Question 1

What is AutoMix Magic?

Accepted Answer

AutoMix Magic is a free, browser-based auto DJ app that generates seamless DJ mixes from your local audio files. Upload MP3, WAV, or FLAC tracks — the engine automatically detects BPM and key, sorts tracks by compatibility, aligns transitions to phrase boundaries, applies dynamic EQ crossfades, and renders a full DJ mix as a downloadable WAV file. No installation, no account, no server uploads.

Question 2

Is it really free? Is anything locked?

Accepted Answer

The core mix generation (upload → analyse → generate → download WAV) is completely free. WAV export is always included. MP3 and FLAC export are also available. All audio processing runs in your browser — nothing is sent to a server, so there are no usage limits on our side.

Question 3

Does my audio leave my device?

Accepted Answer

Not unless you ask it to. All analysis and mixing runs in your browser via the Web Audio API and OfflineAudioContext, and nothing is uploaded while you work. The one exception is the "log" tick next to the export buttons: with it ticked, saving the mix also sends the set — the mix, its log and the tracks as you loaded them — to the site's storage, and to your own "My sets" list when you are signed in. Leave it unticked and your music stays on your device.

Question 4

What input formats are supported?

Accepted Answer

The app accepts MP3, WAV, FLAC, AAC, OGG, and any format your browser can decode via its built-in audio codec. For best analysis accuracy we recommend WAV or FLAC — lossless sources give the BPM and key detection algorithms more clean data to work with.

Question 5

What export formats are available?

Accepted Answer

Finished mixes can be exported as: WAV (uncompressed 16-bit, studio quality), MP3 (compressed, small file size, easy sharing), or FLAC (lossless compressed, best quality-to-size ratio). WAV is rendered natively; MP3 and FLAC encode from the WAV output.

Question 6

How does BPM detection work?

Accepted Answer

BPM detection uses two-stage analysis: onset detection identifies the timing of each beat's transient, then autocorrelation finds the dominant periodic interval across all onsets. The algorithm applies a 'sweet spot' bonus for the 90–200 BPM range typical of dance music and resolves half-time/double-time ambiguities (so 174 BPM drum & bass isn't detected as 87 BPM). The peak is refined by parabolic interpolation and the result is kept to two decimals, which matters over long blends — a hundredth of a BPM drifts about 5 ms across a minute of overlap. On clean four-on-the-floor material the error is a fraction of a BPM; on live or loosely quantised material it is larger, and any track card lets you type the correct tempo in by hand.

Question 7

How does key detection work?

Accepted Answer

Key detection uses the Krumhansl–Schmuckler algorithm: chroma features (energy in each of the 12 pitch classes) are extracted from the audio, then correlated against major and minor key profiles derived from music theory research. Results are displayed in both standard notation (C major, A minor) and Camelot Wheel notation (8B, 5A) used by professional DJs for harmonic mixing compatibility.

Question 8

What is genre detection used for?

Accepted Answer

The app classifies each track into one of 18 genre profiles (house, techno, trance, DnB, breaks, hip-hop, ambient, chillout, lounge and more) from BPM range, spectral balance, crest factor, phrase regularity and amplitude variance. The result is shown on the track card.

Its only route into the mix is the automatic transition choice: every genre profile carries a list of preferred techniques, and that preference is folded into the pair scoring. That scoring only runs when more than one technique is allowed under Mix Settings → Mix → Transition Style. The default allows exactly one — EQ Blend — so out of the box genre detection is informational and changes nothing in the rendered mix. Track order does not use it either: Smart Auto-Sort scores tempo, key and loudness only.

Question 9

What is phrase alignment and why does it matter?

Accepted Answer

In electronic music, tracks are structured in 16-beat (4-bar) or 32-beat (8-bar) phrases. The app detects phrase length automatically (16 or 32 beats) and snaps every crossfade start to the nearest correct phrase boundary — so transitions always begin when a musical idea ends, not mid-phrase.

Critically, the app does not always mix out from the last phrase of a track. The phrase analyzer scans the outgoing track's waveform for energy levels. Any phrase whose RMS energy falls below 30% of the track's peak energy is considered an "energy dip" (a quiet outro, a breakdown, or a decay tail). The engine selects the last energetic phrase above this threshold as the mix-out point — skipping silent outros entirely. This means a 6-minute track with a 40-second quiet outro will begin its crossfade at the 5:20 mark, not at 5:40.

