Help

Everything OnPitch does, what each screen is for, and what it deliberately does not do.

If you are in a hurry: upload a song, wait a few minutes, and you get the key, the tempo, the chords and the vocal melody, with the voice and the backing on separate faders so you can turn either one down and play along. Everything else here is detail.

What OnPitch is

A practice tool for a song you are learning. You give it a recording you own; it separates the parts, works out what is being played, and then gives you the controls a practice session actually needs — slow it down without dropping the pitch, loop four bars, mute the singer, sing into the microphone and see whether you are on the note.

It is also six things that need no song and no account at all: a tuner, a metronome, a practice room of singing and timing exercises, a tab editor you can play from, a four-track record studio, and Learn guitar, a course for people who cannot play yet.

What it is not. It does not find music for you — there is no search, no link box, no way to pull a track from a streaming service, and that is deliberate rather than unfinished. You bring the file.

Two things worth knowing up front

Nothing here is generated. A separated stem is your own recording with the other instruments turned down, not a synthetic imitation, and the key, tempo, chords and pitch curves are measurements. That is why there is no watermark and no "AI-generated" label — there is nothing generated to mark.

The detectors can be wrong, and the app is built to say so. A tempo it cannot measure shows no Tempo card rather than 0 BPM. A bar count it is unsure of is presented as a guess, with a control to correct it. A chord it got wrong is yours to fix by hand, and the fix sticks. When you see a hedge in the interface, it is honest rather than coy.

Getting started

With or without an account

You can use most of OnPitch with no account. The tuner, the metronome, the practice room, the tab editor and the record studio make no server call at all.

An account buys you two things: the ability to analyse a song, and tabs that follow you to your other devices. Sign in with an email address and a password. There is no display name — the sidebar shows your email address and a two-letter tile made from it.

Creating an account sends a link to your email address, from noreply@onpitch-music.com. Open it to confirm the address is yours; until then you cannot sign in. Addresses from temporary-inbox services are refused, and so is a second account on an inbox that already has one — name+anything@ reaches the same inbox as name@, and so does a Gmail address with its dots moved. The link opens a page that says Email confirmed and signs you in on that browser. If you signed up in the phone app, go back to the app and sign in there.

Forgot your password? Press Forgot password? under the sign-in form (enter your email address first). The email's link opens Choose a new password: type it twice and press Save. Each link works once and for about an hour; an old one says That link did not work, and you can ask for a new one. If no email arrives, look in your spam folder.

The six buttons for Google, Apple, Facebook, Spotify, GitHub and Discord are not wired up. They are disabled and say so.

Installing it on a phone

OnPitch is a web app that installs like a native one: your browser will offer to add it to your home screen, and from then on it opens in its own window with no address bar.

When a new version is ready you get a bar reading "A new version of OnPitch is ready." with Reload and Later. It never swaps the app out from under you, because doing that in the middle of a recording would cost you the take.

The Android app is a different thing, and the difference matters. It is a real app rather than this website in a frame, so it updates from the Play Store rather than when the site changes — and it can do things a browser cannot: keep songs on the phone to practise with no connection, and listen to you sing while music is playing through a car. It is behind this website on purpose: every feature is built and proven here first and then translated, so there are screens and controls here that have not reached the phone yet.

Going back

Your browser's Back button — or your phone's — takes you back to where you just were, one step at a time: from the metronome to the tuner you came from, from an exercise to the practice room, from a lesson to the course, from a tab to the list of tabs, from a studio project to your projects, and from an open song to your saved songs. The ← links at the top of each screen do the same, and the two never disagree.

Adding a song

Drop a file on Drop the audio file here, or press Choose a file.

The length limit is only checked after the upload finishes, because the server has to read the file to know how long it is. A twenty-minute track will upload and then fail, which is annoying and worth knowing rather than discovering.

The upload screen tells you how many songs you have left before you pick a file, so you never spend a wait to find out — and on the free plan, how full your library is. When the library holds three songs it is full: delete one you have finished with to add another, or see the plans for more. Deleting a song frees its place but does not give back the month's song it used. Nothing is ever deleted for you.

When a limit is reached, the app says so where it happened: a panel showing that limit on each plan, with Request Premium (or Pro), See all plans and the free way out (on the upload screen, Go to my songs). The same happens for tabs and for recordings. Just before a limit there is one quiet line, and on the free plan the menu shows Free plan · Upgrade under your account. Nothing ever pops up on its own. If that figure cannot be read it shows nothing and blocks nothing — an unreadable allowance is not the same as an empty one.

What happens while you wait

Five steps, shown by name as they run:

• Read the file
• Split the voice from the music
• Split out the guitar and the piano
• Work out the chords
• Follow the melody note by note

A few minutes for a typical song. Most of it is the separation, not the analysis. When the bar reaches the end there is still a few megabytes of results to fetch, so the screen says it is opening the song rather than pretending to be finished.

Your uploaded file is deleted as soon as the analysis succeeds. What is kept is the separated audio and the measurements.

