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{{Short description|DJing technique of manipulating an adjacent track to match the tempo of the current track}}
'''Beatmatching''' is a technique employed by ] to transition between two songs while performing either ] at a ] or ], for ] broadcast or for distribution on prerecorded ], achieved by changing the ] of a new track to match that of the currently playing track, then ] between the two so there is no pause between songs. This is used to keep the flow of the music constant for the pleasure of the listener, both through appreciation of the quality of the mix between records and the lack of time between tracks played back to backs providing more ] and ] to dance to.
{{multiple issues|
{{one source|date=May 2016}}
{{Original research|date=May 2008}}
}}
]


'''Beatmatching''' or '''pitch cue''' is a ] technique of ]ing or ] an upcoming track to match its ] to that of the currently playing track, and to adjust them such that the beats (and, usually, the bars) are synchronized—e.g. the kicks and snares in two house records hit at the same time when both records are played simultaneously. Beatmatching is a component of '''beatmixing''' which employs beatmatching combined with equalization, attention to phrasing and track selection in an attempt to make a single ] that flows together and has a good structure.
This technique became status quo on the ], and many DJs continue to use vinyl records for their analog sound, manipulability, as well as their history and allure. Other DJs have switched to ] mixing technology that allows digital controls to mimic common techniques for physically manipulating records, due to their higher sound quality and the greater ease of finding and transporting a CD collection. More recently, technology has been developed that allows DJs to use actual vinyl records to manipulate ] and other digital tracks stored on their computer hard drives to produce the same effects.

==History==
Beatmatching was originally employed by DJ ] in the late 60's/early 70's. Originally, the technique involved counting the tempo with a ] and finding a record with the same tempo. Today, it involves changing the speed at which a recording is played back so that its tempo matches that of the song currently playing. In this way, the DJ can either simultaneously play two songs of different original tempos without their ]s clashing (or "galloping") or can more smoothly transition between songs. The tempo of the recording can be changed through the use of specialized playback mechanisms. In the case of ]s, for example, the turntable would have a separate control for determining the relative speed (typically listed in percent increments) faster or slower the record can be played back. Similar specialized playback devices exist for most recorded ]. Changing the speed of the record that is playing is called pitching or ].


The technique was developed to keep the people from leaving the dancefloor at the end of the song. These days it is considered basic among disc jockeys (DJs) in ] genres, and it is standard practice in clubs to keep the constant beat through the night, even if DJs change in the middle.


==Technique== ==Technique==
] turntable; corresponds to steps 2–5 in the listed instructions.]]
The following equipment is necessary for beat matching:
The beatmatching technique consists of the following steps:
* Two turntables (T1 and T2) with pitch controls and slipmats
* At least two records (R1 and R2)
* One mixer or crossfader, capable of:
** Variably blending the outputs of T1 and T2
** Cueing the music playing on either turntable without outputting the sound to the audience
* Headphones
* A Public Address System (PA) or other form of amplification and speakers


# While a record is playing, start a second record playing, but only monitored through headphones, not being fed to the main PA system. Use ] (or ''trim'') control on the mixer to match the levels of the two records.
The following skills are necessary for beat matching:
# Restart and ] the new record at the right time, on beat with the record currently playing.
# If the beat on the new record hits before the beat on the current record, then the new record is too fast; reduce the pitch and manually slow the speed of the new record to bring the beats back in sync.
# If the beat on the new record hits after the beat on the current record, then the new record is too slow; increase the pitch and manually increase the speed of the new record to bring the beats back in sync.
# Continue this process until the two records are in sync with each other. It can be difficult to sync the two records perfectly, so manual adjustment of the records is necessary to maintain the beat synchronization.
# Gradually fade in parts of the new track while fading out the old track. While in the mix, ensure that the tracks are still synchronized, adjusting the records if needed.
# The fade can be repeated several times, for example, from the first track, fade to the second track, then back to first, then to second again.


