Audio Tag Editor

Tags live in a block at a known place in the file, separate from the encoded audio. That means editing them is a splice: build a new tag block, then copy the audio straight through. This tool never decodes your audio, so there is nothing that could change it.

• Nothing is decoded. No audio engine is loaded and no samples are read. The save reads a few kilobytes of tag block and writes a few kilobytes back.
• The cost does not grow with the file. Measured on the reference machine, a 200 MB file saves in the same few milliseconds as a 10 MB one, because the amount of work is the same.
• Every save is checked. The finished file is re-read, all nineteen fields are compared against what was asked for, and the audio is compared against your original. If anything differs you get an error instead of a file.
• Untouched tags stay untouched. ReplayGain values, MusicBrainz identifiers, ratings and anything else the editor does not show are carried across rather than quietly dropped.

The practical consequence: you can retag a lossless master as many times as you like without it degrading, and a tagged file will still match a checksum of its own audio.

Every format stores cover images differently, and getting it wrong produces a file that looks tagged and shows no picture. Choose a JPEG or PNG and it is written the way each format actually expects.

• MP3 and WAV. An APIC frame marked as the front cover, inside the ID3v2 tag.
• FLAC. A real PICTURE metadata block, with the width, height and colour depth measured from the image rather than copied from whatever was there before.
• M4A, M4B and MP4. A covr atom, tagged as JPEG or PNG by reading the image bytes rather than trusting the file extension — a picture typed as the wrong kind draws as nothing at all.
• OGG and Opus. The standard picture block, encoded into the comment header.
• Export and remove. The artwork already inside a file can be saved out as an image, or removed without touching the rest of the tags.

Most editors offer four or five. The fields below are the ones music players, podcast apps and DJ software actually read, grouped the way you fill them in.

• Track. Title, artist and genre — the minimum for a track to be identifiable in any player.
• Album. Album, album artist, release date and the compilation flag. Album artist is what stops a compilation splitting into twenty one-track albums.
• Numbers. Track number and total, disc number and total, and BPM. Filling the totals is what makes an album sort correctly rather than alphabetically.
• Credits. Composer, grouping, publisher, copyright and ISRC — the fields that matter for classical, library music and anything being delivered to a distributor.
• Notes. Comment and lyrics. Lyrics are stored in the field players actually display, not in the comment.

Five container families, each edited in its own native tag format rather than converted to a common one.

• MP3. ID3v2.3 or ID3v2.4 at the head of the file. Tags written by older software as ID3v2.2 are read and upgraded, and any ID3v1 block at the end is replaced or removed to match.
• M4A, M4B, M4R and MP4. iTunes-style atoms. When the tag block sits before the audio, the internal offsets that point at the audio are corrected as part of the save — miss that and the file plays silence with no error anywhere.
• FLAC. Vorbis comments and a picture block. The seek table and cue sheet are kept, so instant seeking and album track boundaries survive.
• OGG and Opus. The comment header is rebuilt and the stream repaged, with every page checksum recomputed. Where the new tags fit the original layout, not one audio page is touched.
• WAV. Both a RIFF INFO list, which is what Windows and most editing software read, and a full ID3 block, which is where the artwork and the rest of the fields live.

Anything else — AAC streams, Matroska, WMA, AIFF — is refused at the file picker with the reason and a link to the converter, rather than accepted and failed later.

The information you are about to type is usually already in the filename. A pattern such as %artist% - %title% reads it out, and the same pattern renames the file from the tags once you are done.

• Filename to tags. Fills the matching fields from the name. A name that does not fit the pattern says so instead of filling the fields with nonsense.
• Tags to filename. Renames the saved file. Track numbers are padded to two digits so a folder sorts correctly.
• Folders in a batch. A pattern containing a slash produces real folders inside the downloaded archive, so an album comes out organised rather than as a flat list.
• Safe by construction. Every part of a generated name is cleaned separately, so no file in the archive can be written outside the folder you extract it into.

1. 1Add your audio Drop in an MP3, M4A, FLAC, OGG or WAV. The tags already in the file are read and shown straight away, so you can see what is there before you change anything.
2. 2Edit the fields Change any of the nineteen fields. Edited fields are marked, and clearing one removes that tag from the file rather than leaving it blank.
3. 3Add album art Choose a JPEG or PNG to embed as the cover. You can also export the artwork already in the file, or remove it entirely.
4. 4Save Only the tag block is rewritten. The encoded audio is copied through byte for byte, so the sound is identical and the save takes milliseconds however large the file is.

• Fill album artist on anything with more than one artist on it — this is the single most common reason a compilation splits into twenty separate albums.
• Fill the track total as well as the track number, or players fall back to sorting alphabetically.
• Keep artist spelling identical across an album; a trailing space is enough to create a second artist.
• Choose ID3v2.3 if the files are going to a car stereo, a DJ controller or older software; choose v2.4 if you need a full release date or non-Latin text.
• Use square artwork of about 600 by 600 pixels — larger images make every copy of the file bigger without any player showing more detail.
• Check the result in the player you actually use before retagging a whole library.

• Fix a downloaded album. Read what is there, correct the artist and album, add the artwork, and keep the audio exactly as it was.
• Prepare a release. Fill ISRC, publisher, copyright and composer before sending files to a distributor.
• Tag a podcast episode. Set title, artist and comment so the episode shows correctly in podcast apps.
• Clean a file before sharing. Remove every tag and the artwork in one action, leaving the audio untouched.
• Rescue a badly named folder. Fill the tags from the filenames, then rename the files back from the tags in a consistent shape.
• Retag a lossless master. Edit a 24-bit FLAC as often as you like — the samples are copied, never re-encoded.

The file is read where it sits and the finished file is assembled on your device. Nothing is uploaded, nothing is stored, and no part of your audio or your tags is sent anywhere — which is also why there is no online database lookup here: it could not work without sending your music somewhere else.

Tag blocks are read and rewritten in place, so the work does not grow with the size of the file.

• Audio converter
• Audio compressor
• Audio cutter
• Audio merger
• Photo metadata viewer