Upload the track.
Invite collaborators.
Keep every version.

Drag across the waveform to mark a section, then cut it out or keep only what you marked. You can highlight several sections at once and join what is left, so a take can lose its dead air in a single pass.

• Take the count-in and false start off the front of a vocal
• Cut a loop down to the two bars you actually want
• Keep the first verse and the last chorus, drop everything between

MP3 · WAV · FLAC · AIFF · M4A

Ease the audio in or out instead of stopping on a hard edge. Apply it to the start, the end, or any highlighted range in the middle, and set how long the fade runs.

• Soften the join left behind by a trim
• Fade a rough bounce out rather than cutting mid-bar
• Bring an intro up gradually before sending it round

Fade in · fade out · both ends

Move a file between MP3, WAV, FLAC, AIFF and M4A. The file you dropped in is left alone; what you get back is a new one in the format you picked.

• Send an MP3 to someone who does not want a 400MB WAV
• Get a lossless WAV out of a bounce for the mix engineer
• Match a stray file to the format the rest of the session uses

MP3 · WAV · FLAC · AIFF · M4A

Bring the file size down for sending, without an obvious hit to how it sounds. This is file compression, not a dynamics compressor: it makes the file smaller, it does not squash the mix.

• Get a reference under an email attachment limit
• Send an idea out of the studio on bad signal
• Shrink a long take before it goes anywhere else

Pick a quality level, hear it before you download

Shift the file up or down in semitones while the timing stays exactly where it was. Nothing gets faster or slower, it just sits in a different key.

• Move a vocal take into the key the beat is actually in
• Try a sample two semitones down before committing to it
• Match a guest verse cut to a different reference

Semitone steps, pitch moves and timing does not

Speed the file up or slow it down without the pitch sliding with it. Tempo and pitch stay independent, so a part can be moved onto the grid without going chipmunk.

• Line a phone recording up with the track's BPM
• Slow a sample down to sit in a half-time beat
• Push a demo faster to hear whether it wants to move

Detected BPM shown before and after

Even out loudness so a quiet bounce is not lost next to everything around it, and a hot one is not clipping before anyone presses play.

• Level a batch of bounces before they go out together
• Rescue a take that was recorded far too quietly
• Get a reference to a sensible level for a listening session

Consistent level across every file you run through it