or click to browse
Deterministic batch renamer for DJ library tracks based on metadata tags and audio analysis.
Inspect metadata tags, detect messy names, and batch rename automatically or with manual inline edits.
Drop your audio tracks here or click to browse
Lossless (WAV, FLAC, AIFF) and Lossy (MP3, AAC, M4A) · Local Processing Only
Identify identical and alternate quality duplicate tracks in your collection.
or click to browse
Detect exact duplicates (SHA-256) and acoustic matches with quality recommendations
Convert Rekordbox, Traktor, VirtualDJ and Serato collections 100% locally.
or click to browse
Supports Rekordbox .xml, Traktor .nml, and VirtualDJ .xml
Transmute DJ USB drives between Pioneer, Denon Engine OS and Serato in-place without copying or duplicating audio files.
Transmutes existing DJ USB drives in-place without copying or duplicating audio files.
Connect or select your USB drive to inspect its DJ topology.
Pioneer, Engine Library and _Serato_ folders will be checked to provide cross-compatibility without touching your audio tracks.
Drag and drop audio files here or use the buttons below to import tracks.
or click to browse
High-fidelity audio recording for microphones, DJ USB sound cards or system audio with peak and RMS metering
Get your tracks back into the format you need — WAV, AIFF or MP3 — with control over sample rate, bit depth, TPDF dither and optional peak normalisation. Everything runs in your browser through the Web Audio API: no uploads, no queues and no changes to your original file.
Three JavaScript writers ship inside the project: WAV PCM at 16 bits with TPDF dither, 24 bits or 32-bit float IEEE; AIFF at 16 and 24 bits in big-endian order; and MP3 through LAME at 128, 192, 256 or 320 kbps CBR. No container is advertised as an output without the encoder that writes it.
When you pick a different rate, the audio is resampled through OfflineAudioContext, the browser’s own audio engine; if that context is unavailable, a linear-interpolation fallback takes over. Choose 44.1, 48, 88.2 or 96 kHz — or keep the source rate, which is the default.
The file is opened with AudioContext.decodeAudioData on your own machine, encoded by pure JavaScript writers and handed back as a local download. There is no network request anywhere in the conversion path: your music never leaves the browser and the original is only ever read.
Peak normalisation to -0.1 dBFS is off by default and only runs when you tick it; TPDF dither is applied when quantising to 16 bits. You can load several files at a time — they are processed sequentially with a progress bar and a per-track status.
What people actually solve with this converter before they play live.
Convert a 24-bit, 96 kHz master down to 16-bit, 44.1 kHz WAV or AIFF with TPDF dither before copying it to the USB drive you will take to the booth. It is the most widely read uncompressed PCM and almost every DJ player and DAW opens it with no extra settings.
Bring a clean master down to MP3 at 128, 192, 256 or 320 kbps CBR for previews, pools or press sends, without installing a desktop encoder and without losing the master, which stays untouched on your disk.
A 48 kHz session recording, an 88.2 or 96 kHz master, or a video whose audio runs at 48 kHz — resample it to the rate you need without changing pitch and without opening a DAW just for that.
Add several tracks, define a single format, rate and depth target, and let the queue convert them one by one with visible progress. Each result downloads as soon as it finishes, so you never wait for the entire batch.
We prepare standard files; the final check is always your own hardware manual.
This tool writes standard containers — WAV PCM, AIFF PCM and MP3 CBR — at the rates and depths booths usually run (44.1 and 48 kHz, 16 and 24 bits, plus 88.2 and 96 kHz). It is file preparation for DJ players, controllers and software, not a certification: there is no model table and no hardware validation anywhere in the code, so we cannot claim that a given file works in a given reference, nor promise that it fixes an "unsupported format" on a particular unit. The list of formats your player accepts lives in its manual — use this conversion as the first step and finish the check on your own hardware before you play.
Better to read them here than to find out halfway through a set.
The tool’s interface also offers FLAC, AAC/M4A and OGG, but this version ships no encoder that writes them. This page declares only the three containers that are genuinely produced: if you need FLAC, AAC or OGG, use a dedicated encoder.
Audio is written from already-decoded PCM, so the output files carry no ID3 tags, artwork, BPM or key. Re-tag them with your library manager after converting.
If the source is already MP3, AAC or OGG, converting it to WAV or AIFF does not bring back what the codec discarded — it only changes the container and grows the file. The tool warns you when that happens, but it cannot reverse it.
This build’s AIFF writer does not accept 32-bit float: if you pick that depth with an AIFF output, the file comes out at 16 bits and the filename says so. Choose WAV when you need 32-bit float.
We set no size cap, but the whole file is decoded into PCM in memory and the batch runs in sequence: with very large files the process depends on your RAM and can slow down.
Sample rate, bit depth, codecs and booth errors explained with rigour.
Enter the AcademyCan you actually hear the difference between MP3 320 kbps and lossless FLAC on a festival or club PA? Psychoacoustics, transient impact and stereo phase analysis.
Why converting 128 kbps audio to WAV or FLAC never restores lost frequencies, and how to spot phantom cutoffs on a spectrogram.
Learn how to interpret audio spectrograms: frequency axes, harmonics, dynamic range in dBFS and how to spot low-pass cuts before playing live.
Step-by-step diagnosis for a USB that does not appear, a file that refuses to load or an unsupported-format error before you play (Academy guide in Spanish).
Complementary utilities to finish preparing your tracks.
Dedicated resampling to 44.1, 48, 88.2, 96 or 192 kHz with the original container left intact.
Move between 16, 24 and 32-bit float with TPDF dither to avoid quantisation distortion.
Verify the result with a spectrogram, frequency ceiling, LUFS and True Peak before taking the track to the booth.
Set the track to -14, -16 or -23 LUFS without touching the file format you just converted to.