One of the key things to consider when beatmatching is the tempo of both songs, and the musical theory behind the songs. Attempting to beatmatch songs with completely different beats per minute (BPM) will result in one of the songs sounding too fast or too slow.
===Selecting appropriate songs===
Although experienced DJs often show off by beat matching songs that do not follow these rules, while learning it is best to select songs with similar BPMs. You also generally want to choose a record on T1 with an instrumental outro or a record on T2 with an instrumental intro, to avoid a sound that is too cluttered during the time in which both records are playing. These instrumental parts do not need to be at the beginning or end of the song, and many DJs like to make smooth transitions at unexpected places.


When beatmatching, a popular technique is to vary the equalization of both tracks. For example, when the kicks are occurring on the same beat, a more seamless transition can occur if the lower frequencies are taken out of one of the songs, and the lower frequencies of the other song is boosted. Doing so creates a smoother transition.
===Counting===
In order to recognize the tempo of music, you must be able to count beats. Most music designed for dancing has a strong, apparent beat, and is in the 4/4 ], which makes beat matching easier. To properly beat match you need to be able to recognize the first beat of the measure or bar, or the 1 in a count of 1 2 3 4 1 2 3 4 . . . If you were to continue this count past 4, one minute later you will have arrived at the BPM. A quicker way to calculate the BPM is to use the same method as counting to one minute, but count to 15 seconds instead then multiply by 4.


===Pitch and tempo===
When counting, it is also useful to think in broad terms about the sections of the song, which will usually have a length equal to some multiple of 4 bars. Most commonly, if you count the bars in a section of a song, they will be 4, 8, 16, 32, or 64 bars in length. This information helps the DJ decide at which point during T1 he must start T2 in order for the sounds of one track to fade as the other builds, or whatever effect is desired.
The ] and tempo of a track are normally linked together: spin a disc 5% faster and both pitch and tempo will be 5% higher. However, some modern DJ software can change pitch and tempo independently using ], allowing ]. There is also a feature in modern DJ software which may be called "master tempo" or "key adjust" which changes the tempo while keeping the original pitch.


===Slip-cueing=== ==History==
] was one of the first people to beatmatch in the late 1960s, being taught the technique by Bob Lewis.<ref name="dj-history">{{cite web|url=http://www.djhistory.com/interviews/francis-grasso|title=Francis Grasso|publisher=DJ History|date=28 December 2009|access-date=8 January 2023|author=Frank Broughton|archive-url=https://web.archive.org/web/20091228090616/http://www.djhistory.com/interviews/francis-grasso|archive-date=28 December 2009}}</ref><ref name="MasterClass">{{cite web | title=How to Beatmatch: Beatmatching Tips and Benefits — 2023 | website=MasterClass | date=2021-03-29 | url=https://www.masterclass.com/articles/beat-matching-guide | access-date=2023-09-27}}</ref>
{{main|Slip-cueing}}


These days{{when|date=May 2016}} beat-matching is considered central to DJing, and features making it possible are a requirement for DJ-oriented players. In 1978, the ] turntable was released, whose comfortable and precise sliding ] and high torque ] motor made beat-matching easier and it became the standard among DJs. With the advent of the compact disc, DJ-oriented ] with pitch control and other features enabling beat-matching (and sometimes ]), dubbed ]s, were introduced by various companies. More recently, software with similar capabilities has been developed to allow manipulation of ] files stored on computers using turntables with special vinyl records (e.g. ], ], ]) or computer interface (e.g. ], ], ]). Other software including algorithmic beat-matching is ], which allows for realtime music manipulation and deconstruction. Freeware software such as ] can detect the ] and determine the percent BPM difference between songs.
While one record is played over the main speakers, you must be able to find the appropriate place to come in on the other over your headphones. This is done by physically moving the record back and forth with your hand. The beat that you select should generally be a "hit" on the bass drum near the beginning of the song. This also should be the first beat of the measure. DJs will often use a sticker in center of their record to mark where the first main beat of the record takes place, to make it easier to find. Once found, you need to physically hold the record still and prevent it from spinning, thus pausing the sound. To start it again, simply release the record. You will need to physically rewind the record and start it several times, until you are confident that you have found the first beat and can start it at the exact moment that you desire.


