WAV Chunker

Splits a WAV file into consecutive blocks of exact musical length (tempo-based, sample-accurate with no drift). Each piece is normalized before saving and gets a short ramp (≤10 samples) fading in at the start and out at the end, so the loop seam doesn't click. Files are saved with sequential numbering (0001.wav, 0002.wav, …) into a chosen folder. Any leftover shorter than one full block — at the start (if an offset shifts it) or at the end — is discarded.

Each piece is normalized individually to the target level, then the start is faded in and the end faded out (raised-cosine ramp) so the loop seam doesn't click.

Bit depth: the format the chunks are SAVED in (the source file's own bit depth doesn't matter — the browser decodes everything to 32-bit float internally). 16-bit PCM is the universal choice for hardware samplers. 24-bit PCM keeps the full resolution of 24-bit sources. 32-bit float writes the samples bit-exact with no quantization at all — biggest files, and not every device reads it. Sample rate and channel count always stay identical to the source file.

Dither: adds a tiny amount of shaped noise (TPDF, ±1 LSB, ≈ −93 dB) right before rounding to 16-bit. This turns quantization distortion — which is correlated with the signal and can sound grainy on fades and quiet tails — into a constant, benign noise floor; standard mastering practice for any 16-bit downconversion. Has no effect on 24-bit or float output.

Shows three chunks — one from the first quarter of the file, one from the middle, one from the end — so you can check the cut alignment across the whole recording at once. The background alternates black / dark grey in quarter-note stripes, anchored at the loop start, so you can see where the beats fall inside the loop. The red vertical line, fixed at 1/5 of the window width, marks the actual loop start (the real cut point); the fifth of the window to its left shows what comes just BEFORE the cut, for context. The dashed yellow line marks where the plain, un-shifted grid boundary falls — at default settings (no offsets, no drift) it sits exactly on top of the red line, and it drifts away from it as you apply corrections. another rolls three new random chunks (keeping all current settings) — except for fields whose Hold button is active: a held field keeps its current chunk untouched, so you can lock in a find and keep rolling the others. ▶ Play loop: the first click starts all three loops together at one shared, scheduled instant — sample-accurate sync — with only the clicked one audible; further clicks just mute/unmute their field, so any combination of the three can sound at once, always phase-locked. Changing Offset, MIDI Micro-Komp., Master-Offset or hitting another never interrupts playback: the loops finish their current pass and switch to the new position exactly on the loop boundary. A white line tracks each field's playing position across its waveform.

Fine, sample-accurate shift (±500 samples) applied equally to every cut point. Use it together with the preview to nudge every boundary onto a click-free spot; Split & save then writes with that exact offset baked in.

Corrects a linear MIDI-clock/tempo drift: ramps smoothly from 0 at the first chunk up to this many samples at the last chunk, so cuts that slowly creep away from the beat over a long file get pulled back in line. Measure the drift at the end of your file (in samples) and enter it here — the sign matches the direction you need to shift the last chunk.

Coarse, beat-quantized shift of the WHOLE cut grid, snapped to quarter-note steps. Use this if the recording you're slicing doesn't start exactly on beat 1 of the bar, but on beat 2, 3, or 4 instead — set it to the beat the recording actually starts on and every cut point moves with it. Applied on top of (added to) the sample-accurate Offset and the MIDI Micro-Kompensation.

Uses a log-style curve, not a straight line: the left half of the slider covers 50–1,000 samples (flat/fine-grained at the far left, getting steeper towards the middle), so most of the slider's travel is spent on fine start-of-chunk detail. The right half continues the same curve up to the FULL chunk length, so at max zoom you see the entire loop in one picture. Past ~700 samples the waveform switches from a single line to a filled min/max envelope per pixel column — the same trick real audio editors use to keep a zoomed-out waveform readable instead of a dense scribble.

Which channel the preview reads from: L, R, or an averaged Mix of both. Disabled for mono files. Affects only the preview drawing — saved files always keep all channels.