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Cue splitter.
Cut the set into its tracks.
Drop a recording and the cue file your software already wrote next to it — or paste whatever tracklist you have, in whatever shape it came in. A 70-minute set is decoded once, cut in your own browser, and handed back as one archive.
Drop your recording, and its cue file if you have one
The recording as WAV, AIFF, FLAC, MP3 or M4A, and a .cue or .txt alongside it if you have one. No cue file? Paste the tracklist below instead. Nothing is uploaded — a 70-minute set is cut in this tab.
Timestamps can be at the start or the end of the line, bracketed or not, with or without an index number and with or without an hours field. Names split on the first spaced dash.
What a split of a mix really is
The tracks will overlap.
Worth knowing before you do it, because it is the one thing every other splitter leaves you to discover on your own.
An album has gaps between its tracks, so cutting one at the timestamps gives you clean files with silence at both ends. A mix has the opposite property by design: the next record comes in while the last one is still playing, and the moment written in the tracklist is somewhere inside that blend rather than at the end of it.
So every file this produces starts with the tail of the one before it and ends partway into the next. That is not a fault in the splitter and no splitter can fix it — the information needed to separate two records that are playing at once is simply not in the recording. Anybody promising otherwise is either not doing it or doing it badly.
Which means the useful jobs are navigation and memory rather than reconstruction. Cutting a set lets you jump straight to the section you want, work out what you actually played and in what order, pull one blend out to listen back to, and put a night’s recording into a player that will show you track names. If you want clean copies of the records, you want the records.
It reads the cue file your software already wrote
Rekordbox, Traktor and Mixxx all write a .cue sheet next to a recording, and it already contains every track name and every split point — you have been carrying the answer around the whole time. Drop it in alongside the audio and the work is done. One detail nearly every naive cue parser gets wrong: the third field of a cue timestamp is FRAMES, and there are 75 of them per second, not 100 and not 1000. Read as milliseconds it puts every split hundreds of milliseconds early, which on a mix is most of a bar.
Or any tracklist you can copy from anywhere
Most people do not have a cue file, they have a block of text from a SoundCloud description, a YouTube comment or a 1001tracklists page — and every one of those writes timestamps differently. So the parser takes them all: the time at the front or the back, bracketed or bare, with or without an index number, with or without an hours field. Names split on the first spaced dash, so a title containing a hyphen survives intact. Lines it cannot read are counted and reported rather than silently dropped.
One decode, one archive
A 70-minute set cut into twenty tracks is twenty files and most of a gigabyte, so it is done in one pass: the recording is decoded once and every slice written from the same samples, arriving in the list as it finishes. The result comes back as a single archive rather than as twenty separate downloads scattered into your Downloads folder. Output is WAV or AIFF, both lossless — a splitter that re-encodes to MP3 would add a generation of loss to every track it touched.
Formats it reads
What you can paste
Everything below is understood without you reformatting anything.
| Line | Read as | Note |
|---|---|---|
| 00:00 Artist - Title | Time first, bare. | The SoundCloud and YouTube-description convention. The most common thing people have. |
| 1. Artist - Title [05:32] | Index, name, bracketed time. | The index is dropped only when it sits at the very front and is followed by a separator, so a track called "1979" survives. |
| [1:02:03] Artist - Title | Bracketed, with hours. | Three parts means hours; two means minutes. Detected, not declared. |
| Artist - Title 11:04 | Time at the end. | Found anywhere in the line, so the order does not matter. |
| INDEX 01 05:32:14 | A cue sheet. | Frames, at 75 per second — so this is 5 minutes 32.19 seconds, not 5:32.14. |
| ID - ID | A track with no timestamp. | Counted as unreadable and reported. It cannot become a split point without a time. |
Anything before the first timestamp becomes an Intro file rather than being thrown away, and a timestamp past the end of the recording is dropped — a tracklist copied from an upload frequently belongs to a longer version than the file you have.
Frequently asked
Common questions
Does my recording get uploaded?+
No, and on this tool that matters more than most — a recorded set is often unreleased material and other people's music. The file is decoded, cut and written back out inside your browser tab, and the page makes no network request once it has loaded. Open the network panel and watch it stay empty.
What if I do not have a cue file?+
Paste the tracklist instead. Anything with timestamps in it works — a SoundCloud description, a YouTube comment, a 1001tracklists page, a note you typed yourself. The parser handles the time at the front or the back, bracketed or bare, with or without an index number and with or without hours. It tells you how many timestamps it found so you can check before cutting.
Why does each track start with the end of the previous one?+
Because that is what a mix is. In a recorded set the tracks overlap — the whole craft is that one comes in while the other is still playing — so a cut at the timestamp lands in the middle of a blend rather than in a gap. Every splitter has this property and most do not mention it. If you want clean tops and tails you want the original files rather than a recording of them; what a split is genuinely good for is navigation, ID-ing what you played, and pulling one section out to listen back to.
How long a recording can it handle?+
Up to 800 MB, which is about 75 minutes of 24-bit stereo WAV — a full set. It is decoded once and every slice is written from the same samples, so cutting into twenty tracks costs one decode rather than twenty. The files appear in the list as they are written.
Why are the outputs only WAV and AIFF?+
Because a splitter that re-encodes would add a generation of lossy compression to every single track it produced, on audio that has usually been through one already. Both formats offered here are lossless and both play on every CDJ. If you need smaller files, make them from these once rather than in the middle of the chain.
What is a frame in a cue sheet?+
A CD sector, and there are 75 per second. Cue timestamps are written MM:SS:FF, so 05:32:14 is five minutes, thirty-two seconds and fourteen seventy-fifths — about 5:32.19. Reading that last field as hundredths or thousandths of a second is the single most common bug in cue handling and it puts every split point several hundred milliseconds early.
Can I fix a timestamp that is slightly out?+
Edit the text and the split points move with it — the tracklist box is live, the markers on the waveform redraw as you type, and nothing is cut until you press the button. If a whole tracklist is offset by a few seconds it is usually because the upload it came from had an intro yours does not.
Will the track names come through?+
Yes. Files are named "01 Artist - Title" in the order they appear, so a folder sorts correctly and you can see what you played. Names from a cue sheet come from its TITLE and PERFORMER fields; names from a tracklist are split on the first spaced dash, which leaves titles containing hyphens intact. Anything before the first timestamp becomes an "Intro" file rather than being thrown away.
Can I use this on an album rather than a mix?+
Yes, and it is the easier case — an album rip with a cue sheet has real gaps between tracks, so the cuts land in silence and every file is clean. That is the original use of a cue sheet and it works exactly as you would expect.
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