Change a song’s speed.
Free, right here.

Three doors into the same machine

The machine above is live — drop a file into it and it plays. It is also one instrument wearing three presets, and each preset has its own page so a search lands you with the right slider already set. Each page below opens it with a different setting already in place, because arriving mid-task and having to find the right slider is friction nobody asked for.

Nightcore maker opens at 135% with the pitch riding up to +5.2 semitones — the classic sound, already playing the moment your file lands.

Slowed + reverb maker opens at 85% with the reverb on and a room already chosen. Drag the mix and pick a bigger room if the song wants one.

Sped up audio maker opens at 125% — the bright, urgent range that edits and loops live in, before it tips over into nightcore.

What the browser version is, honestly

It is the app’s speed-and-pitch mechanic, one reverb, and a free export. That is a real tool — people have built whole channels on less — but it is the taste, not the meal. The app plays your whole library this way, live, with the pitch unlinkable from the tempo, a five-band EQ, more effects, full-screen visualizers, themes, and video export built for posting. The browser version exists so you can hear the mechanic before you decide you want the instrument.

Browser vs app, without the sales voice

The honest table. The browser column is this page; the app column is the thing this page is a taste of.

The browser column is not a crippled demo — the tempo math, the pitch law and the reverb rooms are the same ones the app runs, deliberately. What the app adds is not “the real version of the sliders”; it is everything around them: the library, the memory, the screen, the video.

The same math, on purpose

When the tool says 135% and +5.2 semitones, those are the app’s numbers — twelve semitones per doubling of speed, the record-player law. The reverb rooms carry the app’s own names and sizes, small to large. If you dial in a sound here and later open the app, the same settings make the same sound. Nothing about the browser version lies to you about what the app will do.

What the spoken note is

Free exports end with a short voice saying the file was made with Y2K Player — after the music, never over it. It is the price of free, and it is designed to be trimmed: the music ends, the note begins, and any editor’s trim removes it without touching a beat. The app’s own audio exports are clean.

Why nothing uploads

Most online converters upload your file to a server, process it there, and hand you a download link. These tools do not. The song is decoded and played inside your browser, on your hardware, and the export is written the same way.

That is not a privacy slogan, it is the architecture: there is no server that could receive your file, because the processing happens in the page. Nothing is logged because there is nothing to log; nothing expires because nothing was stored. It is also why the tools work at full quality on a plane. The one network request the tool ever makes is fetching its own code.

It is the same idea the app is built on — your files, on your device, with no account between you and your own music. If a tool asks you to upload a song to change its speed, it is solving the problem in the wrong place.

What people actually make here

Audio for edits, mostly — the sped up fifteen seconds under a TikTok, the slowed chorus under a montage. Practice materials: a song slowed to learnable speed with the key sinking honestly, which is how instruments have practised since records existed. Sleep versions of favourite songs, slowed and set in a big room. Nightcore of things that were never going to get an official one. The tool does not care; it is two sliders and a room, and everything above is just people aiming them.

The engine, briefly, for the curious

The page decodes your file into raw audio in memory, plays it through the browser’s own audio graph with the playback rate scaled — which is why pitch rides tempo, exactly as vinyl does — and runs the reverb as convolution against a six-room set matched to the app’s. Export renders the same graph faster than real time and writes the file on your machine. None of this touches a server, which is why there is no queue, no quota, and no “processing…” spinner owned by somebody else’s computer. Your hardware does the work; it was always fast enough.

If you use these more than once

Bookmark the page that matches your usual job — each opens with its preset armed, so a repeat visit is drop-file-and-done. And if you notice you are here weekly, that is the sign you want the app: the same mechanics on your whole library, remembered per song, with the screen dressed for it. The browser will still be here for the days you are on someone else’s computer, and the settings that worked will mean the same thing in both places.