A private audio editor,
because nothing uploads

Privacy as architecture, not as promise

Most audio sites answer the privacy question with a policy document: we delete your uploads after some hours, we do not listen, trust us. A policy is a promise about a server that has your file. This tool answers differently — the server never has your file, so there is nothing a policy would need to govern.

Here is the whole path your song takes. The page loads once from our server: code, styles, the interface. From that moment the server's part is over. When you pick a file, the browser opens it directly from your disk into the tab's memory. Decoding it into raw audio happens on your processor. Playback, the speed change, the reverb rooms — your processor. Export — your processor, writing the MP3 or WAV straight back to your own storage. 0 bytes of your audio cross the network at any step, because no step has a network in it.

The proof is that it works offline

This is a claim you can test rather than take on faith. Load the page, then turn on airplane mode — and keep working. Open a file, change its speed, add a room, export. Everything functions, because everything was always local. A tool that uploads cannot pass this test; this one passes it by construction.

What the architecture removes

Every privacy risk of an upload tool is downstream of one event: your file arriving on someone else's machine. Remove that event and the risks do not get smaller — they stop existing as categories.

No stored copy means no retention period to wonder about, no breach that could include your audio, no request from anyone that could surface it. No accounts exist, so there is no profile connecting files to a person. Unreleased demos, voice memos, interview recordings, a client's rough mix — the reason you can put them here is not that we are trustworthy, it is that trusting us is not part of the transaction.

The editor this privacy buys you

The tool itself is deliberately focused: speed from 50% to 200% with pitch linked at 12 semitones per doubling, six reverb rooms — Air, Room, Chamber, Hall, Plate, Cathedral — with one mix control, loop, volume, waveform, and free MP3/WAV export. It is not a multitrack editor and does not pretend to be; it is the speed-and-space job, done privately and done well. A craft note while you are here: the rooms add level, so lower the volume slider a little when the mix is high, and judge the loudest chorus before you export.

Start to finish — offline, if you like

The airplane-mode version of the walkthrough, since this page can honestly offer one.

1. Open this page while connected — this is the only step that uses the network, and it transfers only the tool itself.
2. Optional, for the cautious: turn on airplane mode now. Everything after this works identically.
3. Drop your file on the tool or use the picker, up to 50 MB.
4. Set the speed by ear — down toward 85% for slowed, up toward 115–135% for sped-up — and add a room with a modest mix if the track wants space.
5. Export MP3 or WAV. The file is written directly to your device. Free exports add a short spoken note after the song ends — never over the music — which one crop in any trimmer removes.

The limits, stated as plainly as the strengths

A trust page that lists only strengths is an advertisement. Here is what this architecture does not do, so the claim you rely on is the exact one being made.

It protects the file while you edit it — nothing more. The moment you post an export somewhere public, that copy is public; local processing says nothing about where you send the result afterward. It does not change rights, either: a speed change of someone else's song is still someone else's song, edited privately or not. And it does not clean up after your own device — the export sits in your Downloads folder like any file, visible to anyone who uses your computer, and your browser's download history records it the way it records every download. Private processing is not the same as a private machine.

One more boundary worth naming: the page cannot vouch for software you have added to your browser. Extensions you have installed run with the access you granted them, on every site including this one. The tool's own code sends no audio anywhere; if you work with genuinely sensitive material and take the threat seriously, the airplane-mode workflow closes the question for everything at once — nothing can transmit when there is no connection.

What is left after the honesty

Even with every limit on the table, the core holds: no server copy of your audio ever exists, so the failure modes that define upload tools — retention windows, breaches that include your files, accounts linking files to people — are not reduced here, they are absent. That is the claim, its edges drawn. It is checkable in one gesture, and the paragraph above told you the gesture.

The app is built on the same principle

You love music tools that stay on your device? There is a player for that.

Y2K Player, a music player for iPhone and iPad, applies this page's architecture to a whole library: songs live on the device, each one keeps its own speed and effect settings, playlists play your versions, and everything — playback, editing, even video export at 1080p over visualizers — works fully offline with no account anywhere. Free to use. Pro is one payment — forever. The browser tool is the private single-file editor; the app is the private library.