Most modern DJ hardware and software now offer a "sync" feature which automatically adjusts the tempo between tracks being mixed so the DJ no longer needs to beatmatch manually.
===Matching tempos===
When two records are playing simultaneously, you listen to both and note which beat is running ahead or lagging behind, and adjust the pitch control accordingly. At least initially, it is best to make all adjustments on T2, so that the tempo of the music playing to the crowd is not erratic. Another technique, if you already know the BPMs for both records (because you have measured them yourself or looked them up in a reference guide or the internet), is to "cheat" and figure out how you need to adjust the pitch control mathematically. Many DJs use a combination of both, using measured BPMs to approximately match tempos and then fine tuning their adjustment by ear.


⚫ ==See also==
==Step by step process of beatmatching==
* ]
Assuming that you are already playing a record on T1,
⚫ * ]
# Select desired song to mix in on R2.
* ]
# Cue R2 on T2 to first main beat and pause it, using the headphones so that this process is not audible to the audience.
⚫ * ]
# Count beats on the R1, and find the first beat of the measure.
* ]
# Start R2 to correspond with the first beat of R1. At this point you will need to listen to both records, which can be accomplished two ways. Some mixers allow you to fade between both inputs in your headphones, but if you do not have this ability you can simply adjust your headphones to only cover one ear and listen to R1 over the main speakers.
# Match tempos using the pitch adjust on T2. You will usually need to repeat Steps 4 and 5 a number of times before the tempos are actually locked together. You will know that you have succeeded when even after listening to R2 for a (relatively) long time, it will stay perfectly synched with R1.
# Note the total percentage of the variation in speed needed and divide it by two. If you were to leave T1 at neutral and adjust T2 all the way to +6%, it would make pitch increase drastically on T2 (so that your ] records would sound more like the ]). Instead, gradually slow down T1 to -3% (slowly enough that the crowd does not notice) and bring T2 to a more reasonable +3%. Then check you tempos one more time and repeat Steps 4 and 5 if necessary.
# Pause R2, as in Step 2.
# Set the mixer to play both records over the main speakers (usually done by setting the cross-fader in the middle position). So long as R2 is paused, the crowd will still hear only R1. Any movement on R2, however, will be audible to the crowd. This movement can be done intentionally as ].
# Count beats on R1 and until you have reached an appropriate place to merge the two records. Often this will be the first beat not only of a measure but of a 4, 8, or 16 beat section.
# Allow R2 to start in synch with R1.
# Listen closely and make small adjustments to tempo and volume until the desired effect is achieved.
# Remember to fade out R1 entirely when ready.


==References==
Once mastered, this skill allows you to layer one record over another and create smooth transitions between different songs. After you have matched beats, you can also fade in and out smoothly between songs, and cue back either song to the beginning, thus extending both songs indefinitely. The same technique can also be used to isolate ], using two copies of the same record to extend a short "break-down" section as long as is desired.
{{reflist}}


{{DJing}}
⚫ ==See also==
⚫ *]
⚫ *]

{{hiphop}}


]
]
] ]
] ]

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]

Latest revision as of 18:04, 18 September 2024

DJing technique of manipulating an adjacent track to match the tempo of the current track
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Alignment of beats in the beatmatching process

Beatmatching or pitch cue is a disc jockey technique of pitch shifting or time stretching an upcoming track to match its tempo to that of the currently playing track, and to adjust them such that the beats (and, usually, the bars) are synchronized—e.g. the kicks and snares in two house records hit at the same time when both records are played simultaneously. Beatmatching is a component of beatmixing which employs beatmatching combined with equalization, attention to phrasing and track selection in an attempt to make a single mix that flows together and has a good structure.

