How does the accent work?

The first beat of each bar is rendered at a higher frequency and with a slightly slower decay than the other beats, so it sounds like a harder strike on the block. That marks the bar without needing to count, which is what makes an odd metre playable.

Which time signatures are supported?

Two, three, four, five, six, seven and twelve beats per bar. The simple metres behave as expected, while six and twelve are accented on every beat rather than grouped in threes, so the compound feel has to come from your own playing rather than from the file.

Why does the metronome sound different from the click track?

The two tools use different voices. Here each tick lasts fifty milliseconds with an exponential decay and the beats sit a fifth apart in pitch, which produces a wood-block character. The click track uses a shorter decaying sine and puts its two pitches an interval apart in a lighter, crisper sound.

Can I change tempo part way through?

No, the tempo is fixed for the whole file. Where a piece changes tempo, generate a file for each section at the tempo it needs and play them in sequence, or use a tool that supports a tempo map.

Does the timing stay accurate at slow tempos?

Yes. Each beat is placed at the sample nearest its exact time from the file's own start, so the grid is computed rather than accumulated. Even at twenty beats per minute across five hundred and twelve beats there is no drift from the first beat to the last.

Metronome

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Metronome writes a wood-block style tick on every beat and a higher accented tap at the start of each bar, with a choice of seven time signatures. It is the practice and rehearsal tool of the generator set.

What is Metronome?

The accent pattern is the feature that separates this from a plain click: the first beat of each bar is pitched higher and decays slightly longer, so the metre is audible rather than implied. Set the tempo, the beat count, the beats per bar and the accent pitch, then generate the file.

What the panel controls:

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 thirty two.
A beats per bar setting offering two, three, four, five, six, seven and twelve, which covers common time, waltz, and the odd and compound metres practice tends to need.
An accent pitch from five hundred to four thousand hertz, defaulting to two thousand.
An amplitude slider from one to one hundred percent, defaulting to eighty five, and a readout giving the tempo, the metre, the bar count and the total duration.

Two details make the sound behave like a wood block rather than a beep. Each tick lasts fifty milliseconds and decays exponentially, with a slightly faster decay on the accented beat and a slower one on the others, so the accent reads as a harder strike rather than merely a louder one. The unaccented beats sit at two thirds of the accent frequency, which is close to a perfect fifth below, giving the pattern a musical relationship between the two sounds instead of an arbitrary jump. Placement is sample-accurate: each beat begins at the sample nearest to its exact time, computed from the tempo and sample rate, so the grid holds over a long file with no drift. The compound metres are worth noting as a limitation in disguise. This tool treats every beat alike within the bar regardless of metre, so selecting six or twelve gives six or twelve evenly spaced accents rather than the grouped feel a musician would expect from compound time.

What it does not attempt:

Compound metres are accented on a plain grid rather than grouped in threes, so six eight and twelve eight do not convey their subdivision.
The tempo is fixed for the whole file, with no tempo changes or accelerando.
One voice is used throughout, so no separate sound distinguishes subdivisions such as eighth notes.
Output is mono, with no option for a click on one side only.
There is no count-in or lead-in before the first accented beat.
The amplitude is the same on every beat apart from the pitch and decay difference, so a quiet subdivision cannot be added.

Use it for practice and rehearsal where the metre matters: keeping time through an odd bar, giving an ensemble a shared tempo, practising a passage at a fixed metronome mark, or providing a reference to record against. The click track generator offers a lighter, shorter click in common time, which is often easier to record along with, and the isochronic generator provides a rhythmic carrier when a tone rather than a tick is what you want.

How to use Metronome

Set the tempo and the number of beats you need.
Choose the beats per bar for your metre, checking the bar count in the readout.
Adjust the accent pitch and the amplitude to taste.
Generate the file and download it, or play the preview to practise against directly.

When to use Metronome vs related tools

Metronome is the practice tool, particularly when the metre is anything other than four beats in a bar. Click Track Generator produces a lighter click in common time that is easier to record alongside, and Isochronic Tone Generator creates a pulsing tone rather than a tick. For capturing a performance against either signal, Song Recorder and Loop Recorder are the recording tools in the same category.

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