Acapellas and instrumentals for DJs

Both halves of any record, for mashups, edits and transitions nobody else has.

Drop your song here

or click to choose · mp3, wav, flac, m4a · up to 50 MB

What do you want?

VocalsTake the singing out, or keep only the singing.You get 2 files:VocalsSong without vocalsDrumsGet the drums alone, or play along without them.You get 2 files:DrumsSong without drumsBassGet the bassline alone, or play along without it.You get 2 files:BassSong without bassEverythingEvery part on its own, and the song minus each part.You get 8 files:VocalsDrumsBassOther (guitars, keys, synths)Song without vocalsSong without drumsSong without bassSong without the rest

The edit that nobody else is playing is the whole point, and for most of DJ history the constraint on that was supply. You worked with the acapellas and instrumentals that happened to have been pressed or leaked, which meant everyone was working from the same small pool.

Separating records removes that constraint entirely. Any track in your library can become an acapella, an instrumental, or both — which shifts the difficulty from finding material to deciding what is worth making.

Making edits that hold up in a room

A separated acapella behaves differently from a pressed one, and the difference shows up on a big system rather than in headphones. Club playback is loud, wide and unforgiving of midrange artefacts, so material that seemed clean at home can sound brittle at volume.

The practical answer is to keep something underneath. An acapella laid bare over a sparse intro is where every artefact is exposed; the same acapella over a beat is usually indistinguishable from an official one. Build your edits so the vocal always has company.

Workflow notes

Take both halves of both records when building a mashup. Pairing your separated acapella with an official instrumental from a different master means fighting two different mastering levels.
Test on the biggest system you can before you play it out. Laptop speakers hide precisely the frequency range where separation artefacts live.
Separated audio arrives already limited by the original mastering, so there is less headroom than you would have with a real acapella. Watch your gain staging on the mixer.
For transitions, the minus-one mixes are often more useful than isolated stems — 'song without drums' gives you a full record to mix a new beat under.

What people build with these

Mashups. an acapella from one record over the instrumental of another — now possible with any two songs rather than only the handful that were ever pressed as separates

Intro and outro edits. stripping a track back to its drums or its vocal to create a mix point that the original arrangement never offered

Live re-edits. dropping the vocal in and out over an extended instrumental section, which needs both halves of the same record to sound natural

Questions

›Are these clean enough to play out?

In a mix, on most modern records, yes — plenty of DJs are already doing exactly this. Fully exposed and dry over a quiet intro is the case where a separated acapella gives itself away.

›Can I upload my edits to SoundCloud or Mixcloud?

That is a rights question about the original recordings, not about the separation. Platforms handle unofficial edits inconsistently, and separating a track yourself does not create any additional permission to distribute it.

›What format do I get for my controller?

320 kbps mp3, which every DJ platform reads. If you need wav for a specific workflow, convert it after downloading.

Where it struggles

Older records and vinyl rips separate worse than modern digital masters — surface noise and a narrower stereo image both make the model's job harder. And anything with a heavily effected vocal will not give you a usable acapella, no matter how good the source file is.