Change audio speed without the linked pitch change

How to use this workflow

1. Open the pitch changer and load audio

   Choose a supported mono or stereo file. Leave pitch at 0 semitones if you want to keep the original key.

2. Set the speed percentage

   Set speed between 50% and 150%. The control moves in five-percentage-point steps. Start with a small change and preview the same phrase at each setting.

3. Generate the changed-speed file

   Select Prepare export, then download WAV or MP3. If you adjust the speed again, generate a new result before saving.

Calculate a speed from the BPM you want

Divide the desired BPM by the original BPM, then multiply by 100 for the speed percentage. Changing 100 BPM to 120 BPM requires 120%. Changing 120 BPM to 90 BPM requires 75%. These are calculated examples for a recording with a steady starting tempo.

The current slider does not accept every arbitrary ratio. For 100 → 123 BPM, the desired value is 123%, between the available 120% and 125% steps. Choose the nearest suitable value and check the result; do not expect an exact 123 BPM export from that control.

If the BPM finder reports half-time or double-time candidates, resolve that interpretation before calculating a target. There is no editable original-BPM field on the pitch changer: the displayed BPM is an estimate, while you set speed directly.

Work out the new duration

New duration is approximately source duration divided by the speed multiplier. A three-minute source at 75% becomes four minutes. At 125%, it becomes two minutes and twenty-four seconds. The output is rounded to whole audio frames.

Time stretching can alter attacks and sustained textures. Reducing speed is useful for hearing note sequences, but extreme settings can sound less natural. Evaluate the exported file, not only the displayed duration.

Make a sped-up song version

For a faster version in the same key, leave pitch at 0 and choose a speed above 100%. For a deliberately higher-pitched result, either add a positive semitone shift or use the Sped Up preset in Slowed + Reverb, where pitch follows rate.

These approaches sound different because they do different processing. The right choice depends on whether you want to practice at a new tempo or create a rate-shifted effect. Keep a copy of the original and check permission before distributing an edited recording.

Slow down a difficult guitar or piano passage

Open your recording in the workspace above and keep Pitch at 0 st. Start at 75% speed and listen to the same passage before playing along. If the notes remain too fast, try 50%; if the timing feels comfortable, work toward 100% in 5% steps.

For a short practice file, trim the passage first and import that saved clip here. There is no automatic looping or progressive speed ramp; choose the next speed manually.

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Check pitch, timing and the final download

If the notes sound lower as well as slower, check that Pitch is still 0 st and that you are using these independent speed controls. Slowed + Reverb deliberately links rate and pitch and produces a different result.

Listen to both sharp attacks and sustained notes. Time stretching can smear transients or make a voice sound less natural. Use a smaller change if needed. After any parameter change, select Prepare export again; an older export no longer represents your current settings.

Decide whether a near-target BPM is close enough

Suppose a recording has a verified, steady tempo of 132 BPM and you want 100 BPM. The ideal speed is about 75.76%. The nearest available setting is 75%, which gives a calculated 99 BPM; the next setting, 80%, gives 105.6 BPM. These are arithmetic examples, not measurements of an uploaded song.

For learning a passage, 99 BPM may be a useful slower practice pace. For matching a fixed 100 BPM backing or video timeline, that one-BPM difference matters: over 400 quarter-note beats, 99 BPM takes about 242.42 seconds while 100 BPM takes 240 seconds. The parts would finish about 2.42 seconds apart. Use a workflow with finer tempo control when that alignment is required rather than labeling this export “exactly 100 BPM”.

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Follow source-time markers when checking a slower export

The preview control says “Playback position (source time)”. A phrase at 30 seconds still has that source position while previewing at 75%; it is not a claim that the phrase occurs 30 seconds into the download. In the complete 75% export, the corresponding position is approximately 30 ÷ 0.75 = 40 seconds. A source phrase at 45 seconds moves to about 60 seconds.

Write down two recognizable source events, such as a count-in and a final chord. After preparing the export, open the downloaded file and check those events at their calculated output positions, allowing for audio-frame rounding. Check the beginning and ending as well. If you trimmed the source first, take your markers from that new clip: timestamps from the longer original no longer describe the loaded file.

Fit a practice passage into a time budget

If you need the complete passage to last no more than a fixed time, divide its source duration by the available time. A hypothetical 90-second passage with a 110-second budget requires a speed of at least 90 ÷ 110 = about 81.82%. The slider moves in five-percentage-point steps, so 80% would overrun that budget; 85% is the first available setting that fits. This is a calculation for a full passage, not an exported measurement.