There are no choices to make

Every upload runs both analyses and splits out the guitar and piano. There used to be tick boxes; they were removed because everything was on by default anyway, and because the expensive part is the separation rather than the reading.

The consequence: you cannot add an analysis to a song later. The original file is gone, and only the original can be split. Analysing the same song again costs another song from your monthly allowance.

What a song tells you

Every song holds two readings, and the switch under the title moves between them instantly because both were computed and both are already in your browser.

• Singing — the vocal melody drawn note by note, to sing along to.
• Chords — the key in plain words, then every chord change in order.

The cards along the top

Key ("D major"), with how sure it is in words rather than a number — very sure, fairly sure, a fair guess, not certain.

Tempo ("124 BPM"), noting whether it holds steady or speeds up and slows down.

Chords used (chords view) — every distinct chord in the song, in the order they first appear.

Singer's range ("G2 – E5").

You were on the note (singing view) — what share of the time your microphone line was within two semitones of the song's. It compares this pass with the one before, so you can see whether you are getting better. This is the one card in orange, because orange means you.

A card you cannot see was never measured. Nothing here shows a zero in place of an answer.

The singing view

A graph of the melody: the song's line in grey, your line in orange, turning green where you are within two semitones. A tooltip beside the playhead tells you which way you are out — "A bit flat here / aim about half a note higher".

Under it, a whole-track strip you can drag to move around, and a window control for how many seconds are on screen (2 to 60).

The chords view

Blocks in time, each with its name and its length in bars, with the current one lit and bar lines drawn under them.

Three detail settings — Just the chords, With sevenths, Everything heard. These change what is drawn, not what was detected, so switching is instant and costs nothing. Start with Just the chords: a detector reports every passing embellishment, and a chart does not.

Practising with a song

The transport

Play and pause, a seek bar, and a speed control from 0.25× to 1.5×. Slowing down keeps the original key — it does not drop the pitch like a tape machine.

Loop: drag across the pitch graph to select a region, then press the loop button (or press L). A plain click clears the selection. Looping four bars at 50% is the core of the whole thing.

The mixer

Lead + backing gives you two faders: the voice and everything else. Song parts gives you one per instrument the recording actually contains — drums, bass, piano, guitar, other, vocals.

Song parts is a bigger download, which is why it is a choice rather than the default. A part that is missing means the song does not contain it, not that something failed.

Each fader has a mute button and a level. Your position in the song is kept when you switch.

Sing along

A panel with a microphone picker, a level meter, the note you are singing, and a hear me slider that starts muted. The microphone only runs while the song is playing.

Scoring and the flat/sharp hint belong to the singing view.

Making room

The graph can be dragged taller or shorter by the bar under it — with the mouse, a finger, or the up and down arrow keys when it has focus. The size is remembered.

When the detector gets it wrong

This is a normal part of using it, not a failure. Three controls, all of which remember what you told them, per song.

The chord you are on. Move the playhead to a chord that is wrong and set its root and quality. It rewrites every stored segment underneath, marks it as yours, and offers Put this one back. There is an undo for all of them.

Move the 1. If the bar lines sit in the wrong place, nudge them a beat at a time. The note under the control tells you where the metre came from — heard in the track itself, matched to the chord changes, or a guess — and those do not deserve the same trust.

Set the tempo yourself. Tap it or type it (20–300 BPM), then press Start the bar here with the playhead where a bar begins. A tempo you set replaces the detected one entirely. This is also the answer for a song played in free time, where no pulse can be found: there may be nothing to detect, and you may still want to practise it in strict time.

The fingering diagram

Beside the chord corrector, a six-string diagram for the chord at the playhead, with a Capo setting. Capo mode shows the shape your fingers make, not the chord that sounds — which is the entire reason to use one.

Diminished, augmented, diminished-seventh and half-diminished chords get no diagram. There is no single fingering for them that a player would recognise, so none is drawn rather than one being invented.

The tuner

Play one string at a time. The needle centres and turns green within five cents.

Instruments: chromatic, guitar (standard, drop D, half step down, DADGAD, open G), bass, and ukulele (standard high-G, low G, baritone). The strings are shown lowest first, the way the instrument is named — E A D G B E on a guitar, G C E A on a ukulele — each with its string number. Tap and hold a string chip to hear the note you are aiming for. A = 440 Hz is adjustable from 415 to 450.

An electric guitar through an audio interface is just another input in the device list — no special setup.

When it cannot read you it says which problem it is having, and those are different problems:

• "Play a string" — the room is quiet.
• "Too quiet — move closer to the phone" — it can hear something, not enough of it.
• "Heard something — try plucking one string on its own" — plenty of signal, no readable pitch. Usually a strum rather than a note.

Nothing is recorded. The screen stays awake while it listens, and opening the tuner pauses any song that was playing.

The metronome

A plain click, separate from the one inside a song — that one is locked to a recording's detected beats, and this one runs on its own.

Tempo can be set four ways: the drum you drag, the step buttons, the number field, or tapping. The drum is there because "a bit faster than this" is a different question from "what tempo is this", and a slider spanning 20 to 300 cannot be aimed.