The technique was developed to keep the people from leaving the dancefloor at the end of the song. These days it is considered basic among disc jockeys (DJs) in electronic dance music genres, and it is standard practice in clubs to keep the constant beat through the night, even if DJs change in the middle.

Technique

Pitch adjustment and beatmatching on a Technics SL-1210MK2 turntable; corresponds to steps 2–5 in the listed instructions.

The beatmatching technique consists of the following steps:

  1. While a record is playing, start a second record playing, but only monitored through headphones, not being fed to the main PA system. Use gain (or trim) control on the mixer to match the levels of the two records.
  2. Restart and slip-cue the new record at the right time, on beat with the record currently playing.
  3. If the beat on the new record hits before the beat on the current record, then the new record is too fast; reduce the pitch and manually slow the speed of the new record to bring the beats back in sync.
  4. If the beat on the new record hits after the beat on the current record, then the new record is too slow; increase the pitch and manually increase the speed of the new record to bring the beats back in sync.
  5. Continue this process until the two records are in sync with each other. It can be difficult to sync the two records perfectly, so manual adjustment of the records is necessary to maintain the beat synchronization.
  6. Gradually fade in parts of the new track while fading out the old track. While in the mix, ensure that the tracks are still synchronized, adjusting the records if needed.
  7. The fade can be repeated several times, for example, from the first track, fade to the second track, then back to first, then to second again.

One of the key things to consider when beatmatching is the tempo of both songs, and the musical theory behind the songs. Attempting to beatmatch songs with completely different beats per minute (BPM) will result in one of the songs sounding too fast or too slow.

When beatmatching, a popular technique is to vary the equalization of both tracks. For example, when the kicks are occurring on the same beat, a more seamless transition can occur if the lower frequencies are taken out of one of the songs, and the lower frequencies of the other song is boosted. Doing so creates a smoother transition.

Pitch and tempo

The pitch and tempo of a track are normally linked together: spin a disc 5% faster and both pitch and tempo will be 5% higher. However, some modern DJ software can change pitch and tempo independently using time-stretching and pitch-shifting, allowing harmonic mixing. There is also a feature in modern DJ software which may be called "master tempo" or "key adjust" which changes the tempo while keeping the original pitch.

History

Francis Grasso was one of the first people to beatmatch in the late 1960s, being taught the technique by Bob Lewis.

These days beat-matching is considered central to DJing, and features making it possible are a requirement for DJ-oriented players. In 1978, the Technics SL-1200MK2 turntable was released, whose comfortable and precise sliding pitch control and high torque direct drive motor made beat-matching easier and it became the standard among DJs. With the advent of the compact disc, DJ-oriented compact disc players with pitch control and other features enabling beat-matching (and sometimes scratching), dubbed CDJs, were introduced by various companies. More recently, software with similar capabilities has been developed to allow manipulation of digital audio files stored on computers using turntables with special vinyl records (e.g. Final Scratch, M-Audio Torq, Serato Scratch Live) or computer interface (e.g. Traktor DJ Studio, Mixxx, VirtualDJ). Other software including algorithmic beat-matching is Ableton Live, which allows for realtime music manipulation and deconstruction. Freeware software such as Rapid Evolution can detect the beats per minute and determine the percent BPM difference between songs.

Most modern DJ hardware and software now offer a "sync" feature which automatically adjusts the tempo between tracks being mixed so the DJ no longer needs to beatmatch manually.

See also

References

  1. Frank Broughton (28 December 2009). "Francis Grasso". DJ History. Archived from the original on 28 December 2009. Retrieved 8 January 2023.
  2. "How to Beatmatch: Beatmatching Tips and Benefits — 2023". MasterClass. 2021-03-29. Retrieved 2023-09-27.
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