For the same passage at a verified steady 120 BPM, 85% gives an expected 102 BPM and about 105.88 seconds. Choose the setting using the constraint that matters: the nearest speed to an ideal ratio is not always the speed that meets a maximum duration. The table compares available settings while leaving Pitch at 0 st.

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Count the lead-in before choosing the speed

Include any count-in and ending that must be in the saved recording. If a four-second lead-in is already in the loaded source, the duration calculation must use 94 seconds rather than only the 90-second musical passage. If you add a count-in afterward in another editor, reserve its output duration separately. This tool does not automatically add one.

Prepare the export, open the downloaded file and inspect its actual duration before placing it on a timed practice or video schedule. If the tempo that fits feels too fast, trim a shorter source passage instead of labeling an overlong file as compliant. Keep the untrimmed recording so you can choose a different excerpt later.

Build a practice ladder from one unchanged source

Prepare separate practice copies from the same original rather than slowing an already slowed download. For an invented steady 144 BPM, 80-second passage, the available settings below create a useful ladder. The duration and tempo values are calculations, not measurements. Keep Pitch at 0 st so the ladder changes intended tempo without deliberately changing key. Name each copy with its speed and retain the original.

For each step, listen once, then play the passage twice while checking a specific difficult transition. Move to the next step only when that transition stays aligned with the backing. If the final phrase falls apart, return one step rather than judging the whole passage from its easy opening. This is a suggested practice procedure; the tool does not grade accuracy, advance speed automatically or create the ladder in one export.

Reopen the original for each preparation and confirm the selected speed before downloading. Applying 75% to an existing 75% export compounds to 56.25% of the original tempo, rather than making another 75% version. Keep the unprocessed source as the reference for both timing and filenames.

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Resolve a half-time estimate before slowing the track

A tempo label can describe a slower or faster pulse interpretation. Suppose an invented recording produces an estimate of 72 BPM, but you count a quarter-note pulse of 144 BPM against the musical phrases. If your intended practice pulse is 108 BPM, dividing by 72 suggests 150% speed, while dividing by 144 gives 75%. Both settings are available, but they lead in opposite directions. These numbers illustrate an interpretation problem; they are not detector measurements.

Before moving Speed, listen through several bars of the original and tap the pulse you actually plan to count. Check where strong beats and phrase entrances fall. A denser set of taps is not automatically the correct pulse, and an estimate alone cannot settle the musical counting choice. Note your selected interpretation beside the target, such as “counting quarter notes at 144; practice at 108.”

Keep Pitch at 0 st and compare the selected speed with the unchanged original. If the intended task is a slowdown but your ratio asks for a faster recording, revisit the source pulse rather than accepting the displayed number uncritically. Prepare the export and count against the downloaded passage. The tool neither corrects a half-time label automatically nor creates a click track; use the linked BPM and metronome tools as separate checks.

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Count a fast ornament before increasing practice speed

Use a short passage with a clear note before the ornament and a clear landing note after it. Keep Pitch at 0 st so the tonal reference stays fixed, and choose 50% Speed for the first pass. In an authored example, four sixteenth notes occupy one quarter-note beat at 120 BPM. That beat lasts 0.5 seconds in the source and 1 second at 50%; each evenly spaced note would occupy 0.25 seconds in the slowed copy. These are calculated grid positions, not measurements of a performer’s ornament.

Write four boxes for the notes, then listen for the first attack, the two middle attacks and the landing. Mark uncertain pitches or missing attacks instead of assuming every ornament follows an even grid. Grace notes, swing and expressive timing may not divide the beat equally. Sing or play the notes against a trusted instrument, using the unchanged tonic as a reference; the speed tool does not transcribe notes or display subdivisions.

Once you can identify the order, choose 75% and compare the same entrance and landing. Return to the original to check how the ornament connects to the phrase, then prepare a practice export at your chosen speed. Keep the original alongside it. If slower processing smears an attack, compare it with the original rather than adding a note to your transcription merely because you hear a blurred transition.

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Common questions

Continue with your audio

• Open the speed and pitch controls →
• Estimate the original tempo →
• Use linked rate and pitch →
• Compare pitch and speed →
• Trim a short practice passage →
• Practice at the new tempo →
• Combine a slower rate with reverb →
• Choose a steady passage before measuring BPM →
• Separate click speed from beat grouping →
• Join a metronome after a deliberate count-in →
• 128 intervals at 119.6 BPM versus 120 BPM →
• Listen for Transient Smearing After Time Stretching →
• Align Audio Versions of Different Lengths →
• Document Audio Settings for Repeatable Practice →
• Keep Lyrics and Timing Notes Beside a Rehearsal File →
• Check for an Old Audio Export After Changing Settings →