The bar: beats per bar, note value, and a subdivision (quarters, eighths, triplets, sixteenths, swing eighths). Subdivisions multiply the clicks, never the count — a bar of four in sixteenths is sixteen clicks and four lights.

The light row is the accent editor. Click a light to cycle it through accent, normal, soft and silent. An odd metre is an accent pattern rather than a setting: seven beats with accents on 1, 4 and 6 is 3+2+2.

Fullscreen (Android app), beside Start, turns the whole screen into the beat: the accented beat fills it orange with its number in black, the other beats fill it grey, and each click brightens it for a moment — so you can follow the bar from the corner of your eye while you watch your hands. If the metronome is not running yet, Fullscreen starts it. Tap anywhere, or press Back, to return.

Click against the music balances the click against a song playing in the bar at the bottom of the screen. With no song playing there is nothing to balance against, so the click plays at full level and the phone's own volume is the control.

The two trainers

Gap trainer drops the click for a number of bars and keeps counting — the lights carry on, so you hold the time yourself and the click comes back to tell you whether you drifted.

Speed trainer steps the tempo up every few bars and stops at the target. It steps rather than glides, and it never overshoots.

The recorded click sounds have not been added yet, so the metronome synthesises its clicks and

says so on the Sound panel. It is not broken.

Learn guitar

A course for somebody who has had a guitar for a week and has no song to upload yet: 32 short lessons in nine sections, in the order a teacher would take you through them — holding the guitar, tuning up, the open chords D, E, A, C, F, G and B, their minor versions, power chords, the notes on the neck, the minor and major pentatonic scales, and keys, from what a key is to the capo and the circle of fifths.

Each lesson is taught a step at a time. One step is on screen, with Back and Next under it and a bar across the top showing how many steps there are; tap the bar to jump to any step, or use the arrow keys. The last step has Finish the lesson, which marks it done and offers the next one. Chords are drawn as chord boxes with the finger numbers in the dots, scales as boxes on a drawing of the neck, and riffs and exercises as tab.

Nothing is locked. Take the lessons in order or open the one you need. The course remembers where you were — which lessons you have finished and which step of each you reached — so the card at the top says Carry on and takes you straight back. When you are signed in that progress is kept in your account, so it is the same on every device.

A lesson that needs the tuner or the timing drill opens it for you. Press Open the tuner in the lesson, tune up, then press ← Back to the lesson at the top — or your phone's or browser's Back button — and you are back on the same step. Back from a lesson returns you to the list.

The lessons can also be read without an account, at onpitch-music.com/learn, each on a page of its own with every step one after the other — handy for sending a lesson to somebody. Those pages remember nothing and cannot open the tuner or the click; signed in, the app does both.

Lessons can be read to you. A step that has been recorded has a small player under its heading: press ▶ to hear it, drag the bar to move through it, and ↺ to start it again. Tick Read each step aloud and every recorded step starts by itself when you open it, as you press Next; the setting is remembered on this device. The words on screen are the same as the recording, so you can read along or read instead. Recordings are being added a lesson at a time, and a step without one is simply read. A step you have listened to once plays again without a connection.

The practice room

Exercises rather than songs. No upload, no waiting.

In the Android app the room is a set of tiles in two groups, Vocal exercises and Guitar exercises. Tap one to open that exercise on its own page; ‹ Practice room at the top, or the phone's Back, returns you to the tiles. The tiles marked Not yet are exercises this app cannot do, and say why.

Start with your range. Find my range listens for 30 seconds while you sing from your lowest note to your highest, then stops by itself and shows your closest voice type — bass, baritone, tenor, alto, mezzo-soprano or soprano — with the named ranges yours overlaps underneath. It is the closest match to the notes you reached; where your voice sits most comfortably is what settles it for sure. Keep this range takes you back to the room with it saved. Every practice screen has ← Practice room at the top to go back.

Practice singing is the discipline that works. Pick an exercise — major scale up and down, up only, natural minor, major pentatonic, chromatic, perfect fifths, octave leaps, or holding one note steady — a starting note and a tempo, then sing along. It scores each pass and compares it with the last.

Practice your timing works with any instrument. A click runs, you play, and every note you play is drawn as a mark against the beat it belongs to — one row per bar, so you can see straight away whether you are early, late, or steady. Beside it is the tempo you are actually playing, which is not always the one on the slider. It listens for when you played, never for what, so scales, riffs and chord changes all work equally well.

Two ways to look at it. A row per bar stacks each bar under the last, with the one you are playing always on the bottom row — use it to see how a phrase actually went, because a drift shows up as a lean across four rows. One continuous line runs time straight through with the next click already on screen and coming towards you — use it to anticipate the beat, which a row cannot help with, because a row ends at the bar line exactly when the next click matters most.

The needle is the thin line that moves with the music, so you can see the next click approaching. It can be switched off: it is the one thing on this screen likely to make you play to the picture instead of to the sound, and some people do better without it.

