By ShinobiTools Team · Last updated: July 2026
Pull clean stems out of any track to remix — isolated vocals, drums, bass, guitar, piano and other, plus the instrumental — free, no account, no watermark.
Split your track free →You can't remix a flattened stereo file — you need the parts. StemGrab gives you the acapella to drop over a new beat, the drums to chop, the bass to re-pitch and the rest as separate MP3s, all from one upload, so you're building from real stems instead of EQ-carving the full mix.
Vocals, drums and bass come out remarkably clean on most modern, well-mixed tracks. Guitar and piano are newer, experimental stems and can be rougher, especially in dense mixes; lo-fi, live or heavily reverbed recordings are harder for any tool. Give the tricky ones a listen before you build on them.
MP3 stems are perfect for sketching and most releases; if you need them at a specific tempo or key, time-stretch and pitch-shift in your DAW. New to how the split works? How AI stem separation works explains it, and split a song into tracks covers the full seven-stem output.
Remixing privately or for practice is always fine. If you plan to publish or distribute a remix, the underlying recording and composition are still owned by someone — clear it first. We wrote a plain-English rundown: stems & the law.
Seven stems is more raw material than most remixes need, and the first decision is what to throw away. A remix that keeps everything is just the original with a different drum pattern. The usual approach is to keep the vocal as the recognisable element, keep one melodic stem that carries the hook, and rebuild the rhythm section yourself: your own drums, your own bass, your own tempo. That's why the drums and bass stems are often the ones you delete first, not the ones you build on.
Before you place a single clip, write down the key and the tempo that StemGrab shows next to the stems. Those two numbers decide the whole arrangement. If you're remixing a 96 BPM soul track into a 124 BPM house record, you're not nudging a tempo slider, you're deciding whether to time-stretch the vocal (fine up to roughly 6–8% before consonants start to smear) or to chop it into phrases and place each one on the grid by hand. The second approach almost always sounds better on a big tempo change, and knowing the original BPM tells you exactly how far apart the two worlds are before you commit an evening to it.
Set your project key to the song's key rather than transposing the vocal to fit a bassline you already wrote. Vocals tolerate transposition far worse than synths do: two semitones is usually invisible, four starts to sound like a different singer. Everything else in the project can move freely, so let the vocal set the key and build around it.
Importing seven files into a DAW to discover that the guitar stem is unusable wastes twenty minutes every time. The mixer on the results page exists to prevent that. Solo each stem in turn and listen to the second chorus, which is the densest part of most records and therefore where separation is at its worst. Whatever survives the second chorus will be clean everywhere else.
Guitar and piano are the experimental stems and the ones to check hardest: on a busy mix they can trade material with each other or with "other". If a stem doesn't hold up alone, it may still be perfectly usable underneath something else, which is a judgement you can only make by hearing it. Once you've decided, download selected pulls just the stems you're actually going to use, so your project folder holds three files instead of eight.
For DJ edits rather than full remixes the workflow is shorter: take the vocal and the instrumental, note the BPM, and you have an acapella to drop over another record and a bed to talk over. The measured tempo is what makes beatmatching a calculation instead of a hunt.
Seven per song: vocals, drums, bass, guitar, piano, other, and a mixed instrumental (everything except the vocals), all as 192 kbps MP3 plus a zip of the lot.
Yes for most work — 192 kbps MP3 is fine for sketching and plenty of releases. Separation quality matters more than the codec here.
StemGrab hands you the stems in the song's original tempo and key; time-stretch or pitch-shift them in your DAW as needed.
The tool is free to use, but the rights to the recording stay with whoever owns them. Practising privately is always fine; for anything you publish — a remix, cover or mashup — get permission first. See stems & the law.