Instrumental Maker for Existing Songs

Start with one of two source types: an audio file you have on your device, or an available track from your generated music in the signed-in account. The second option is limited to generated music that belongs to that account. A pasted audio URL or video link is not a source option, so have the actual file ready when the recording is outside your account library.

For an audio upload, use an MP3, WAV, M4A, or OGG file. Keep the file under 50 MB and no longer than 10 minutes. Check both limits before adding the file, especially when a long recording has been saved at a high bitrate. Meeting the size limit does not override the duration limit, and a short recording still needs a readable duration before it can be accepted.

If the duration cannot be read, return to the source application and export a fresh audio file in one of the accepted formats. An unreadable, zero-length, or over-ten-minute duration is rejected before separation starts. Renaming a file extension is not a real conversion and does not prove that the audio can be decoded, so use a proper audio export instead of changing only the filename.

Preview the separated result tracks with audio playback before downloading. Begin at a clear vocal entrance, because that moment makes it easier to compare what remains in each track. Then listen through a transition, such as the move from a verse into a chorus, where layers may change. These focused checks are more informative than hearing only a few seconds from the quietest part of the recording.

Finally, play the section you actually plan to use, whether that is a rehearsal passage, a backing section, or a reference segment. Listen for anything that could distract from that purpose and decide which track is useful for your next step. Separation results depend on the source recording, so make the choice from what you hear rather than expecting a guaranteed level of isolation.

You can place up to 10 selected files or generated tracks in the browser queue. They are processed sequentially, one after another, rather than as ten parallel server jobs. Arrange the items in the order you want them handled and keep the page open while pending items remain. Reloading the page does not save items that have not started, so a refresh can remove that waiting work.

When you choose to stop the queue, the current file continues and the unstarted items remain waiting. Stopping does not cancel the server task already in progress. A queue error also pauses the remaining items, giving you a chance to inspect what happened before continuing. Use the item states to distinguish the active task from entries that have not begun, especially near the end of a longer list.

Choose recordings that you are entitled to process. Permission to possess or hear a recording may not answer every question about making a separated version, so check the rights that apply to your material and intended use. This is especially relevant when the source belongs to a collaborator, client, label, publisher, or another creator rather than to you alone.

Before sharing a separated track, confirm that your permission also covers that form of distribution. Audio separation itself does not grant a license, transfer ownership, or provide rights clearance. Keep any relevant agreements or source permissions with your project records, and seek appropriate guidance when the planned use goes beyond the permission you already have.

If a download conversion reports that it is busy, leave the completed separation as it is and retry the download later. Starting separation again is a different action and can create another charge without solving temporary conversion demand. There is no promised retry interval, so return when convenient and request the download from the existing result rather than creating a duplicate task.