*Run Listen first once, with the click coming out of your speakers and nothing being played.* It is measuring how long this device takes between a sound happening and the app hearing it — on Bluetooth headphones that can be a quarter of a beat, which is enough to tell you that you are late when you are not. Until it has been measured, the drill shows how steady you are and what tempo you are playing, and deliberately says nothing about whether you are ahead or behind. Headphones are better once you start playing, so the microphone hears you and not the click.

Learn the neck and the scales is a path for a beginner, followed from the top. Every step is open at any time, and each is ticked once you have done it — on this device. Continue where you left off goes to the first step not yet done.

Every section opens with lesson 0, an introduction: the neck drawn with all of its notes, and what they are and where they are used. Then come lessons 1, 2 and on.

First, the notes on the neck. Lesson 0 is the musical alphabet — the seven letters, the sharps and flats between them, the two pairs with nothing between (B–C and E–F), and the twelfth fret where it all starts again. From lesson 1 the app names a note and a string — Find C on the G string — and waits, listening, until you play it. Play another note and it says which (That was B — keep looking) and goes on waiting. Show me lights the fret if you are stuck. Twelve notes make a round. The levels go a string at a time from the low E, then every string, then the sharps and flats.

Then the scales: the minor pentatonic, the major scale, the natural minor and the major pentatonic. Each starts with lesson 0, About the scale: what it is, its notes, the music it is heard in, and the whole neck with every note of the scale. Pick one of its positions — five for a pentatonic, two notes on every string; seven for the others, three notes on every string — and its notes turn orange on the neck, with the root ringed, so you can see where it sits among the rest. Each position is then a lesson of its own, in three stages:

• Learn it — the next note is lit on the neck; play it and the next one lights. Up the shape and down again, no click, no hurry.
• With the click — four clicks to count in, then one note each time the click asks, every note checked: in the tab underneath it turns green when right, red when it was another note (the summary says which), and is struck out when nothing was heard. 90% passes.
• Speed — eighth notes from 60 BPM; each run with 90% right goes 5 BPM faster, and a clean run at 100 BPM finishes the position.

The key can be changed on any scale's screens. The app listens for the note, not for the string you play it on — the neck shows where to play it. A guitar plugged into an audio interface is the most reliable input; the built-in microphone works held near the guitar. Play one string at a time. Nothing is recorded.

The other two cards — guitar chords, bass — are drawn with NOT YET and say why. They are not buttons.

Writing a tab

The tab editor opens on your list of tabs. + New starts one. There is no save button — every keystroke is saved.

In the Android app the list opens with two tiles instead: Write new tab, which is + New, and Photo existing tab, which reads a tab written on paper:

• Your phone's camera opens. Photograph the page flat and well lit, with the six lines filling most of the picture.
• A whole page works best held upright (portrait). The app then cuts it into strips in the gaps between the tab lines and has each strip read in full detail, all at once — a dense page read as one small picture comes back incomplete. A close-up held sideways is read whole.
• The song's name and artist, when they are written on the page (usually at the top), name the new tab. Otherwise it is called after the day you took the photo.
• After about ten seconds you see your photo beside what was read. It was read by an AI model, so check every note — a number written between two lines is the usual mistake — and set the timing yourself, because paper does not say how long a note lasts. Bars the reader was unsure of are named.
• Keep as a new tab saves it and opens it for editing. Retake tries again, and Discard throws it away. Nothing is saved until you keep it, and the photo itself is never kept.
• Only tabs you wrote yourself, or have the right to copy.
• Each plan reads a number of photos a month: 5 on the free plan, 50 on Premium, 200 on Pro. Under Photo existing tab the app says how many are left. Taking and retaking photos is never counted — a photo counts once it is sent and its reading starts, and if the reading service fails it is given back. A page sent as strips counts as one. When none are left, the app says so before opening the camera. There is also a daily limit, against scripts.

In the Android app, zooming the page never cuts off its right-hand side: as the text grows, fewer bars fit on a line, and once a single bar is wider than the screen it is broken between its notes onto a second line — split near its middle, the string names repeated, and the continued line set one space in so it reads as the same bar.

In the Android app's editor, the fret keys stay at the bottom of the screen while you edit, with the bar, string and beat of the cursor above them — tap a string on the tab, then a fret, without scrolling. Two digits in a row make one fret, so 2 then 1 writes 21. The row under the digits holds the techniques — hammer-on, pull-off, slides, bends, harmonics and the rest — with P.M. and Chord at its end. − and + beside Undo make the lines you are writing bigger or smaller. On the view page, the player's settings are small dropdowns, and Print settings (paper, copy as text, print) sit under the tab.

A chord name belongs to its notes. Write a chord with Chord and its name appears above it; change or clear any one of its notes and the name goes, because what is left is no longer that chord.

To get back to the list, use Back above the tab, or choose Tab editor in the menu again — pressing the menu item for the screen you are already on returns it to its start. The practice room does the same, and on a single page like Record Studio it scrolls back to the top.

