Upload a AIFF file and get a FLAC back. No signup, no watermark, no limit on how many.
AIFF is Apple's uncompressed PCM format — WAV's opposite number, same audio, different byte order and a container that handles tags rather better.
Where you run into it: Logic and Pro Tools sessions, Mac recordings, older Apple software that wrote it by default.
What it costs you: As big as WAV, and outside the Mac world rather less widely accepted.
FLAC compresses losslessly: it typically halves a WAV and gives back bit-for-bit the same audio when decoded. It is free, open, and widely supported outside Apple's world.
Where you run into it: Archived rips, Bandcamp and Qobuz downloads, anyone who keeps a music library they intend to still have in ten years.
What it costs you: Half of enormous is still large, and some hardware — car head units especially — will not touch it.
An AIFF is uncompressed PCM — the same audio as a WAV with the bytes the other way round — so FLAC compresses it exactly and hands back identical samples on decode, 24-bit exports included, at full depth. The wrinkle is on the AIFF side: most files Apple software writes are technically AIFF-C, the variant that carries a compression field. Usually that field says sowt, meaning uncompressed and byte-swapped, and all is well. Occasionally it says IMA4 or µ-law, which are genuine lossy compressions that older Mac software used, and then the FLAC faithfully preserves something that was already damaged.
This is the right destination for a Mac audio library or a folder of Logic and Pro Tools exports, and the real gain is not the disk saving. An AIFF has no way to tell you whether it is still the file you wrote — no checksum, nothing to verify against — while a FLAC stores a hash of its own audio, so a session archived today can be tested in ten years and either pass or tell you plainly that it did not. The samples are identical, so nothing is risked in moving. Cover art does not survive the conversion, which is worth checking before you delete the AIFF.
Yes, entirely, and there is no cap on how many files you convert. No account, no watermark, no trial.
None for an ordinary AIFF or an AIFF-C marked sowt: the transformation is exact in both directions and the depth is kept, so a 24-bit Logic or Pro Tools export stays 24-bit. The exception is the compressed AIFF-C case above — nothing more is lost, but nothing is recovered either. If you are unsure which you have, ffprobe names the codec, and anything reported as pcm_s16be, pcm_s24be or pcm_s16le is the clean kind.
About half. High-resolution material compresses less well in proportion, because the lowest bits of a 24-bit sample are close to random and give the encoder nothing to predict, so a 24-bit 96 kHz session export lands nearer two thirds than one half. It is still the cheapest way to keep that file intact rather than merely small.
Not here. AIFF can be read but not written by this converter — ffmpeg decodes it happily, and encoding back to it would mean a format almost nothing plays. If you need the original AIFF, keep it rather than recreating it.
The file is uploaded to do the conversion — nothing here runs in your browser — and both your upload and the converted result are deleted the moment the file is sent back. Nothing is stored and nothing is logged beyond the request itself.