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Supports: CAF
.caf recordings from QuickVoice, Voice Memos exports, GarageBand iOS, Logic Pro session bounces, or Apple Loops folders. Batch conversion is supported.HH:MM:SS.sss to extract a single segment. Click Convert and download — files process in your browser session, no sign-up, no watermark, no upload to a third-party DAW.CAF (Core Audio Format) is Apple's modern audio container, introduced in 2005 with Mac OS X 10.4 Tiger. It uses 64-bit file offsets, so a single CAF can hold effectively unlimited audio — the Audacity docs estimate roughly 6 hours 45 minutes of 16-bit/44.1 kHz stereo before WAV/AIFF hit their cap, while a CAF can theoretically store hundreds of years. CAF can wrap PCM, ALAC, AAC, and other codecs and stores markers, channel layouts, and metadata. AIFF (Audio Interchange File Format) is older — Apple released it in January 1988, based on Electronic Arts' IFF container — and stores big-endian uncompressed PCM with a 32-bit chunk-size header that caps standard AIFF files at roughly 4 GB.
You convert CAF to AIFF when you need a file that opens cleanly outside Apple's ecosystem:
.caf, converting to AIFF lets you drop it into Kontakt, Reason, or any sampler that doesn't read CAF..caf. Sending an AIFF copy to a transcriber, podcast editor, or Windows-based collaborator avoids "Windows Media Player can't play this" support tickets.| Property | CAF (input) | AIFF (output) |
|---|---|---|
| Developer | Apple, 2005 | Apple + Electronic Arts, 1988 |
| Container basis | Native (64-bit offsets) | IFF chunks (32-bit ssnd size) |
| Practical max size | Effectively unlimited | ~4 GB; ~6h 45m of 16-bit/44.1 kHz stereo |
| Byte order | Codec-dependent | Big-endian (LE variant via sowt AIFF-C) |
| Native codecs | PCM, ALAC, AAC, IMA-4, MP3, more | Uncompressed PCM (AIFF-C adds compression) |
| Markers / regions | Yes (rich metadata) | Limited (MARK / INST chunks) |
| Windows playback | VLC, ffmpeg-based tools only | VLC, foobar2000, modern WMP, most DAWs |
| Pro Tools support | Limited / via transcode | Native import and export |
| Logic Pro / GarageBand | Native | Native |
| Library of Congress preservation status | Not listed | Preferred (uncompressed PCM) |
| Preset | Typical bit depth | Use it when |
|---|---|---|
| Highest | 24-bit PCM | Mastering, surround, music archival, source is 24-bit CAF |
| Very High (Recommended) | 16-bit PCM, original sample rate | Default for almost any music or DAW handoff |
| High | 16-bit PCM | General music listening, podcast masters |
| Medium | 16-bit PCM, lower bitrate | Long voice memos, batch transcription source files |
| Low / Very Low | Reduced PCM | Quick reference renders, draft copies |
| Lowest | Smallest PCM render | Disk-tight situations where size beats fidelity |
For multi-format workflows, see CAF to WAV for Windows-native PCM, CAF to MP3 for sharing-sized files, CAF to FLAC for lossless compression, or CAF to M4A to keep ALAC compatibility on Apple devices.
If the CAF holds uncompressed PCM at the same bit depth and sample rate as the AIFF you export, the conversion is mathematically lossless — sample values are unchanged, only the container changes. If the CAF holds compressed audio (ALAC, AAC, IMA-4), it is decoded to PCM during conversion. ALAC decodes losslessly; AAC and other lossy codecs do not regain detail when expanded to PCM, so the AIFF inherits the source's quality ceiling.
The CAF probably stored compressed audio. AIFF defaults to uncompressed PCM, which runs about 10 MB per minute of 16-bit/44.1 kHz stereo. A 60-minute ALAC-in-CAF voice memo at ~3 MB/min becomes ~600 MB as 16-bit/44.1 kHz stereo AIFF. If size matters more than format universality, export to FLAC or ALAC instead — both are lossless and roughly half the size of PCM.
Yes for standard AIFF. Apple's IFF-derived chunk header uses 32-bit unsigned sizes, so the data chunk caps at roughly 4 GB — about 6 hours 45 minutes of 16-bit/44.1 kHz stereo or 4 hours 30 minutes of 24-bit/44.1 kHz stereo, per the Audacity reference docs. If your CAF is longer than that, split it before conversion or pick WAV (RF64 extensions) or FLAC for the output instead.
Yes. AIFF has been a first-class import and export format in every major DAW for decades. Pro Tools treats AIFF and WAV as native session media. Reaper, Cubase, Studio One, Logic Pro, Audition, and Audacity all read AIFF without conversion or plugin support, on macOS and Windows.
Recent Windows builds — Windows 10 and 11 — play AIFF in the modern Media Player and Groove apps. VLC, foobar2000, MusicBee, and Winamp also play AIFF on every Windows version. You will run into trouble only with very old standalone hardware players that pre-date AIFF support; those usually expect MP3 or WAV instead.
AIFF stores raw uncompressed PCM. AIFF-C is the same container with an extra compression-type field, so it can hold compressed audio (ulaw, alaw, IMA-4, MACE, even MP3 in some implementations) or use Apple's sowt "pseudo-codec" to store little-endian PCM for QuickTime compatibility. xconvert exports standard uncompressed AIFF; if you need AIFF-C specifically, target .aifc instead.
Keep 24-bit (use the Highest preset) if the audio is heading back into a DAW for mixing or mastering — those eight extra bits are headroom for processing. Drop to 16-bit if the AIFF is the final delivery (CD master, podcast distribution, sample-library file) since 16-bit is the universal interchange depth and halves the file size.
The audio is preserved at the bit-perfect level for PCM sources, but most CAF-specific extras don't survive. CAF supports rich markers, regions, channel layouts, and free-form annotation chunks; AIFF supports only basic MARK and INST chunks. Time-stamped markers from a long voice memo or a Logic Pro CAF stem are typically dropped during conversion. If you need to keep them, render to WAV (which has broader marker support) or stay in CAF.
Once you have the AIFF, AIFF to MP3 is the most common next step for sharing or podcast distribution, and AIFF to WAV is useful when a Windows tool or hardware sampler specifically needs a RIFF/WAV file rather than IFF/AIFF. Both keep the audio bit-perfect when the target is uncompressed PCM at the same depth and rate.