The grid

Time is a grid rather than free-form: a bar holds a fixed number of slots and a note sits in one. Click a string where the note falls, then type the fret. Two digits for anything above 9. On a phone the number pad under the grid is the only way to type a fret, because the grid is not a text field.

Arrow keys move the cursor, and the letters are the notation itself — h hammer-on, p pull-off, b bend, x dead note, m palm mute, ~ vibrato, / and \ slides. Ctrl+Z undoes.

Changing the grid does not delete anything. Switching from eighths to quarters moves what no longer fits into the next bar rather than dropping it, and switching back restores the layout. Changing from guitar to bass is the exception: the two extra strings have nowhere to go.

Chords

The Chord button fills in a whole shape at once. Pick a root, then a type — and where more than one fingering exists, a voicing: for D that is the open shape, a barre at the fifth, or a barre at the tenth. Strings the shape does not play are written x, open strings 0, and the chord's name goes above the column. A second button adds or removes that name without touching the frets.

Chord shapes need a standard-tuned guitar. Every shape is worked out from a standard neck, so on DADGAD or a bass the same arithmetic gives frets that are confidently wrong — and a wrong fret in a written tab is worse than no button, because whoever reads it cannot tell. The button is disabled with the reason on it.

Sections, printing, sharing

Give a bar a Section title ("Verse", "Chorus") and it is printed above that bar — and the tab player can loop it.

Print or save as PDF uses your browser's own print dialog. It prints black on white, never splits a system across a page break, and includes the legend of what each symbol means. It defaults to landscape, because a portrait page cannot hold as many bars as the editor shows.

Copy as text puts the whole tab on the clipboard as plain ASCII — the form guitarists have traded for thirty years, which pastes into any message or forum.

If you are signed in, tabs are in your account and follow you between devices. If you are not, they are in this browser only, and clearing your site data clears them.

How many tabs the account keeps depends on the plan: 5 on the free plan, 200 on Premium, 1,000 on Pro. One tab before the limit the list says so, and at the limit a panel shows the plans. A tab written past the limit is not lost — it stays in this browser — but it is not in your account until you delete another one.

Playing from a tab

Opening a saved tab shows the page, not the workings — a tab is written once and played from many times. The Edit toggle brings the grid back.

Press Play and an orange highlight marks the bar to play, moving in time with the tab's own tempo, while the page scrolls to keep that line about a third of the way down.

Tap any bar to start from there. Section names above the page jump to a section. Pinch on the tab to resize the text. If you scroll the page yourself it stops following for a few seconds and lets you read.

How to read it sits at the bottom of every tab, because ASCII tab has no agreed standard and a sheet using b and ~ without saying what they mean is asking you to guess.

Record studio

Four tracks, one input, overdubbing. Arm a track, press record, and play — what you have already recorded plays back while you do.

The studio opens on your projects. Each project is one song you are building up, with its own tracks and recordings. Press + New project to start one, and type its name at the top — it saves itself as you work, so there is nothing to press. Rename and Delete are beside each project in the list, and ‹ beside the project's name takes you back to it. Deleting a project deletes its recordings too, after asking, and frees the space they used. The recordings in all your projects together count against your plan's storage. When you are signed in, your projects follow you to your other devices.

Use headphones. The three processing filters a browser normally applies are all switched off here, because each one damages a recording. That also means nothing will cancel your speakers out of the take. Your input is never routed to the speakers, so you cannot get feedback.

Up to five minutes a track. One input at a time: a multi-channel interface appears to the browser as a single device and hands over its first channels, so tracks are recorded a pass at a time — two at most from a stereo input.

Every track is drawn in one box, a row each, against a single time axis with a ruler counting bars along the top — so what you played on one track lines up with what you played on another. Under the box is the whole project in miniature: drag it sideways to move along the recording, and up or down to zoom every track in or out together. Zooming in shows the shape of what you played rather than a block; the closest view is about two seconds across. Zoomed all the way out there is empty room after the last recording, which is where you drag a clip that belongs later.

Each recording is drawn as a clip — a coloured box with its name and length along the top, in its track's own colour. A clip's title bar — the coloured strip along its top — picks up the whole clip: press it to select the clip, drag it sideways to move it along the timeline, or up and down to move it to another track, and it will snap into line with the beats, the playhead and the other clips. The waveform below the title bar selects time: drag across it, or across empty space on a track, and the stretch you drag over is selected, snapped to the grid — even across several clips and the gaps between them. A selection has its own panel: Make it a clip (cuts at both edges), Duplicate, Loop it and Delete it (or Ctrl+E, Ctrl+D, Ctrl+L and Delete). A press without a drag moves the playhead there instead; on a clip it also selects the clip.

A track can hold as many clips as you like. Put the playhead after a recording, arm the track and press Record again, and the new take lands there beside the first rather than replacing it. Recording stops by itself when it reaches the next clip on that track, so it can never record over one.

Drag a clip's edge to shorten it. Nothing is lost when you do — the recording is still there behind the clip, and dragging the edge back out brings it back. Dropping a clip so that it overlaps another shortens that one the same way, and a clip is never swallowed whole.

