Why does the first beat of each bar sound different?

Because it is accented. The downbeat is rendered at a higher frequency than the other beats, which is the standard way of marking where a bar begins so a performer does not lose their place. The two pitches are set far enough apart that the difference is obvious even through a small speaker.

Is the timing accurate over a long file?

Yes. Each click is placed at the sample nearest to the exact time its beat should occur, computed from the tempo and the sample rate rather than accumulated from the previous click, so there is no drift across even the longest file this tool can generate.

Can I make a three four or six eight click?

Not here, because the accent pattern is fixed at every fourth beat. The metronome generator takes beats per bar as a setting and covers two, three, four, five, six, seven and twelve, so it is the tool for any metre other than common time.

Why do the clicks sound so short?

Because each one decays with a thirty millisecond time constant, so it dies away almost immediately at the default length. That keeps the click from covering the performance, and the click length control extends it if a longer, more audible tick is preferred.

Should the click be in the final mix?

Normally not. A click track is a guide for performance, so it should be monitored rather than recorded into the mix, unless a deliberate rhythmic element is wanted. If the click is bleeding into microphones, lower the monitoring level rather than the file's own amplitude.

Click Track Generator

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Click Track Generator writes a click on every beat at a tempo you set, with a higher pitched accent on the first beat of each bar. The result is a WAV that any recorder or editing tool can play alongside a performance.

What is Click Track Generator?

Each beat is a short sine that decays quickly, so the click is crisp and easy to follow without masking what is being played over it. Set the tempo, the number of beats, the two pitches, the click length and the level, and generate the file.

The controls in full:

A tempo from twenty to three hundred BPM, defaulting to one hundred and twenty.
A beat count from four to five hundred and twelve, defaulting to sixty four, which is sixteen bars at four beats per bar.
An accent pitch from two hundred to four thousand hertz, defaulting to one thousand six hundred, and a beat pitch over the same range, defaulting to one thousand.
A click length from ten to two hundred milliseconds, defaulting to forty.
An amplitude slider from one to one hundred percent, defaulting to eighty five.
A readout reporting the tempo, the beat count, how many bars that makes and the total duration.

Each click is a sine at the chosen pitch under an exponential decay whose time constant is thirty milliseconds, which is what makes it read as a tick rather than a tone. Placement is exact: beat number n begins at the sample nearest to n times the sample rate times sixty divided by the tempo, so the timing never drifts and a file at one hundred and twenty BPM lines up with a bar grid to the sample. Because a click track is a guide rather than music, nothing is added to soften it: the point is to be unmistakable, and a sound that is slightly too sharp is far easier to play along with than one that blends into the performance. The accent falls on every fourth beat, which fixes the metre at four beats per bar, and the two pitches default to a full interval apart so the downbeat is unmistakable even at low listening levels or through a small speaker. That fixed four is the one limitation worth knowing before relying on the tool: a waltz or a six eight feel cannot be expressed here, and the metronome beside it is the tool that takes a time signature as a parameter rather than assuming one.

Where the tool is deliberately simple:

The accent pattern is fixed at four beats per bar with no time signature control.
Tempo is constant across the file, with no accelerando or tempo map.
The click is a decaying sine, so no wood block, cowbell or other voice is available.
Mono output, which is fine for practising but leaves no room for a stereo guide with a click on one side.
No count-in feature beyond starting the file where it starts, so a performer has to begin with the click.
The maximum file is five hundred and twelve beats, which at a slow tempo is a long generation but still finite.

Use it when a performance needs a steady reference to play along to: recording to a click, practising a passage at a metronome mark, building a track in a tool that cannot generate its own click, or giving a group a common tempo. When the time signature matters more than the click, the metronome offers two, three, four, five, six, seven and twelve beats per bar; when the pulse should be a tone rather than a click, the isochronic generator produces a rhythmic carrier instead.

How to use Click Track Generator

Set the tempo in BPM and the number of beats you need, checking the readout for the total duration and the bar count.
Adjust the accent and beat pitches if you want a different sound, and set the click length for a shorter or longer tick.
Set the amplitude, then press generate.
Download the WAV and import it into your recorder or editing tool, aligning the first click with the first beat of the performance.

When to use Click Track Generator vs related tools

Click Track Generator is the tool when a performance needs a steady click to play along to and a four beat bar is the right metre. Metronome does the same job with a choice of beats per bar and a wood-block character, which suits odd metres and practice. When a rhythmic tone rather than a click is wanted, Isochronic Tone Generator supplies a pulsed carrier, and for recording the performance itself Song Recorder and Loop Recorder are the tools that capture it.

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