Convert Opus to AMR

Yes, and it is worth planning around. Both formats are lossy, so the AMR encoder is working from audio that has already been through one psychoacoustic pass, and its own decisions compound the first set. At 192 kbps or above the result is still transparent for most listening. If you have a lossless master anywhere, encoding the AMR from that instead avoids the double pass entirely. Opus scales from 6 kbps mono speech to 510 kbps stereo music in the same bitstream and switches modes automatically. AMR is a narrowband speech codec running between 4.75 and 12.2 kbps, modelling the human vocal tract rather than the full audio spectrum.

Not intact. Opus carries a proper metadata block, but AMR has no standard place for artist, album, track number or cover art, so tags are dropped rather than mangled. Keep the Opus as the tagged copy, or re-tag afterwards with a tool like Mp3tag or MusicBrainz Picard. AMR destroys music: its 8 kHz bandwidth removes everything above telephone frequencies, and no amount of re-encoding brings it back.

It is folded down to stereo, because AMR has no practical multichannel mode. The downmix uses the standard coefficients so centre-channel dialogue stays clear and the surrounds are mixed in at reduced level. Anything that depended on discrete channel placement is gone once that happens.

Because one side of it is a speech codec rather than a music codec. It models the human vocal tract and discards everything outside telephone bandwidth, which is fine for a voice memo and destructive for anything with instruments in it. Converting away from it cannot restore the missing frequencies — they were never encoded in the first place. Opus is almost never supported by standalone hardware — assume software playback only, and expect car stereos to ignore it.

Default is 192 kbps for lossy AMR; pass-through for lossless AMR. Override to 320 kbps for audiophile or 64-96 kbps for spoken-word audiobooks (transparent for voice, halves the file size).

If Opus is lossy and AMR is lossless (e.g. MP3 → WAV), the AMR file is no better than the Opus — you can't recover information that's already been thrown away. If Opus is lossless and AMR is lossy, expect the AMR codec to recompress; at 192 kbps this is transparent for most content.

Yes — title, artist, album, year, track number, album art, and chapter markers (important for audiobooks) are read from Opus and written into the AMR container where the AMR format supports tags. M4B audiobook structure round-trips into M4B and AAX → M4B output.

Yes — drop a folder of Opus files in and we process them in parallel. Premium has more parallel workers and no per-file size cap, so a 500-file batch finishes in minutes rather than tens of minutes.

By default yes (48 kHz Opus → 48 kHz AMR). If you need to downsample for compatibility (e.g. 96 kHz → 44.1 kHz for CD burning) the advanced sample-rate option does this with high-quality resampling.

Yes — the loudness-normalize option applies ITU-R BS.1770 / EBU R128 normalization to the AMR output, targeting -14 LUFS (streaming standard), -16 LUFS (podcast standard), or -23 LUFS (audiobook standard). Useful when batch-converting tracks with varying mastering levels.

MP3 plays universally. AAC plays on Apple, most Android, Sonos. FLAC plays on Sonos and Android, less well on older iPods. M4B audiobooks play with chapter navigation on iOS Books, Audiobookshelf, and Smart Audiobook Player. The advanced options include device presets.