Question 10

What is Smart Auto-Sort?

Accepted Answer

When Auto Transition is enabled, the app reorders your tracks before generating the mix with a greedy nearest-neighbour walk. It starts from the slowest track, then scores every remaining candidate against the one just placed:

— Tempo proximity, up to 50 points, with halftime and doubletime treated as a match — 128 into 64 scores like 128 into 128.
— Key compatibility on the Camelot Wheel: same key 40 points, one step away 30, two steps 15.
— Loudness proximity, up to 20 points, so consecutive tracks sit at a similar RMS.

The highest-scoring candidate becomes the next track. Genre is not part of this score. Sorting happens when you press Generate Mix, and the track list updates to the order that was actually rendered.

Question 11

Does the crossfade length adapt to the music, or is it fixed?

Accepted Answer

It adapts, per track pair, in two separate ways.

1. Energy dip avoidance. If the planned mix-out point on the outgoing track and the opening of the incoming track are both in energy dips — RMS below 30% of that track's peak — the engine walks back through the outgoing track's phrases to the last energetic one and lengthens that single crossfade to reach it. This is what keeps a blend from being silence fading into silence. It needs a detected BPM and a waveform, and it runs whether or not Smart Phrase Mix is on.

2. Phrase quantisation. With Smart Phrase Mix on (the default), the crossfade is rounded to a whole number of phrases — 16 or 32 beats at the outgoing track's tempo — and the mix-out point is pulled to a phrase boundary. With Beat Grid Snap on, the length is first rounded to a whole bar.

With Smart Phrase Mix off, every junction uses the Crossfade Duration you set, bar-rounded if Beat Grid Snap is on, and only the energy-dip rule can still stretch it.

Question 12

How does Dynamic EQ crossfade work?

Accepted Answer

EQ automation applies only to two transition types: EQ Blend and Bass Swap. Other transitions (Cut, Fade, Filter Sweep, Echo Out, Wash Out) use complementary bass compensation — a cosine-shaped low-shelf curve — instead of full EQ automation.

For EQ Blend, the outgoing track's three bands are automated in sequence:
— Bass (20–250 Hz): S-curve cut over 0–50% of the crossfade, then held at kill depth until the end
— Mids (250 Hz–4 kHz): S-curve cut over 20–90%
— Highs (4–20 kHz): linear ramp cut over 30–100%

The incoming track mirrors this in reverse: highs fade in first (0–70%), mids follow (10–80%), bass last (50–100%). At the exact 50% midpoint, only one track's bass is at full volume — a clean handoff with no bass buildup.

For Bass Swap, only the bass band is automated. The outgoing bass ramps to the kill level and the incoming bass ramps from it over ±1 beat around the beat-aligned midpoint. Mids and highs pass through both tracks completely uncut throughout the entire crossfade — no frequency void, maximum energy.

Question 13

What is the difference between Dynamic EQ and EQ Kill, and what does Dynamic EQ Intensity control?

Accepted Answer

Mix Settings → Main tab → EQ Mode offers two modes:

EQ Kill (static): All three bands use simple linear ramps — bass at 0–50%, mids at 20–80%, highs at 30–100% — each ramping to the exact EQ Kill dB value you set. Simple and predictable, but linear ramps can sound mechanical on short crossfades.

Dynamic EQ: The same timing windows but with 32-step S-curves instead of linear ramps. The S-curve spends more time near the extreme values (0 dB and kill dB) and moves quickly through the middle — this mirrors how human hearing perceives smooth transitions and sounds more natural.

Dynamic EQ Intensity (20–100%, default 75%): Scales the cut depth for both bass, mids, and highs proportionally. The scale is applied on top of three quarters of the EQ Kill value, so it never reaches the full depth: with EQ Kill at -24 dB, 100% intensity cuts the bass by about 18 dB, 75% by about 13.5 dB, and 20% by only 3.6 dB — at that setting both tracks largely blend through uncut. Applies to EQ Blend only.

Question 14

Which transitions use EQ automation and which don't?

