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Supports: FLAC
To convert FLAC to MP3, upload your FLAC file, pick a bitrate — 320 kbps for near-transparent quality, 192 kbps for a smaller file — and click Convert. Conversion runs on our servers, so there's nothing to install, and your files are deleted automatically after a few hours. Real result: a ~30 MB FLAC track becomes about a 7 MB MP3 at 320 kbps — small enough for any phone or car stereo, and plays everywhere FLAC doesn't.
FLAC (Free Lossless Audio Codec) is a bit-perfect compressed format — it preserves every sample of the original recording, typically at 50-70% of the WAV size. MP3 is lossy: a psychoacoustic encoder discards data your ear is least likely to notice, shrinking files 5-10x further. Converting from FLAC produces the best possible MP3 because the encoder is working from the full source, not a re-compressed one.
| Property | FLAC | MP3 | AAC (M4A) |
|---|---|---|---|
| Compression | Lossless | Lossy (perceptual) | Lossy (perceptual) |
| Typical bitrate | 700-1,100 kbps | 128-320 kbps | 96-256 kbps |
| File size, 4-min track | 25-40 MB | 4-9 MB | 3-7 MB |
| Quality at 256 kbps | n/a (lossless) | Transparent for most listeners | Slightly better than MP3 |
| Universal device playback | Limited | Yes — every device | Apple-first; broad elsewhere |
| Multi-channel/surround | Up to 8 channels | Stereo (5.1 rare) | Up to 48 channels |
| Metadata | Vorbis Comments + picture blocks | ID3v2 (APIC for art) | iTunes-style atoms |
| Best use | Archive master | Delivery, sharing, devices | Apple ecosystem, streaming |
Because your input is lossless, the encoder has the full signal to work with — every output bitrate listed below will sound better than the same bitrate transcoded from another lossy source. LAME (the reference MP3 encoder) reaches statistical transparency for most listeners around 256 kbps; the 320 vs 256 difference is inaudible in published blind ABX tests for the vast majority of listeners.
| Setting | Approx. bitrate | Size, 4-min track | Best for |
|---|---|---|---|
| CBR 320 kbps (xconvert "Highest") | 320 kbps | ~9.2 MB | Archival-grade MP3, audiophile-leaning playback |
| VBR ~V0 (xconvert 256K–320K range) | 230-270 kbps avg | ~7 MB | Best size-to-quality trade — preferred by most |
| CBR 256 kbps | 256 kbps | ~7.3 MB | Streaming uploads, predictable file size |
| VBR ~V2 (xconvert 170K–210K range) | 170-210 kbps avg | ~5 MB | Everyday listening, mobile libraries |
| CBR 192 kbps | 192 kbps | ~5.5 MB | Mid-range — noticeable on critical listening |
| CBR 128 kbps | 128 kbps | ~3.7 MB | Podcasts, voice, background; audible artifacts on music |
No — MP3 is a lossy format, so some audio data is discarded during conversion. In practice, at 256-320 kbps the result is transparent to most ears and indistinguishable from the source in blind tests. Keep your FLAC files as the master, since you can re-encode from them anytime.
At 256 kbps or higher (CBR or V0 VBR), most listeners cannot distinguish the MP3 from the FLAC in blind ABX tests — the LAME encoder reaches statistical transparency for the vast majority of music at these rates. Below 192 kbps, artifacts (pre-echo on transients, swirly cymbals, smeared reverb) become detectable on revealing playback systems. Keep your FLAC originals as the master — you can never recover what MP3 discards, but you can always re-encode at a different bitrate later.
V0 (~245 kbps average) usually wins. Variable bitrate spends more bits on dense passages (full orchestra, crash cymbals) and fewer on simple ones (solo voice, sustained pads), so it tracks perceptual complexity better than a fixed 320 kbps. Output is roughly 25-30% smaller than 320 CBR with no audible quality penalty in published listening tests. Choose CBR 320 only if your target device is fussy about variable bitrate (some 2005-era car stereos and Walkman MP3 players) or your platform requires a fixed bitrate.
Yes, in most cases. FLAC stores metadata as Vorbis Comments (a UTF-8 key/value system) and album art in dedicated picture blocks. The converter maps these to ID3v2 frames in the MP3 — ARTIST, TITLE, ALBUM, TRACKNUMBER, DATE, GENRE, and embedded cover art (mapped to the ID3v2 APIC frame) survive. Uncommon fields (custom tags, ReplayGain values, lyrics with timestamps) may not carry over; if metadata is critical, verify in a tag editor like Mp3tag after conversion.
Yes. Drop every track from the album into the file list, set the bitrate once, and click Convert. Each track is encoded independently using the same settings, so cross-track loudness stays consistent and tags survive per-file. Download individually or as a single ZIP. For very long DJ mixes or live recordings stored as one FLAC, use the Trim option to slice into separate tracks before encoding.
Apple's audio stack does not support FLAC playback in iTunes, Apple Music, or the Music app on macOS/iOS — it uses ALAC (Apple Lossless Audio Codec) instead. Converting FLAC to MP3 is the simplest path to get tracks into an Apple library; for lossless retention inside the Apple ecosystem, convert to ALAC via FLAC to M4A instead.
The MP3 format supports up to 48 kHz; rates above that (88.2, 96, 176.4, 192 kHz from high-res FLAC) are resampled to 48 kHz or 44.1 kHz during encoding. Leaving Audio Sample Rate on Unchanged lets the converter pick the closest legal rate (typically 44.1 or 48 kHz). 24-bit depth is also collapsed — MP3 internally represents audio after the lossy transform, so source bit depth above 16 has no effect on the output.
Yes. MP3 is a delivery format, not an archive format. Disk is cheap; a re-rip from your physical CDs or a re-download from your original lossless source is expensive. Keep the FLACs on an external drive or NAS, and treat the MP3s as derived files you can regenerate anytime. If you ever want to convert to a future format (Opus at 96 kbps already beats MP3 at 128), you'll need the lossless master.
For spoken word, switch Audio Channel to Mono (halves the data rate at no quality cost for a single speaker), drop bitrate to 64-96 kbps CBR, and set Audio Sample Rate to 22050 or 24000 Hz. The result is around 0.5-0.7 MB per minute — Apple Podcasts and Spotify accept these settings, and listeners on earbuds will not hear the difference. For music, do not go below 192 kbps; artifacts become obvious. See also compress MP3 for already-encoded files.
Yes — use the Trim option. Set start time (HH:MM:SS) and duration to extract a clip in one step, useful for sampling, ringtones, or removing silent leaders from concert recordings. For multi-clip splits from a single file, the dedicated audio cutter tool is faster.