Free tools for your next audio edit
Combine short MP3 and WAV clips into one recording. Arrange the playback order, choose whether to add a pause between clips, then preview and download a WAV or re-encoded MP3. Your files stay in this browser.
No audio is uploaded. The output must also fit within 50 MiB. All-mono inputs export as mono; when any clip is stereo, mono clips are copied equally to both output channels. Each file is decoded at 48 kHz. Choose 16-bit PCM WAV or a re-encoded MP3. Keep the originals; compressed bytes and original metadata are not preserved. MP3 encoder credits and source are below.
One sequence from several short recordings
Keep the originals. Decide which clips belong in the sequence before choosing the pauses between them.
Choose two to eight mono or stereo MP3/WAV files. Their combined input must fit within 50 MiB. Each original has a player so you can check the chosen recording before preparing a joined file.
Use Move up or Move down to reorder clips with a keyboard or pointer. Remove any unwanted clip, or add more within the limit. Choose no added pause, or 0.25, 0.5, or 1 second between clips.
Choose WAV or MP3, then prepare the sequence. The result shows planned clip positions and actual file size. Listen across every join and download the same file used by the preview.
Sequential audio, with a deliberate pause
An audio joiner assembles a new playback sequence. Clip two starts after clip one ends, plus any pause you select. This is useful for a short set of voice notes, a spoken introduction followed by a take, or a sequence of sound effects.
It does not play the clips simultaneously. To place music underneath speech, blend two microphones, or build a layered sound, use a multitrack editor. To keep an interview aligned to picture, retain the source timing in your editor rather than closing gaps by joining only the spoken sections.
The tool reads each original file locally and decodes it at 48 kHz. MDN documents that decodeAudioData resamples to its audio context's rate. Choose a 16-bit PCM WAV or a new MP3 encode of that sequence. Neither preserves the original compressed bytes or metadata.
joined frames = sum of decoded clip frames + (clip count − 1) × pause framesNo pause is inserted before the first clip or after the last. Silence already inside a clip stays inside it. Use the free audio trimmer to make a shorter working copy before adding it here when an opening or ending needs a cut.
Two one-second clips at 48 kHz
| Part | Output position | Frames |
|---|---|---|
| Clip A | 0.00–1.00 seconds | 48,000 |
| Inserted pause | 1.00–1.25 seconds | 12,000 |
| Clip B | 1.25–2.25 seconds | 48,000 |
Predictable channels and output format
When all clips have one channel, the result has one channel. When any clip is stereo, the result has two. A mono clip is copied equally into both output channels at the same sample level. Stereo clips keep their left/right mapping before export. MP3 encoding changes sample values and is not lossless.
Choosing WAV produces uncompressed 48 kHz, 16-bit PCM, even when inputs are MP3. Both the combined input and the selected output must fit within 50 MiB. A compressed set can fit the input limit while its joined WAV is too large; an MP3 output is a separate re-encoded option, still subject to the five-minute sequence limit. The size calculator helps plan a shorter sequence.
The tool arranges complete decoded clips in the selected order and adds the chosen pauses before output encoding. It does not copy tags, artwork, or timeline metadata. Download the result before closing or reloading the page; the browser session does not save your work for later.
Listen at every boundary
Preview the last word, note, or effect tail of each clip and the beginning of the next. A sudden waveform jump can sound like a click, while retained leading silence can create a longer gap than the pause control suggests. No automatic fade or silence removal is applied.
If a boundary needs softening, make a deliberate cut or edge fade first. The free fade-in and fade-out tool changes the outer edges of one supported clip, with separate lengths. Prepare each clip before joining if its own edges need that treatment. The free trimmer offers an optional short edge fade on its own exports. A musical crossfade requires overlap and a gain transition, which this sequential joiner does not perform.
Clips can also have different perceived loudness. Joining keeps those differences. The sample peak normalizer adjusts a clip's highest sample, but equal peaks do not establish equal loudness. The normalization guide explains the distinction.
After choosing and downloading WAV, the WAV inspector can check the stored format and size. If your editing project requires 44.1 kHz, use the sample rate converter for that delivery. Keep the original files and review the final export in the project where it will be heard.
One encode after arranging the clips
Choose MP3 and a 128, 192, or 320 kbps setting for a newly encoded copy. The tool decodes the inputs, arranges their samples and pauses, then encodes the entire sequence once in a local worker. This does not simply append compressed MP3 bytes and does not provide a lossless MP3 merge.
MP3 can add codec delay or padding. The positions shown in the result are the planned sequence before that encoding; the actual player reflects the delivered file. Use WAV when exact sample placement or further editing matters. For MP3, check the beginnings, joins, pauses, and ending in the actual preview. Encoding does not fix clipping, missing words, or level differences already in your clips.
MP3 encoder credits
The optional MP3 download uses lamejs 1.2.1 by Alex Zhukov, a JavaScript port of the LAME MP3 encoder. Its unmodified script is served separately. See the attribution and source notes, upstream license notice, LGPL-3.0 and GPL-3.0 texts, and complete upstream source package.
A few useful answers
Choose two to eight supported MP3/WAV files, use Move up and Move down to arrange them, and choose a pause if needed. Choose WAV or MP3, prepare it, listen to the joined preview, and download that same file. No account, credits, or audio upload is required for this utility.
Yes, when both can be decoded by this browser and are mono or stereo. Each original is decoded at 48 kHz before joining. Choose a 48 kHz, 16-bit PCM WAV or re-encoded MP3. This is not a byte-for-byte concatenation of compressed files. Browser codec support varies.
Yes. Choose MP3 and 128, 192, or 320 kbps. After arranging decoded clips and pauses, the complete sequence receives one new lossy encode locally. Preview the actual MP3 before downloading. Codec delay or padding can change its timing; use WAV when precise alignment matters.
If every clip is mono, the joined recording is mono. If any clip is stereo, the output is stereo. A mono clip's samples are copied equally to both channels, while stereo clips keep their left/right mapping before output encoding. MP3 is lossy and changes sample values. The tool does not pan, average, normalize, or overlap the clips.
Select two to eight MP3/WAV files with a combined input size of no more than 50 MiB. The joined sequence, including inserted pauses, must be no longer than five minutes, and its selected output must also fit within 50 MiB. Use shorter excerpts if decoding fails or your device runs out of memory.
No. The tool places complete decoded clips one after another, with an optional 0.25, 0.5, or 1 second of digital silence between them. It does not trim existing silence, apply fades, mix clips simultaneously, or match loudness. Inspect every join, especially when music needs a smooth transition.
The output follows the decoded clips' sample frames plus the chosen pauses. Browser decoding can resample audio or include codec padding, and PCM16 preparation rounds sample values and clips values outside full scale. MP3 adds a lossy encode and may add delay or padding. Original tags and artwork are not copied. A newly assembled sequence is not a replacement for timeline-aligned source tracks.
After preparing your audio