Accepted Answer

EQ automation (3-band shelving or isolator filters):
— EQ Blend: Dynamic EQ or static EQ Kill, intensity controllable
— Bass Swap: Bass band only, beat-aligned, no mid/high automation

No EQ automation (complementary bass compensation only):
— Cut: cos²/sin² lowshelf curve prevents bass buildup during the snap
— Fade: same bass compensation, clean equal-power gain
— Filter Sweep: a separate resonant HPF/LPF effect, not EQ band automation
— Echo Out: delay FX only, bass compensation active
— Wash Out: reverb FX only, bass compensation active

The Isolator EQ toggle (Standard vs. Linkwitz–Riley) only affects the EQ-automation transitions. Isolator splits the signal with 4th-order LR4 crossovers at 250 Hz and 4 kHz — Pioneer DJM-style, 24 dB per octave — so the bands stay genuinely separate. Standard uses shelving filters, softer and overlapping. Both work with Dynamic EQ and with static EQ Kill.

Question 15

What is the difference between the EQ modes?

Accepted Answer

Standard EQ (shelving): three shelving filters riding the same signal. Their skirts overlap, so cutting one band shades the neighbouring ones a little — which is also why it sounds warm and analog-ish. It is the cheaper of the two on CPU.

Isolator EQ (Linkwitz–Riley, the default): the signal is split by 4th-order LR4 crossovers at 250 Hz and 4 kHz — 24 dB per octave, -6 dB at each crossover point, the architecture Pioneer DJM isolators use. Each band then gets its own gain stage, so killing the bass really does leave the mids where they were. Eight filter nodes per track instead of three.

Both paths move their gain on a decibel scale, so the shape of a fade is the same either way — the isolator is the surgical one, the shelving EQ the softer one. The toggle is global and applies to EQ Blend and Bass Swap. It cannot be set per track.

Question 16

How does the auto-transition algorithm choose a transition type?

Accepted Answer

First, when this runs at all: the scoring needs more than one technique to choose between. Mix Settings → Mix → Transition Style allows exactly one by default (EQ Blend), and a single allowed technique is used directly — none of the scoring below happens. It comes into play once you widen that list.

When it does run, each pair of consecutive tracks is scored independently. For every transition type in the allowed list, the algorithm sums points from 15 weighted features:

BPM relationship: identical BPM scores highest (e.g. +30 for EQ Blend), then close (<3 BPM diff), medium (<10), large. Halftime/doubletime is handled correctly — 128 BPM into 64 BPM scores the same as 128 into 130.

Key compatibility: Camelot Wheel distance — same key (+18), adjacent key (+12), same relative (+6), conflict (+4). Transitions like Filter Sweep and Wash Out actually score higher for key conflicts (they mask harmonic clashes with the FX).

Energy relationship: whether the incoming track's energy is higher, lower, or matching the outgoing track's energy.

Spectral features: high bass contrast (bass-heavy vs treble-heavy pairs) biases toward Bass Swap. Similar spectral balance biases toward EQ Blend.

Track length: short outgoing tracks bias toward Cut or Fade.

Genre bonus: each track's detected genre (house, techno, DnB, ambient, etc.) adds a bonus to the genre-appropriate transitions.

The type with the highest total score is selected. If only one type is in the allowed list, it is used without scoring. If the list is empty, the app defaults to Fade.

Question 17

What transition types are available?

Accepted Answer

Seven transition types modelled on real DJ techniques:

Cut — Sharp crossfader snap capped at 4 bars. No EQ automation — bass compensation via cos²/sin² lowshelf prevents low-end buildup during the snap. The correct technique for DnB, hip-hop, breaks.

Fade — Smooth equal-power gain crossfade. No EQ. Bass compensation keeps low-end consistent throughout. Best for ambient, classical, lounge — any genre where a clean volume blend is preferred over frequency manipulation.

Bass Swap — Only the bass band (20–250 Hz) is automated. At the beat-aligned midpoint, the outgoing bass ramps out and the incoming bass ramps in over ±1 beat. Mids and highs blend through both tracks uncut — no frequency void, full energy throughout. For house, techno.

EQ Blend — Full 3-band S-curve EQ automation: bass cuts 0–50% of crossfade, holds until end; mids 20–90%; highs 30–100%. Incoming track mirrors this in reverse. EQ Kill sets the maximum cut depth; Dynamic EQ Intensity scales it (20–100%). For house, progressive, techno.

