Audio Analyzer

What this page tells you about a file

Drop in a track and you get one consolidated report: loudness, dynamic range, key, tempo, stereo width and how energy is spread across the spectrum. Reach for it whenever you have a file and need to know its real properties before mastering, releasing, licensing it, or checking it against a reference mix.

Every figure comes from measuring the decoded audio itself, never from tags stored in the file. ID3 fields and DAW-written BPM values are frequently stale, copy-pasted from a template, or left over from a version of the song that no longer exists.

• Loudness — integrated LUFS, loudness range, sample peak, estimated true peak
• Tempo — BPM plus a confidence score and any plausible half-time or double-time reading
• Key — detected key, scale, Camelot code, and the chromagram behind the estimate
• Stereo image — channel correlation, width, and whether the file plays back as mono
• Spectrum — brightness centroid, an effective high-frequency cutoff, and energy per band
• File properties — duration, sample rate, channel count, bitrate and bit depth where available

Making sense of the numbers

Integrated LUFS is the figure streaming services use to match volume across their catalog. Most normalize somewhere around -14 to -16 LUFS, so a file mastered louder than that just gets turned down at playback — you keep the compression you added to get there and lose the extra loudness entirely.

Loudness range shows how much the level shifts across the song. Numbers under roughly 3 LU point to heavy limiting and a flat dynamic profile; numbers above 12 LU show up often in orchestral and film scoring and can feel inconsistent through a small phone speaker.

Channel correlation close to 1 means the signal is nearly mono; close to 0 means a wide stereo spread; a negative reading flags phase cancellation that will show up when the mix is summed to mono — something that still happens on club rigs, smart speakers, and plenty of phones.

The spectral ceiling marks where almost all the signal energy stops. Low-bitrate lossy encoding often carves a sharp edge around 15–16 kHz, so a ceiling well under what the sample rate should allow is a good sign you're looking at a transcoded file rather than a true master.

How people actually use this

Producers run it before release to double-check the loudness target, confirm the true peak sits under the ceiling, and make sure the mix survives a fold to mono. DJs use it to confirm key and tempo before slotting a track into a set. Sync agents and libraries use it to verify that a delivered file is a real high-resolution master rather than an MP3 that was upsampled to look like one.

When a reading and your ears disagree, believe your ears. Everything here measures the signal, not the artist's intent, which is exactly why every uncertain estimate carries a confidence score instead of a bare number.

You might also need

• Key & BPM FinderWork out a track's tempo, musical key and Camelot code for harmonic mixing.
• Loudness AnalyzerCheck integrated LUFS, true peak and dynamic range against streaming loudness targets.
• Volume NormalizerBring a track to a chosen LUFS target with a safe peak ceiling, then export a WAV.
• AI Music DetectorReceive a categorical AI-music assessment with separate vocal and instrumental indicators.