Slow a song down, add reverb, pick out the part you want and download it as MP3 or WAV. Everything runs on your device; nothing is uploaded.
Drop a song here
MP3, WAV, FLAC, OGG or M4A. It is processed on this device and never uploaded.
With the pitch setting folded in, the track plays at 0.90x: speed and pitch drive the same playback rate, so they multiply.
30–45% keeps vocals clear; above 60% the song sits far back in the room.
How long the reverb rings. 2–4 s for most songs; 6 s and up is cathedral territory.
+1 lifts a vocal that got too dark after slowing; negative values go deeper.
+2 to +4 dB restores warmth lost to slowing.
Presets
Format
Quality (kbps)
Fade in
Fade out
Choose an MP3, WAV, FLAC, OGG or M4A file, or drop it on the editor. No file to hand? Try the 20-second sample.
The Slowed + Reverb preset (0.85x, 42% reverb) suits most songs. Press Play and adjust while it plays.
Switch between Original and Edited (or press A) at the loudest part. If the vocal disappears, lower the reverb mix first.
MP3 for sharing, WAV for another editor. Drag across the waveform first if you only want the chorus.
| Song type | Speed | Reverb | Decay | Pitch | Bass | Why |
|---|---|---|---|---|---|---|
| Most pop, R&B and indie | 0.85x | 40% | 2.8 s | +1 | +3 dB | The safe middle: slow enough to feel heavy, clear enough to follow the words. |
| Vocals and lyrics first | 0.86x | 32% | 2.4 s | +1 | +2 dB | Less reverb and +1 semitone keep a voice readable after slowing. |
| Sad, late-night edits | 0.80x | 42% | 3.8 s | 0 | +3 dB | Slower with a longer tail; the extra darkness is the point. |
| Phonk, 808s, bass-heavy | 0.84x | 28% | 2.2 s | 0 | +6 dB | Short reverb so kicks don't smear; bass carries the weight instead. |
| Short clips for phone speakers | 0.83x | 45% | 3.2 s | +1 | +4 dB | Phone speakers drop low bass and blur long tails, so stay moderate. |
More recipes, with the reasoning behind each, are on the presets page.
Start at 0.85x and go between 0.80x and 0.88x. Below about 0.78x vocals start to sound sluggish and words blur; above 0.90x the change is too small to read as a slowed edit. Because speed and pitch move together here, 0.85x also lowers the key by about 2.8 semitones, which is where the darker, heavier feel comes from.
A 35–45% reverb mix with a 2–4 second decay suits most songs. If the vocal gets lost, lower the mix before you shorten the decay. Long decays of 6 seconds or more sound huge on headphones but tend to smear the beat on phone speakers.
Load the song, drag across the waveform to select the chorus, and press Play: the selection loops so you can fine-tune the settings on the part people will hear. Leave “Export only the selected section” ticked and download. A short fade in and out stops the clip starting or ending abruptly.
Usually too much reverb on a bass-heavy track: the tail of every kick piles onto the next one. Lower the reverb mix to 30–35%, shorten the decay to 2–3 seconds, and add bass back with the bass control rather than more reverb.
No. The file is decoded and processed by your browser on your own device, and the download is created there too. Nothing is sent to a server, so there is no file size limit beyond your device's memory.
Yes, in Safari or Chrome. Tap Choose a file and pick a song from Files (iPhone) or your downloads (Android). If you don't have an audio file on the phone, the 20-second sample lets you try the effect first.
No. Reverb, bass and pitch changes can push a mix past full scale, so every export is checked; if the peaks go over, a look-ahead limiter brings them back to −1 dBFS. The result message tells you whether that happened.
They are opposites. Slowed reverb lowers speed and pitch and adds space; nightcore raises both for an energetic, higher-pitched sound. The Nightcore preset here gets you close, and the dedicated Nightcore Maker has finer controls.
More answers in the full FAQ.
Fundamentals · 10 min read
Sub-bass, bass, mids, presence, air — the bands have names, and the names hide the useful part. What actually occupies each region, and what changes when an edit moves everything at once.
Fundamentals · 11 min read
44.1 kHz and 16-bit are enough for listening, and the arguments about higher numbers are mostly noise. But speed up a track far enough and sample rate stops being academic — with a measured demonstration of exactly how it fails.
Fundamentals · 9 min read
A decibel is not a quantity. It is a comparison, and it is logarithmic — which is why +6 dB doubles the amplitude, why 0 dBFS is the ceiling rather than silence, and why a number with no reference attached tells you nothing.
