the sustain — giving a tight, punchy transient.
Threshold → −12dBRatio → 6:1Attack → 30ms
📡Broadcast or podcast loudness
Make a voice-over or podcast segment feel consistently loud and clear — the standard approach for radio and streaming platforms.
Threshold → −24dBRatio → 8:1Attack → 5ms
↔️
Pan
Stereo
Positions the audio in the stereo field by controlling the balance between the left and right output channels. Centre (C / 0) sends equal signal to both channels. Panning left reduces the right channel; panning right reduces the left. Useful for creating a sense of width, placing elements spatially, or separating sounds that otherwise compete for the same position.
Parameters
Pan
Position in the stereo field from hard left to hard right.
L100 = left channel only · L50 = mostly left · C (0) = centred · R50 = mostly right · R100 = right channel only
Practical scenarios
🎙️Stereo interview positioning
Place the interviewer slightly left and the guest slightly right. Creates a natural conversational spread that is easy to follow on headphones.
Interviewer → L25–L35Guest → R25–R35
🎸Fake stereo width from a mono recording
Duplicate the region, pan one copy left and the other right. The slight differences between the two creates a wide stereo image from a single mono source.
Copy A → L60Copy B → R60
🎬Moving sound effect (left to right sweep)
Two consecutive panned regions create the impression of a sound moving across the stereo field — perfect for passing vehicles or aircraft.