Upload a OGG file and get a WAV back. No signup, no watermark, no limit on how many.
OGG here means Vorbis audio in an Ogg container — a patent-free lossy codec that generally beats MP3 at the same bitrate.
Where you run into it: Game audio, Wikipedia and Wikimedia files, Spotify's streaming internals, Linux desktops.
What it costs you: Technical merit never bought it consumer support: plenty of car stereos and older phones simply do not list it.
WAV is raw, uncompressed PCM in a Microsoft container: the audio exactly as it was sampled, with nothing clever done to it.
Where you run into it: Recording sessions, sample libraries, video editors, anything that has to be edited rather than merely listened to.
What it costs you: It is enormous — roughly 10 MB a minute in CD-quality stereo — and it carries almost no tagging, so a folder of WAVs is a folder of filenames.
The Ogg is decoded to plain PCM — Vorbis or Opus, since .ogg names a container and holds either. What passes through untouched is the sample rate and the channel count, and that is what catches people out here: game audio is usually 48 kHz, so you get a 48 kHz WAV, and a surround Ogg becomes a six-channel WAV that editors read happily and simple players often refuse. Vorbis also writes no padding at the edges of a file, so a track that looped cleanly stays aligned to the sample.
Two sources account for most .ogg files that arrive here. Game assets are one — Unity and Godot both ship Vorbis, so extracted music and effects turn up constantly, and WAV is what samplers and DAWs want to be handed. Messaging is the other: Telegram and Discord voice notes are Opus inside an Ogg container and convert the same way. If the file belongs to a project you are still working on, keep the Ogg. Converting to WAV to edit and back to Ogg to ship costs a generation, so re-encode once at the end rather than round-tripping. One warning either way: an Ogg keeps its artist and title in Vorbis comments attached to the audio stream, and those do not come across — where an MP3's or an M4A's tags do. Rename the file before converting if the name matters.
Yes, entirely, and there is no cap on how many files you convert. No account, no watermark, no trial.
Nothing more is lost, and nothing comes back. There is one thing worth knowing for loops in particular: unlike MP3, Vorbis has no encoder delay to trim, so the WAV's first sample is the Ogg's first sample and a seamless loop survives intact. If your .ogg turns out to hold Opus, the decode always lands at 48 kHz whatever it was recorded at — that is a resample rather than a loss, but it will surprise you if you were expecting 16 kHz back.
Governed by the sample rate the Ogg was made at rather than by its bitrate: roughly 11 MB a minute at 48 kHz stereo against about 10 at 44.1 kHz, and three times that for a 5.1 file. A 4 MB Ogg of a three-minute track lands near 33 MB as a WAV, and the bitrate it was encoded at makes no difference to that figure.
Yes — WAV is one of the formats this converter writes, so the reverse page exists at /wav-to-ogg/. The trip out is exact, because WAV discards nothing — it is the return to OGG that re-encodes. A round trip therefore costs one more generation rather than two, and the WAV in the middle was never an improvement on the OGG you started with.
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.