Song Key & BPM Finder

The service finds the attacks in your track - kick, snare, hi-hat hits - and looks for how regularly they repeat. The period is refined over the whole length of the track, so for songs with a steady tempo (electronic, pop, hip-hop) the result is accurate to hundredths of a BPM. For live recordings with a drifting tempo, the average tempo is shown.

Yes. You can upload anything: a finished song, a beat or instrumental, a drum loop or an isolated vocal. Beats and drum parts give the most accurate tempo because their hits are clear. A cappella vocals work too, but the result may come out doubled or halved - fix it with the “÷2” and “×2” buttons. To pull a vocal out of a finished song, use the stem splitter.

That is a natural ambiguity of rhythm: drum & bass is often felt both as 174 and 87 BPM, trap as 140 and 70. The algorithm picks the more likely option, and the “÷2” and “×2” buttons switch it in one click - the delay calculator updates instantly.

The service maps the sound of the track onto the 12 pitch classes, accounts for tuning that deviates from A = 440 Hz, and compares the resulting profile with all 24 major and minor keys. The most common confusion is with the relative key (for example, E minor and G major share the same notes), so it is always shown next to the result. For tracks with clear harmony the result is reliable; for atonal, noisy or drum-only tracks it is approximate.

• The Camelot wheel is a key notation for DJs: a number from 1 to 12 and a letter, A (minor) or B (major).
• Harmonic mixing. Two tracks mix well if their codes match or differ by 1 around the wheel (for example, 8A → 7A or 9A), or share the number with a different letter (8A ↔ 8B - relative keys).

Enter the tempo (or it fills in automatically after analysis) and pick a note value: 1/4 is a quarter-note delay, 1/8 an eighth and so on. “Dotted” is one and a half times longer, “triplet” one and a half times shorter (three notes in the space of two). Click a value to copy the milliseconds and paste them into your delay or reverb pre-delay. The Hz values work as LFO rates, so modulation moves in time with the track.

Time-based settings sound most natural when they follow the groove. Compressor release: a common starting point is a 1/16 or 1/8 note - the compressor recovers right before the next hit, so the track pumps in time instead of fighting the beat. Attack stays short (a few ms) and is set by ear. Reverb pre-delay: try a 1/64 or 1/32 note to keep the vocal upfront, and fit the reverb tail into a 1/2 or whole note so it clears before the next phrase. Sidechain on bass or pads under the kick works the same way as compressor release. Take the values from the table above and fine-tune by ear.