Filter Sweep — A resonant HPF or LPF sweeps through the outgoing track's frequency spectrum. HPF sweeps low-to-high, removing bass and mids last. LPF sweeps high-to-low, removing treble first. Direction is set in Mix Settings → Mix → Filter Direction, which appears once Filter Sweep is selected. For trance, techno.

Echo Out — A delay effect builds on the outgoing track as the crossfade begins — the echo tail extends past the track's end. The incoming track fades in with a standard gain crossfade. For house, dub.

Wash Out — Reverb is applied to the outgoing track — its reverb tail dissolves the sound into space as the incoming track fades in. Crossfade gain ramps simultaneously. For chillout, ambient, dub.

One technique is used for the whole set — the one picked in Mix Settings → Mix → Transition Style, EQ Blend by default. The pair-scoring engine that weighs BPM, key and spectral features is still in the code, but it only runs when more than one style is allowed, which is not the current setup. Any single junction can still be switched to another technique from that track's card.

Question 18

Which settings are global and which can be overridden per track?

Accepted Answer

Global only (apply to all transitions, no per-track override):
— Crossfade Duration, Hold Level, Crossfade Curve
— Master Volume, Normalize Loudness
— EQ Kill amount, Dynamic EQ toggle, Dynamic EQ Intensity
— Isolator EQ toggle
— Beat Grid Snap
— Smart Phrase Mix, Phrase Length
— Time Stretch
— Auto Transition, and the Transition Style it picks from
— Filter Direction (for Filter Sweep)
— Transition FX on the FX tab

Per-track overrides (set on each track card):
— Transition type: overrides both the global allowed list and the auto-selection algorithm. A track-level override always wins.
— BPM: manually correct or override the detected BPM for a specific track. Affects BPM sync, ramp rate, and transition scoring for that pair.
— BPM Sync: the checkbox on a track card shows whether the mix is matching that track's tempo at all — including the automatic match Auto Transition makes on its own whenever two tracks are within 5 BPM. Ticking it forces a match at any tempo distance; unticking it when the mix was matching the pair by itself switches that off and leaves the tempo alone.
— BPM Ramping: the global BPM Ramping setting is a default; each track card exposes its own BPM Ramping toggle that overrides the global value for that specific track's incoming crossfade.
— FX Regions: per-track time-region FX (vinyl stop, loop roll, backspin, reverb, delay, etc.) applied only at the marked region of that track, independent of global FX settings.

Question 19

Can I override transitions per track?

Accepted Answer

Yes. Every track card has a transition override dropdown that sets the transition type used when leaving that specific track. A per-track override takes precedence over both the global allowed list and the auto-selection algorithm — even if the selected type is not in the allowed list. This is useful when one track needs different treatment — for example a hard Cut before a drop in an otherwise EQ Blend set.

Question 20

What is BPM Ramping?

Accepted Answer

BPM Ramping makes the incoming track start playback at the outgoing track's BPM (via playback rate adjustment) and linearly ramp to its own native tempo during the crossfade. This avoids the audible tempo snap that would otherwise occur when a new track enters at a different speed.

The ramp rate is clamped between 0.5× and 2.0× to handle halftime and doubletime relationships. For example, mixing 128 BPM into 64 BPM sets the initial rate to 0.5 and ramps to 1.0 — the incoming track sounds like it's playing at 128 BPM at entry.

BPM Ramping is a global setting and can be toggled independently per track from the track card — it is the only mix setting with a per-track override of its own. The ramp is carried out on the EQ transitions, EQ Blend and Bass Swap, which is where a tempo handoff has to be smooth.

Two things to keep in mind. Do not run it together with Time Stretch: Time Stretch has already moved the incoming track to the outgoing tempo, and the ramp would then pull a tempo that is already matched. And tempo matching itself is bounded — the mix syncs a pair on its own only when the two tempos are within 5 BPM, while the per-track Sync checkbox forces it at any distance.

Question 21

What is Time Stretch?

Accepted Answer

Time Stretch (Master Tempo) uses the SoundTouch algorithm to change a track's playback tempo without changing its pitch. When enabled, the incoming track is pre-processed to match the outgoing track's BPM before mixing begins — so both tracks are at the same tempo for the entire crossfade duration, not just during the ramp window.

Time Stretch only does anything when tempo sync is actually happening for that pair — either the track's Sync checkbox is ticked, or the two tempos are within 5 BPM and the mix matches them on its own. With no sync in play the setting changes nothing.

