Learn to DJ in your browser — free, no download

What you can do in the booth

• Run two independent decks and blend between them live
• Beatmatch with per-track BPM and beat grids, and a Sync button that matches tempo (half/double-time aware), lines up the downbeats, and stays locked
• Nudge a track a beat at a time with beat jump, and snap cues and loops to the grid with Quantize
• Drop a draggable cue point and a beat-accurate loop — caught by ear or snapped to 2 / 4 / 8 / 16 beats — on either deck
• Drive both decks from the keyboard — focus, play, cue, sync, beat jump
• Shape each track with a 3-band EQ and a sweepable filter
• Drop in echo, reverb and flanger as send effects
• Trigger baby, scribble and transformer scratches
• Hit 2× Play to launch both decks from their cues at once
• Let Auto DJ crossfade tracks for you while you watch and learn
• Record up to three minutes and share a link that replays your mix with every knob moving

How to DJ your first mix, step by step

1. 1

   Load a song onto each deck

   Pick a track from the list and send it to Deck A, then send a second track to Deck B. Each deck is an independent player you can cue, pitch and mangle on its own.

2. 2

   Start Deck A and find the beat

   Press play on Deck A. Tracks that have a BPM set show it on the deck, along with a beat grid on the waveform; use the Grid button to re-anchor that grid so a downbeat sits exactly on the playhead.

3. 3

   Beatmatch Deck B

   With a BPM on both tracks, cue Deck B and hit Sync. It matches Deck B's tempo to Deck A (treating half- and double-time as already matched — 90 syncs to 180), lines up the downbeats, and stays locked: nudge Deck A's pitch afterwards and Deck B follows. Both BPM readouts show the same number when they're locked. Use beat jump to slide the phrasing by hand.

4. 4

   Blend with the crossfader

   With the crossfader on the A side you hear Deck A. Slide it toward B to fade the second track in. Use the EQ knobs to pull the bass out of one track while you bring the other up so the low end never doubles.

5. 5

   Add effects and scratches

   Sweep the Filter for a build, drop in Echo or Reverb on a phrase ending, or trigger a Baby / Scribble / Transformer scratch for a transition accent.

6. 6

   Record and share your set

   Hit Record, mix for up to three minutes, then Stop. You get a link — no email, no login — that your friends can open to hear the mix and watch every fader, knob and scratch move exactly how you played it.

DJ terms, explained

Deck

One of the two independent players. A DJ mix is the act of moving between Deck A and Deck B without the music stopping.

Crossfader

The horizontal slider that sets how much of Deck A versus Deck B you hear. All the way left is pure A, all the way right is pure B, the middle is both.

Beatmatching

Adjusting one deck's tempo so its beats line up with the other deck's, so the two tracks can play together without clashing. A track at 90 BPM already matches one at 180 — same pulse, counted twice — so a big BPM gap on paper doesn't always mean a real one.

Sync

One button that beatmatches for you: it matches the deck's tempo to the other one (half- and double-time count as matched), slides the playhead so the downbeats coincide, then latches — while it's lit, the deck keeps following the other deck's tempo. Moving that deck's pitch fader by hand releases it. Both tracks need a BPM set for it to work.

BPM

Beats per minute — a track's tempo. Each song carries a fixed BPM, and the deck shows it (the number reflects the current pitch, so it reads the real playing tempo). Not every track has one set yet; without it, Sync, the beat grid, Snap and beat jump sit out.

Beat grid

The set of faint vertical lines on the waveform marking every beat, with a brighter line on each bar's downbeat. It's drawn from the track's BPM; the Grid button re-anchors it so a downbeat sits exactly on the playhead. Sync, Quantize and beat jump all work off this grid.

Quantize (Snap)

When Snap is on, setting a cue, dropping a loop point or jumping by beats lands exactly on the nearest grid line instead of wherever your click happened to fall — so everything stays locked to the beat. Turn it off for hand-placed points.

Beat jump

Skips the playhead forward or back by a whole number of beats (1 or 4) without stopping the track — the quickest way to shuffle one deck's phrasing into line with the other, or to rewind a bar and try a blend again.

Cue

A saved position in a track, shown as a blue marker on the waveform. Hit Set Cue on the first downbeat; then Cue jumps straight back to it — the track keeps playing if it already was, so you can drop it in on beat. While the deck is paused, hold Cue to preview from that spot and release to snap back. Drag the blue marker to fine-tune it, or Clear it and try again. Sync and 2× Play both use the cue as the deck's anchor.

Loop

Repeats a stretch of the track — two green handles on the waveform — until you exit it, good for stretching an intro or breakdown while you line up the next move. Set one by ear with Loop In then Loop Out, or hit Loop for an instant 4-beat loop. Then drag either handle, snap to 2 / 4 / 8 / 16 beats, halve or double with ½ / 2×, or nudge the whole loop a sixteenth of a beat at a time with ◀ / ▶ to lock it to the grid.

EQ (3-band)

Separate Low, Mid and High controls. Cutting the lows on the incoming track while it's still under the outgoing one keeps the bass from turning to mud during a blend.

Filter

A single sweepable control: turn it down for a muffled low-pass, up for a thin high-pass. A slow filter sweep is the simplest way to build tension into a transition.

Echo / Reverb / Flanger

Send effects. Echo repeats the sound, reverb adds space, flanger adds a jet-plane sweep. A quick hit of echo on the last beat before a cut hides the seam.

Scratch

Moving the record back and forth under the needle for a rhythmic, vocal-like sound. The booth has three canned patterns — baby, scribble and transformer.

Auto DJ

A hands-off mode that keeps both decks stocked and crossfades into a fresh track whenever the current one ends — useful for hearing how blends should feel.

Why practice with comedy songs?

Learning to DJ is about hearing structure — intros, drops, phrase endings — and reacting in time. The Albums Anonymous catalogue is built from tight, punchy parody songs with clear sections, so a blend that's a beat off is instantly obvious, and a clean transition is genuinely satisfying (and funny). They're also the songs from the Albums Anonymous comedy music podcast — pick your podcast app on the home page — and every track links back to the episode it was written for.

Frequently asked questions