2Drag the start and end handles on the waveform or the timeline, or type exact timecodes if you already know them.
3Preview the selection and run the cut — the part you keep is copied through untouched wherever the format allows it.
4Download the trimmed Opus file.
Opus Cutter FAQ
Is the part I keep re-encoded?
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Not if the format allows a stream copy — the data you keep is bit-identical to the source and the job finishes in about the time the upload took. Only a frame-exact cut on a format that cannot do it cheaply needs a re-encode.
How precisely can I place the start and end points?
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You can type exact timecodes rather than only dragging, and the preview scrubs to the position as you move it. How exact the result can be depends on the format: some allow a cut anywhere, others snap to the nearest frame or keyframe.
Does the format limit where I can cut?
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It does. Opus is the best-in-class lossy codec at low bitrates and the standard for voice and real-time audio. That is precisely what decides whether a cut can be placed arbitrarily or has to land on a structural boundary.
Anything specific to Opus when trimming?
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Yes — Opus always resamples to 48 kHz internally, so sample-rate choices you make elsewhere in the chain do not survive into it. It explains most of the "the cut is a fraction of a second off" surprises.
Will Opus Cutter lower the quality of my Opus audio files?
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A lossy file has already discarded detail once, and re-encoding discards more — that is generation loss and it does not undo. Wherever the job can be completed by copying the encoded stream rather than re-encoding it, that is what happens, and the audio comes back bit-identical.
Can I run Opus Cutter on several Opus audio files at once?
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Yes. Upload the set and they process in parallel with the same settings, which is the practical way to handle a podcast series or an album rather than repeating the job by hand.
Do tags and cover art survive?
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Yes. ID3, Vorbis comments and MP4 metadata atoms are carried across, cover art included, so a processed file still sorts correctly in a music library. ReplayGain values are recalculated rather than copied, because a stale one is worse than none.
Does Opus Cutter cost anything?
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No. Opus Cutter is free without an account and adds no audio watermark or spoken tag to the output. Your upload is deleted from the workers shortly after the job completes.
Why does a WebM site host Opus Cutter?
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WEBM.to is built around the container the open web actually chose — VP9 or AV1 with Opus audio, decoded natively by every modern browser and needing no plugin, licence or player. Video is the case where extra round trips hurt most — the files are large and every upload costs real minutes. Running Opus Cutter on the same pipeline as the conversions means one upload covers the whole job instead of one upload per tool.
What should I do with the result once Opus Cutter is finished?
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The converter on this site moves video between WebM, MP4, MKV, MOV and the rest, or pulls the soundtrack out entirely, without another upload. Sequencing it that way matters more for video than anywhere else: each re-encode is another generation, so the fewer of them stand between the source and the file you publish, the better it looks.
Is Opus Cutter here the same tool the sibling sites run?
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The engines are shared — the same ffmpeg build with x264, x265 and libvpx, the same workers, the same limits. What a WebM site adds is a view on containers and codecs: which combinations play everywhere, which need a re-encode and which can simply be copied across. It also starts from one fact about the format this site is named after: WebM is VP9 or AV1 with Opus audio, which browsers decode natively but which most desktop editors still transcode on import.
Do I need an account, and does anything get kept?
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No account, and nothing is kept: uploaded video is deleted from the workers shortly after the job finishes, nothing is watched and nothing is indexed. Free accounts exist for history and batch size, not for access.