It is worth turning on where the tempo gap is wide enough to hear: 1 BPM out of 128 is a pitch shift of about 13 cents, which nobody notices, but 5 BPM is closer to 70 cents — most of a semitone, and audible on vocals. It is not meant to be combined with BPM Ramping, since both corrections would stack. Time Stretch is global-only, and it processes each track's full buffer before rendering, so the generate step takes noticeably longer.

Question 22

What is Beat Grid Snap?

Accepted Answer

Beat Grid Snap rounds the crossfade duration to the nearest whole bar based on each track's BPM. The minimum is one bar — four beats. At 128 BPM a beat is 0.469 seconds and a bar is 1.875, so a 26-second crossfade is rounded to 14 bars, or 26.25 seconds.

Rounding to single beats is not enough: 97 beats is a beat multiple and still lands three quarters of the way into a bar, so the blend would begin on a beat that is not a downbeat. Landing on the beat also takes the track start being right: the renderer detects each track's first beat and shifts its entry so that beat coincides with a beat of the track already playing. With Smart Phrase Mix on, the duration is quantised further, to whole phrases, and the mix-out point is pulled back to a phrase boundary.

Question 23

What does Crossfade Duration actually set?

Accepted Answer

It is the length of the overlap between two tracks, 4 to 60 seconds in steps of 4, default 26. That number is a starting point rather than the final length: Beat Grid Snap rounds it to a whole bar at the outgoing tempo, Smart Phrase Mix rounds it further to whole phrases, and the energy-dip rule can lengthen one junction on its own. At 128 BPM a requested 26 seconds is rendered as 26.25 — fourteen bars.

Two exceptions. A Cut is capped at four bars however long the global setting is, because a snap that takes half a minute is not a snap. And the blend has to fit inside the outgoing track, so on a short track the engine pulls the fade start back to leave room for the whole overlap.

Question 24

What does Crossfade Curve do?

Accepted Answer

It sets the shape the gain follows across the overlap. Four options, applied to both sides of every crossfade:

Equal-power (default) — a 64-step sine/cosine pair. Measured across a rendered crossfade the two tracks sum to constant power for the whole overlap, so the blend never sags in the middle. This is the one to leave selected.

Linear — a straight line in amplitude. The pair dips about 3 dB halfway through, which is audible as a small hole on a long blend.

Fast-cut — not really a blend. The outgoing track is pulled down exponentially and is effectively gone within the first tenth of the window, while the incoming one stays silent until the 30% mark and then arrives at full level in one step. Between those two points there is a gap of near-silence: at a 26-second crossfade that is about five seconds of nothing followed by an abrupt entry. Pick it only if that abruptness is the effect you want; for an actual blend use equal-power.

Slow-cut — the outgoing track keeps most of its level for 70% of the window, then drops away quickly. The incoming one mirrors it, staying quiet until late. Like linear, the pair dips about 3 dB in the middle.

A Cut transition ignores this setting and always uses the fast-cut shape, which is why a Cut sounds like a hard switch rather than a short fade.

Question 25

What do Normalize Loudness and Hold Level control?

Accepted Answer

Normalize Loudness (on by default): every track is measured with a simplified BS.1770 loudness meter and gain-corrected toward -14 LUFS before mixing, so no track jumps out or drops away. The correction is capped at ±12 dB in either direction, and it is applied inside the mix buffer — your files are never modified.

Hold Level (0–100%, default 30%): how much of its own level the outgoing track keeps when the crossfade ends. It is measured against the level that track is actually playing at:

— 0% — the outgoing track reaches silence, the cleanest possible handoff.
— 30% (default) — it stops about 12 dB down, still there under the new track through the rest of the overlap.
— 60% — about 6 dB down, a dense blend with both tracks clearly present.
— 100% — no fade at all: the track holds its level until the overlap ends and is then released.

The incoming track always rises from silence to full, whatever Hold Level says — the setting describes what the departing track keeps, not where the arriving one starts.

Why 30% is the default: measured across a rendered EQ Blend at the default intensity, the mid-blend dip is 4.6 dB at Hold 0% and 4.1 dB at 30%, while the loudest the pair ever gets stays at the level of a single track — so it buys half a decibel of hole for free, without asking anything of the limiter. Past 60% the returns shrink and the outgoing track stops fading in any meaningful sense.