To delete one recording out of several, press it to select it and then press the ✕ in its corner. Clear track, in the track's ⋯ menu, empties the whole track.

Tempo, grid and click. Every project has a grid from the start, at 120 BPM in 4/4: bar lines on the tracks, and a ruler along the top that counts bars. Type another BPM beside the count-in, choose how many beats are in a bar (4/4, 3/4 and so on), or press Tap four times or more in time. Click plays a click on every beat — higher on the first beat of each bar — while you play and while you record; it is off until you turn it on. The grid gets finer as you zoom in: beats split into eighths, then sixteenths, then thirty-seconds, while the bar lines stay boldest and the beat lines next; zoomed out it thins to bars. Snap, on by default, makes clips you drag and time you select land on the finest lines showing, so zooming in is how to place something more precisely; turn it off to place things freely.

Undo and Redo — ↶ and ↷ beside the Settings menu — or Ctrl+Z and Ctrl+Shift+Z, step back and forward through your changes: moving and trimming clips, fades, levels, cuts and copies, names, mutes and solos, the tempo and adding a track. Dragging a slider counts as one step. Recording a take, and deleting a recording for good, start the history again — undo never brings back a clip whose recording is gone, or leaves a recording behind that nothing plays. A change made on another device starts it again too.

Looping a section. Drag along the ruler over the tracks to mark a section — it is shaded, and snaps to the beats when the project has a tempo. Loop, beside Rec, is then on: Play goes round the section until you stop it, with the click following if it is on. Press Loop (or the L key) to play straight through again; the section stays marked. To get rid of the section, click anywhere outside it — on the ruler or on a track — or press Esc. A click inside it keeps it, and puts the playhead there for the loop to start from. A press on the ruler without dragging still moves the playhead. Recording ignores the loop.

The clip panel. Press a clip and a panel opens under the tracks with every option for that clip, in four columns side by side. Its top line names the clip's track, the bars it covers and its length, beside a square of the track's colour. It closes when you let go of the clip: press its ✕, press Esc, or press empty space on the timeline. Pressing another clip shows that clip's options instead.

Every clip you record is named Clip 1, Clip 2 and so on, counting on across all the tracks. Its name is at the top of the panel: click it, type a new one and press Enter (or Esc to leave it as it was). The name shows in the clip's header on the timeline.

• Edit — Split splits the clip in two where the playhead stands; click inside a clip to put the playhead there. Duplicate puts a copy in the first free space after it on the same track. Repeat ×N lays the clip down N times in a row, straight after itself — for a riff or a beat played on and on; it needs that much free room after the clip. Reverse plays the clip backwards. Move to puts it on another track at the same place. Delete clip removes it. A split or a copy plays the same recording, so it uses no more storage, and the recording is only deleted with the last clip that plays it. The keys are Ctrl+E, Ctrl+D and Delete, as in Ableton.
• Fades and level — Fade in and Fade out, from off up to the length of the clip. A white line over the clip shows the fades, and the part a fade turns down is shaded. Drag two clips together until they snap and the sliders on the edges where they meet become Crossfade with the clip before and Crossfade with the clip after — one slider sets both sides of the join. When there is hidden audio past the clips' edges (after you have shortened them) the two recordings blend across the join; where there is none, the first fades out and the second fades in. 10 to 50 ms is enough to remove a click at a join. Draw level line lets you draw the clip's volume over time on its waveform: press on the clip to add a point, drag a point to move it, double-click a point to remove it. Higher is louder, and the line can only turn the clip down — use Level to turn it up. Done drawing goes back to moving the clip; Clear line removes the line. The line moves with the clip, and is kept in step when you trim or cut it. Level turns this clip up or down before its track's fader, and the waveform is drawn at the new level. Bring up to full sets the level so the loudest moment of the clip reaches full volume.
• Timing — Nudge moves the clip 10 ms earlier (−) or later (+), or 1 ms with Shift held, for lining a take up by ear more finely than a drag can. The figure between them is how far the clip starts from the nearest sixteenth on the grid: 0 ms means on the grid. Loop clip sets the loop to exactly this clip and turns looping on, so Play goes round it; press it again to stop looping.
• Pitch — Semitones moves the clip up or down by whole semitones, and Fine tune by cents, without changing its speed; Reset pitch puts it back.
• Details — when it was recorded, where the clip starts, how long it is (in seconds and in bars), which part of the recording it uses, the input it was recorded through, its format (the sample rate and how it was saved), and whether it has reached your account. Recordings made before 14 October 2026 have no recording time, input or format.

How the screen is laid out. The first line is ‹ back to your projects and the project's name. Under it, one bar holds everything you work with. On the left: two menus and ↶ ↷ undo and redo. Project holds Export, below. Settings holds Input: which input to record from, whether it is live, its level, and the Recording delay. In the middle: ⏮ back to the start, ■ stop and ▶ play, then ● Rec and ⟲ Loop, and where the playhead is — in bars, beats and sixteenths (6.2.1) and on the clock. On the right: the tempo, beats in a bar, Tap, Click, Snap and the count-in (IN). On a narrower window the bar takes two lines. A menu closes when you press outside it or press Esc. Under the tracks a status line says whether the input is live, which input it is, how much a new take is moved to line up, and which track is armed — with the keys that work here: Space plays and stops, R records and stops, L turns the loop on and off.

