Full-quality stems. No account, no per-track fee.Same model and same 192 kbps (or lossless WAV) as the paid tier — tracks up to 15 minutes.
The fastest way to remove vocals from a song without paying for software or hunting down a stripped-down file: upload a track and get a clean instrumental (karaoke version) plus the isolated acapella in one go. Real stem separation on a GPU, no sign-up, no watermark, no daily caps.
Your upload is deleted the moment the split is finished. Want WAV, play-along mixes or longer tracks? The full tool is on the home page.
Remove vocals now →The vocal remover is the single most-used tool on the site: 1,776 uploads in the 40 days we've been measuring, more than every other tool here combined. Looking at the files themselves — 320 uploads measured by size, sitewide — the average was 9.44 MB and the largest was 83.66 MB; most cluster between 4 and 8 MB (107 of them), 8 to 16 MB (57) and 2 to 4 MB (43), with 98% comfortably inside our limits rather than pushing against them. That range is what a normal three-to-five-minute MP3 looks like at everyday export quality — not a red flag, just what an average upload is. What goes wrong is duller than the separation itself: the most common upload rejection anywhere on the site was a file with no extension at all, 26 times in 40 days — usually a document or a renamed file dropped into the box, not a format we don't support. If your upload gets turned away, that's the far more likely reason than anything wrong with the vocal removal itself.
StemGrab runs a model trained specifically on separating voices, on our own GPU. Instead of the old phase-cancel trick (which only half-works on some stereo mixes), the tool actually understands what a voice sounds like and lifts it out of the mix, so you get both the instrumental and the vocal as separate MP3s, along with drums, bass, guitar, piano and the rest.
Most free "vocal remover" tools you'll find online are still built on phase inversion: flip the polarity of one stereo channel, sum it with the other, and anything panned dead-centre cancels out. It's a neat party trick, but it isn't really vocal removal: it cancels the kick drum and bass right along with the singer, it only works on mixes panned exactly down the middle, and it fails outright on mono files or vocals carrying stereo reverb. What's left is a hollow, phasey mix with the vocal only partly gone, not a real instrumental.
StemGrab doesn't cancel anything. The model is trained to recognise what a voice actually sounds like (its formants, breath and phrasing) and lifts that voice out of the mix directly, whether the track is mono or stereo, centred or panned, dry or soaked in reverb. That's why one upload gives you a genuinely clean acapella and a genuinely clean instrumental instead of a compromise. Curious about the mechanics behind it? We wrote up how AI stem separation actually works, phase tricks included.
Planning to publish what you make (a remix, a mashup, a cover over the instrumental)? Read what you can legally do with the result first; practising and experimenting privately is always fine, publishing someone else's recording usually needs permission.
Working from a video instead of a song — a vlog or tutorial with music mixed under your own voice? Drop the video straight in here and keep the acapella track as your narration.
No separation model is perfect, and it's worth knowing which songs will fight back before you blame the upload. Stacked backing vocals and harmonies are still vocals as far as the model is concerned, so they leave the mix along with the lead singer: if the chorus you wanted to keep is three voices thick, your instrumental will suddenly feel empty right where the song should open up. Long reverb tails are the second one. The voice is dry when it's sung but the room it was sung in is part of the recording, so on a track drenched in hall reverb you can get a faint ghost of the vocal hanging in the instrumental even though the voice itself is gone.
Vocoders, talk-box and heavily pitched vocals read as instruments rather than voices, which is usually the wrong call for a modern pop hook: expect part of that hook to stay in the instrumental. Live recordings are hardest of all, because the crowd, the room and the bleed between microphones all sit on top of each other. And on tracks from before roughly 1970, where the whole band was often cut to a narrow mono mix, there is simply less spatial information for the model to work with.
None of this makes the result unusable. It means you should listen before you commit: a dense live track might need the vocal stem pulled down rather than removed, which is exactly what the mixer is for.
StemGrab doesn't hand you a single "vocals removed" file and hope for the best. When the job finishes you get all seven stems in a small mixer on the results page, so you can solo the instrumental and hear it on its own, or mute just the vocal track and listen to the rest of the band play through the section you actually care about. That is the fastest way to catch the problems above: skip to the chorus, mute the vocals, and you'll know within ten seconds whether the backing harmonies went with them.
If it sounds right, use download selected and take only the stems you need instead of the whole zip. If it doesn't, you now know why, and whether a different section of the song works better. StemGrab also reads the key and tempo of the upload and shows them next to the stems, which matters the moment you plan to sing or play over the instrumental rather than just listen to it. Want the vocal melody itself as notes rather than just a key label? MP3 to MIDI turns the same upload into a MIDI file with the vocal line on its own track.
Yes, the ads on the site keep the GPU running. No account, no e-mail, no watermark, no trial that runs out.
On most modern, well-mixed tracks the separation is remarkably clean. Very dense mixes, live recordings or heavy reverb are harder: that's true for every separation tool.
Deleted right after processing; stems wiped within 45 minutes. See the privacy policy.
The tool is free to use, but the rights to the song stay with whoever owns them: for anything public, get permission first.