One limit worth knowing: Hold Level applies to the EQ transitions only, EQ Blend and Bass Swap. Cut, Fade, Filter Sweep, Echo Out and Wash Out always fade to and from silence whatever it is set to.

Question 26

Why do EQ transitions sound slightly quieter than the rest of the mix?

Accepted Answer

Because they are. EQ Blend and Bass Swap run at 0.85 gain — about -1.4 dB — for the whole time that track is playing, which leaves headroom for two tracks overlapping at full level. Transitions without EQ automation play at unity and rely on their bass compensation instead.

On top of that the master bus carries a soft limiter (threshold -3 dB, ratio 20:1, 1 ms attack), and mixes rendered in chunks get a final tanh soft-clip on any sample that still exceeds full scale. Normalize Loudness can push a quiet track up by as much as 12 dB, so that limiter is what keeps the result from clipping.

Question 27

What happens to a track when its part of the mix ends?

Accepted Answer

It is stopped. At the end of a track's window the gain is set to its final value — Hold Level on an EQ transition, silence on any other — and then ramped to zero over 30 ms before the source is stopped outright.

This matters with a high Hold Level: the crossfade leaves the outgoing track at that level and 30 ms later it is gone, so the tail you hear is cut rather than faded. At the default Hold Level of 0 the two coincide and the handoff is seamless.

Question 28

Where does the incoming track start playing from?

Accepted Answer

With Smart Phrase Mix on, not necessarily from the first sample. The engine looks for the first phrase whose energy reaches 25% of the track's peak and starts one phrase before it, so a long quiet intro is skipped rather than mixed in as near-silence.

If the opening phrase is already energetic, the track starts at zero. On a track too short for the entry and exit points to both fit, the engine falls back to playing the whole file.

Wherever it starts, the beat grid is measured from that point: the renderer detects the track's first beat, works out the phase at the entry point, and shifts the track so that beat lands on a beat of the track already playing.

Question 29

How are long mixes rendered?

Accepted Answer

Mixes under about 20 minutes are rendered in one offline pass. Longer than that, the engine switches to a chunked path: each track gets its own offline context and its own limiter, is rendered on its own, and the samples are summed into a shared buffer at the right offset, with a soft-clip at the end. This keeps a two-hour set from having to exist as a single audio graph in memory. The result is the same mix — you only notice the difference as steadier progress while it renders.

Question 30

How many tracks can I add?

Accepted Answer

There is no hard limit. In practice, performance depends on your device's available RAM — each decoded audio track occupies roughly 10 MB per minute of audio in memory. A typical 10-track set of 5-minute tracks uses ~500 MB. For sessions with 30+ long tracks, use 128–192 kbps MP3 sources rather than WAV to reduce memory usage.

Question 31

Can I reorder tracks manually?

Accepted Answer

Yes. Drag the grip handle (⠿ icon) on any track card to reorder. Manual reordering is active whenever Auto Transition is on but smart sort has already run, or when Auto Transition is off. The app remembers your manual order and only applies smart sort again when you click Generate Mix with Auto Transition enabled.

Question 32

Can I preview a transition before generating the full mix?

Accepted Answer

Yes. Each track card has a transition preview button that renders and plays a short audio clip of the crossfade between that track and the next, using the current settings. This lets you audition EQ blend depth, crossfade length, and transition FX without generating the full mix.

Question 33

Can I use AutoMix Magic for commercial or professional sets?

Accepted Answer

The app is a tool and places no restriction on how you use the generated mix. Copyright of the resulting mix depends entirely on the tracks you use and your rights to them — AutoMix Magic does not grant music licences. For published mixes, ensure you have licensing through services like Mixcloud, SoundCloud, or a PRO licence.

Question 34

Does the app work on mobile?

Accepted Answer

The core Studio works on modern mobile browsers (Chrome/Safari on Android/iOS), but the interface is optimised for desktop. Waveform display, drag-and-drop reordering, and settings panels are most comfortable on screens 1024px wide or larger. Mobile layout improvements are planned.

Question 35

I have more questions — where can I ask?

Accepted Answer

Use the Feedback page to send a message directly to the team. All feedback is read and most feature requests are tracked in the development roadmap.

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