Free online tool

Chopped and Screwed Maker

Make the screwed half of chopped and screwed in your browser: 0.70x to 0.78x speed, heavy bass, dark tone, MP3 export. Free, honest about what it cannot chop.

Open the free editor: upload MP3, WAV, AAC, OGG or FLAC, adjust speed, reverb, bass, tone, width and space, then export MP3 or a ZIP of many tracks. Everything runs in your browser.

Chopped and screwed is two techniques with one name. Screwed is the slow part: a record played well below its normal speed so the pitch drops, the tempo drags, and every voice turns deep and heavy. Chopped is the editing part: beats repeated, phrases stuttered, the needle dragged back across the vinyl. The editor on this page does the screwed half, and does it well. It does not do the chopped half, and this page will not pretend otherwise.

The sound comes from Houston. In the early 1990s, DJ Screw started slowing records on his turntables for mixtapes, and the dragging, syrupy result became the signature of the city's rap scene. The Screwed Up Click grew around him, the style spread through the South, and the term "screwed" stuck to any heavily slowed, pitched-down music. The modern slowed + reverb style on YouTube is a direct descendant, lighter on the slow and heavier on the reverb. The history guide traces the line between them.

If you want a conventional slowed + reverb edit, the slowed reverb maker is the better starting point. If you want the deepest, heaviest version of a song, the slower and deeper page and this one overlap, and the settings below push further.

What "screwed" means in slider terms

A screwed record is slow enough that the pitch drop is obvious, not subtle. Classic slowed + reverb sits around 0.85x, which is about three semitones down. Screwed goes further, to the 0.70x to 0.78x range, which is five to six semitones down. At that depth a tenor sounds like a baritone and a trap hi-hat pattern turns into a slow shuffle.

Three things define the sound on this editor:

• Speed between 0.70x and 0.78x with Preserve pitch off. The pitch has to drop; that is the point. Preserve pitch would give you a slow track in the original key, which is not screwed.
• Heavy Bass. The original mixtapes came through car systems with big subs. +8 to +12 dB on the Bass shelf gets you there.
• Dark Tone. Vinyl slowed on a turntable loses top end, and the cassette copies lost more. Tone at -6 to -10 dB recreates that muffled, underwater quality.

Reverb is optional. The original screwed tapes had little or none; the room sound in modern slowed + reverb came later. A small amount, 10 to 25%, adds some glue without turning it into a different genre.

Settings table

Start with the classic row. Play the loudest section of the song and listen to the kick and the 808. If the low end turns to a shapeless hum, pull Bass back to +7 or +8 before touching anything else. If vocals become unintelligible, step Speed up to 0.76x or 0.78x rather than brightening the Tone; the dark tone is part of the style, the speed is the variable.

Width stays at or near 1.0 on purpose. Screwed music is a car and speaker sound, and wide stereo tricks collapse on a single speaker.

How to make a screwed version

1. Load the song. MP3, WAV, AAC, OGG or FLAC all work. A high-bitrate source matters more here than for any other style, because slowing to 0.74x stretches every compression artifact and the dark Tone cannot hide all of it.
2. Pick Dry, then set Speed to 0.74x. Leave Preserve pitch off.
3. Set Bass to +10 dB and Tone to -8 dB.
4. Play it. Adjust Speed up or down in small steps until the vocal sits where you want it. Most songs have a sweet spot between 0.72x and 0.77x where the voice is deep but still a voice.
5. Add Reverb only if the track sounds too dry. Keep it under 25% and Space short, around 1.8 to 2.4 s.
6. Save it as a preset with Create preset so the next track is one click.
7. Download. You get yourfile-remix.mp3.

For an album, add every track, Select All Tracks, apply the preset, and Download All for a ZIP. Screwed mixtapes were always full-length, so the bulk converter fits the style.

Why speed and pitch are tied here

On a turntable, slowing the platter lowers the pitch because the same grooves pass the needle less often. The editor reproduces that: with Preserve pitch off, the playback rate drops and the pitch drops with it. 0.74x lands around five semitones below the original. There is no independent pitch control, and for screwed music you do not want one; the coupled drop is what makes the voice heavy. The lower pitch page explains the semitone math if you want to hit a specific key.

What this tool does not do

Be clear, because the name promises more than any slider can deliver.

No chops. The repeated bars, doubled words and stutters that DJ Screw and the DJs who followed him cut live with two copies of a record are edits, not effects. This editor processes a file start to finish and cannot repeat, skip or stutter a section.

No scratches. Record scratches, needle drags and backspins are physical turntable moves. There is no scratch effect here.

No crossfades or mixtape blending. Each track exports as its own file. There is no mixing between tracks.

No trimming. The whole song goes in and the whole song comes out, slowed.

If you want chops, the practical route is: make the screwed version here, export the MP3, then open it in a DAW or a free editor like Audacity and cut the repeats by hand. Doing the slow first means every chop you make is already at the right pitch and tempo. The Audacity comparison covers what that second step looks like.

Export and quality

Export is MP3 at 96 kbps, 32 kHz, encoded in a web worker. That is fine for YouTube, SoundCloud previews, TikTok and Shorts, since every one of those re-encodes the upload. It is not a release master. The deep Bass boost and the low speed both push a lot of energy into the low end, which MP3 handles well, but if you want a lossless screwed version for a physical release or a DJ set, process a WAV source and finish in a DAW.

A note on the dark Tone: cutting the top end by 8 to 10 dB also hides many of the artifacts that a 96 kbps encode would otherwise show. Screwed exports from this editor tend to sound cleaner at 96 kbps than bright sped-up edits do, for that reason.

Copyright

A screwed version of someone else's song is a derivative work. Slowing it does not remove the original copyright, and platform matching systems recognise slowed versions, including heavily slowed ones. On YouTube the usual outcome is a claim with revenue to the rights holder, sometimes a block. The copyright guide covers what that means in practice.