Exporting a mix. Open Project and then Export. What chooses what goes in: the Whole project, only the Looped section when one is marked, or one track on its own (Track 2 only and so on). Quality chooses the file: WAV 16-bit (the default, opens anywhere), WAV 24-bit (for taking the mix into another music program to keep working on it), or AAC 192 kbps or AAC 128 kbps (an .m4a for a phone or a message, about a tenth of the size). Firefox cannot make AAC files, so there those two are greyed out. Download mix then mixes it down and saves it on your device, named after the project. Nothing you download is kept in your account or counts against your storage. It sounds exactly like Play from the start: fades, crossfades, clip levels, backwards clips, track levels, mutes and solos are all in it. If the tracks together are loud enough to distort, the whole mix is turned down to fit and the studio says by how much. The file is made in your browser and is not uploaded or kept in your account.

None of these change the recording itself; each can be undone by moving the control back. Changes are heard from the next time you press Play. Every edge of every clip also gets a tiny automatic fade, too short to hear, so a cut never clicks.

There is a limit, and it is twenty minutes of recording in the whole project — spread over as many clips and tracks as you like. It is there because every recording has to be held in memory at once to play them in step. Record says so when you reach it.

Recording starts from the playhead, so to punch in half-way through a song, put the playhead there and press Record. The other tracks play while you record, so you can play along to them — mute or solo tracks to choose what you hear. Each new take is moved earlier by the time sound takes to reach your headphones and come back in, so it lines up with the others. If new takes still land late against the others, raise Recording delay in Settings → Input (in steps of 10 ms); if early, lower it. Wired headphones need little or nothing; Bluetooth headphones often need 150 to 300 ms.

Beside the box each track has a stripe of its colour, its number and name, a ⋯ menu, three letter buttons, a level with its value in decibels, and a meter down its right edge that shows what the track is playing — or, on the armed track, the input. ● arms it for recording, M mutes it and S solos it; hold the pointer over any of them and it says what it does. The ⋯ menu holds Clear track and Remove track. + About the tracks, under the studio, says the same thing in a sentence.

In the Android app the page is laid out the same way, in the same order, for a phone held upright: each track's name, C and R, then ●, M and S and its level sit in a block level with that track's row, so the timeline keeps the rest of the width. There is no pointer to hover, so hold any letter and the line under Record says what it does. Drag clips sideways — an up-and-down swipe on the timeline still scrolls the page.

On the web, Clear track deletes the recording and keeps the track, and Remove track deletes the track and its recording; in the app C and R do the same. Both ask first whenever there is a recording to lose, and delete it from your account as well as from this device — if your account cannot be reached, nothing is removed and the page says so, rather than leaving the recording behind in your account.

The count-in is yours to choose — none (—), 1, 2 or 4 seconds, after IN on the right of the bar. Choosing none starts recording the instant you press it. The choice is remembered on this device, like the input.

Takes are saved on this device the moment you stop, so a lost connection cannot cost you a performance — recording works with no connection at all. They are then uploaded to your account, and the copy on this device is removed once the upload is confirmed. A track that has not gone up yet says On this device only on the lane, and is tried again each time you open the studio. If an upload fails while you are online, a line under the studio says why — the take is still safe here while it does.

The studio follows you between devices. Which recording is on which track, the track names, levels, mutes and solos are saved to your account too, so opening Record Studio on your phone shows what you set up on your computer. If both devices changed something while one was offline, each change is kept where it can be; where both changed the same thing, the version already in your account wins, and a recording is never dropped. If both devices recorded onto the same track while apart, both recordings are kept, one after the other. Which microphone a device uses, and which track is armed, stay on that device.

Two consequences worth knowing. Playing a take back needs a connection, unlike recording one. On the free plan your recordings have 200 MB of their own, apart from your songs; on Premium and Pro a take counts against the same storage allowance as your songs, so the bar on the upload screen covers both. To take your recordings away as a file, use Project → Export.

Car mode, on the Android app

Car mode is for singing along in the car, and it is on the phone only. Choose Car mode in the menu and pick a song from there: it loads on the song screen, then comes straight back to Car mode. (A song already open goes straight in.) Download it too, so it plays with no signal.

