Speed a track up

It opens at 110%, which turns a five-minute track into about four and a half. The key slider stays at ±0: speed dragging the pitch up with it is tape behaviour, and there is a link toggle below for the times you want that.

Going faster breaks sooner than going slower. Packing the pieces closer together means a single drum hit can get read twice, and the kit starts to sound faintly doubled. People begin noticing somewhere past 120%, and at 150% — the top of this page — it is hard to use as a backing track. Treat 110–120% as the working range.

If you only want to listen faster, your player does it more conveniently and without any loss. Converting here earns its keep when you need the faster version **as a file**: playing along to it, or lining it up against video or other tracks.

QI need a specific BPM. What percentage is that?

Target BPM ÷ original BPM × 100. To take a 128 BPM track to 140, that is 140÷128×100 ≈ 109%. If you do not know the original tempo, measure it with the key, BPM and tuning analyser and come back. If the arithmetic lands well past 120%, finding material recorded at that tempo will beat stretching this one.

QI want to practise at gradually increasing speeds.

Export a set — 100%, 105%, 110% — rather than one big jump. Do each one from the original file, though. Speeding up an already-sped-up export applies the processing twice and the damage accumulates. Keep the source and always start from it.

QHow do I stop the drums sounding doubled?

Use less of the range. Doubling happens when the packed-together pieces read the same transient twice, and packing tighter makes it more likely. It shows up first on sharp attacks — drums, piano — so separating those out with the stem splitter, stretching only the rest, and remixing will reduce it. Whether that is worth the effort depends on what the file is for.