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Supports: AVI
This page throws away the video track of an AVI and re-encodes the soundtrack as AAC — Advanced Audio Coding, the codec standardised in the MPEG-4 Audio specification (ISO/IEC 14496-3) and used by YouTube, Apple devices, digital radio and practically every modern streaming service. Worth knowing before you click: a .aac file is a raw ADTS stream, not a tagged music file. If you want something that shows a title and artwork in a music library, AVI to M4A wraps the same AAC audio in an MP4 container instead. If you want maximum compatibility with old hardware, AVI to MP3 is the safer target.
| Property | .aac (this page) | .m4a | .mp3 |
|---|---|---|---|
| What it is | Raw AAC in ADTS framing, no container | AAC inside an MP4 container | MPEG-1/2 Audio Layer III |
| Standard | ISO/IEC 14496-3 (MPEG-4 Audio) | Same codec, ISO base media container | ISO/IEC 11172-3 and 13818-3 |
| Carries tags and artwork | No | Yes | Yes, via ID3 |
| Quality at the same bitrate | Better than MP3, especially below 128 kbps | Identical to .aac — same codec |
The weakest of the three at low bitrates |
| Apple Music / iTunes library import | Awkward — designed as a stream, not a library file | The native choice | Supported |
| Streams and broadcast chains | Yes — ADTS is the framing used for transport | Not designed for it | Yes |
| Oldest hardware (car decks, cheap players) | Patchy | Patchy | The most widely accepted format there is |
.aac in its accepted input list..avi onto the page or click "Add Files". Queue several clips and they all convert with the same settings; the video track is discarded from each..aac. No sign-up, no watermark. Files upload over an encrypted connection, are processed on our servers, and are deleted automatically after a few hours.The Constant Bitrate dropdown runs from 8 kbps to 384 kbps. These are sensible starting points rather than rules:
| Material | Bitrate | Why |
|---|---|---|
| Lecture, podcast, interview, voice memo | 64–96 kbps | Speech occupies a narrow band; more bits buy almost nothing |
| Mixed speech and background music | 128 kbps | The usual all-purpose setting, and roughly half an MP3's size for similar quality |
| Music you will listen to properly | 192–256 kbps | Where AAC stops being distinguishable from the source for most listeners |
| Archival copy of a soundtrack | 320–384 kbps | Diminishing returns, but the ceiling this encoder offers |
| Anything below 48 kbps | Avoid unless size is critical | Artefacts become obvious even on speech |
Bear in mind that the audio inside an AVI is usually already MP3-compressed, so this is a lossy-to-lossy re-encode. Choosing a bitrate at or above the source's own rate keeps the second generation of loss inaudible; going far above it wastes space without recovering anything.
Not really — and this trips people up. In our testing the .aac this page produces is a raw ADTS stream: media tools report the format as "raw ADTS AAC" rather than as an MP4 container. It plays fine in VLC, foobar2000 and most desktop players, but it has nowhere to store a title, artist, album art or chapters, so music libraries handle it awkwardly. For a library file use AVI to M4A, which holds identical AAC audio in a container that supports tags.
Dramatically, because the entire video stream is discarded. The result depends only on bitrate and duration: an hour of audio at 128 kbps is about 57 MB, and at 192 kbps about 86 MB, regardless of how large the source video was. A one-hour AVI lecture that started at several hundred megabytes therefore lands comfortably inside a typical email attachment limit at speech bitrates.
Some, yes — AAC is a lossy codec and the AVI's soundtrack was almost certainly lossy already, so this is a second encode. In practice the loss is hard to hear if you encode at or above the source bitrate. AAC also degrades more gracefully than MP3 as the bitrate drops, which is why 96 kbps AAC generally sounds better than 96 kbps MP3.
Because there is no meaningful source audio size to take a percentage of once the video has been removed — the ratio would be against the whole AVI, which tells you nothing useful. Instead, use Specific file size and enter the size you actually need in megabytes, or set a bitrate directly and let duration decide the result.
Yes, using the Trim controls. Set a start time and a duration, either as plain seconds or in HH:MM:SS.sss form for frame-level precision. This is the cleanest way to pull a single song, quote or segment out of a long recording, and it also cuts the encode time.
Usually not — leaving both on ORIGINAL preserves what the source had. Two exceptions are worth knowing. Folding a stereo lecture down to MONO roughly halves the data needed for the same perceived clarity of speech. And dropping the sample rate to 24000 Hz or below discards the top octave of treble, which is acceptable for voice and destructive for music.
Constant Bitrate, or Custom Bitrate when you want a figure that is not in the list — those are the settings that map one-to-one onto the encoder, so they are the ones to use when you need a predictable, reproducible number for a specification or a broadcast delivery sheet. Variable Bitrate and its five bands are the alternative when you would rather target quality and let the size vary. The Quality Preset dropdown is the automatic, hands-off mode: it displays "Highest" when the page loads, but nothing is actually selected there, so leaving it alone hands the decision to the server's own fallback rather than the rung on screen. It is also the least predictable control here, so when the output rate matters, name it explicitly and confirm it in your player's file-info panel.
Your AVI is uploaded over an encrypted connection, the audio is extracted and encoded on our servers, and both the upload and the finished .aac are deleted automatically after a few hours. There is no sign-up, no watermark, and files are never shared or made public.