• SONG and YOU are the note the singer is on and the note you are singing, in large type. YOU turns green when you are within two semitones of the singer and orange when you are not. That colour is the thing to glance at; it is the same judgement as the On the note score.
• The graph underneath is the singing line from the song screen: the original singer's line and yours on top of it.
• ORIGINAL VOICE turns the singer down while the instruments keep playing. Down is also more accurate: with the singer in the car's speakers, the phone's microphone hears them too.
• Your voice has to be louder at the phone than the music. The microphone follows one pitch at a time, and when the band is as loud as you it follows the band. Hold the phone nearer, keep the music moderate — or, away from the car, use headphones: a phone playing a song through its own speaker cannot hear you over it.
• Pinch the graph to zoom in or out, and drag it up or down to look at higher or lower notes. Fit puts it back, and it opens fitted every time.
• MIC starts listening. While it is on, Measure times the delay between the car's speakers and the phone — over Bluetooth it is about a third of a second, and until it has been measured the colour runs late. Press it and stay quiet for six seconds: the song keeps playing and the phone listens for it coming back, so the music needs to be audible. The delay is remembered for that car or speaker, so it is measured once rather than every drive — the line under the button says remembered for this speaker when it has been reused. Measure again if it ever sounds wrong. Once it has been measured, the middle line of the graph shows what you are hearing, so your line should sit on it rather than behind it.
• Every time Car mode opens, your line starts fresh. The last attempt's score is kept as Last pass on the song screen.
• ◀◀ and ▶▶ move one bar, or ten seconds where the song has no measured beat.
• Held upright everything is in one column. Turned on its side, the graph takes the left two thirds and the controls the right third, and the menu bar and the player bar step out of the way; turn the phone back, or press Back, to get them again.
• The microphone switches off when you leave Car mode or put the app away. Nothing is recorded.

A song with no singing analysed shows its chords instead, since that is all there is to show.

Look at the colour, not the line, when the car is moving. Following a moving graph is exactly the attention driving cannot spare. The graph is for a parked car, a passenger, or looking back afterwards.

Keyboard shortcuts

All of these are ignored while you are typing in a field.

With a song open

Metronome

Tab editor

Tab player

Where your work is kept

On the server, in your account: your songs — the separated audio and the analyses — and your tabs. Nothing else.

On this device only: your chord corrections, the bar-line nudge and any tempo you set by hand, your measured vocal range, your metronome setup, the screen layout, the colour scheme, and every recording from the studio.

So: songs and tabs follow you. Everything else stays on the machine that made it. That is worth knowing before you correct forty chords on a laptop and open the song on a phone.

There are no cookies and no analytics of any kind. Your microphone is never recorded anywhere except Record Studio, and only while you are pressing record.

Deleting things. A song, a tab and a take can each be deleted by you, and deleting a song removes every file it produced. Deleting your whole account is done by asking — it is a careful operation that removes the files before the account, because doing it the other way round strands the audio with nothing left to say whose it was.

Working offline

These work with no connection at all: the tuner, the metronome, the practice room, the tab editor (your local copies) and record studio. So do this page, the privacy notice and the terms.

These need the network: uploading, opening a saved song, and playing its audio.

Not built yet

Named here so you are not left hunting for them.

• Signing in with Google, Apple, Facebook, Spotify, GitHub or Discord.
• Chord practice with a microphone. Not merely unfinished — the live detector hears one note at a time, so it cannot hear a whole chord. The practice room says so where the card would be. Practice your timing does the half that does not need it: it can tell you whether a chord change landed on the beat, but never whether it was the right chord.
• Exporting a studio take. Takes are saved to your account, but there is no way to download one.
• The guitar course, beyond the four unnarrated sample lessons described above. The lessons, the voice and the saved progress are all still to come.
• Payments. Premium and Pro cannot be bought yet. Request Premium or Request Pro — on the plans page, or in the panel where a limit is reached — and we will write to your account's email address. While it is being answered the button says requested. If we give you a plan for a while, the menu shows Premium until … under your account, and counts the days in the last five; after that the free plan's limits apply again, and nothing you saved is deleted.
• Sharing anything — no public tab library, no links to a song.
• Lyrics, transposing, downloading stems.
• Roman numerals and confidence figures were behind a switch that has been taken out of the interface, so the theory view is currently unreachable.
• Bookmarks and shortcuts into a screen. Only this page, the privacy notice and the terms have their own web address; everything else lives inside the one app screen.

Limits worth knowing

• A track must be under 15 minutes, and you find out after uploading.
• Chord shapes — the diagram, the capo and the tab editor's Chord button — assume a standard-tuned guitar.
• A multi-channel audio interface appears as one device and the browser hands over its first channels. Asking for "input 3 of 8" is not possible on the web, in the tuner or the studio.
• Record Studio needs headphones, for the reason given in its own section.
• An analysis set is fixed when the song is uploaded, and the original file is deleted on success.
• The detectors are not always right. That is why every one of them can be corrected by hand, and why a reading it does not trust is presented as a guess rather than as a fact.

Telling us about a problem

Send feedback, at the bottom of the menu under Support, opens a short window. Open your email starts a message to support@onpitch-music.com in your own mail app, with a few lines at the end — the screen you were on, the app's version and your browser — that help us find a bug; read them and delete them if you like before sending. If nothing opens (a browser with no mail app set up), press Copy address and write from any email account. A person reads every message.

Privacy and terms

The privacy notice says what is collected, why, how long it is kept and who else ever sees it. The terms say what you may upload and what you are agreeing to.

Both are written to be read rather than to be clicked past, and both are short.