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It’s OK to continually alter the tempo of your sets this way to gradually match tunes across a small to medium-sized BPM range This is better than just syncing the second song to 130 BPM, because it is then sped up quote considerably.

This way they’ve “shared” the difference in tempo – 5 BPM each. Change the tempo gradually throughout a song to match the next – If you are playing a song at 130 BPM and you wish to play the next one at 120 BPM, gradually (like 1 BPM every 30 seconds, in small steps) alter the tempo of the first song from 130 to 125, and match it to the second.When you have these kinds of tunes in your box (especially if the crowd knows them and thus is familiar with the tempo change), they can be a great way to get someone else to change the tempo for you It might have a slow start/end and a fast middle, or it may have a half-speed break, or it may be a salsa track that picks up for the middle instrumental. Use tunes with tempo changes built in – Some music has big changes in tempo as part of the song.Crowds like it – A well executed tempo change can give the dancefloor time to breathe and recover its energy, can add excitement, can smoothly introduce a new genre, can indicate a change in the entertainment, and can even just demonstrate that tonight isn’t going to be all about X type of music played at Y tempo – great for relieving boredom on a dancefloor that’s maybe up until that point been fed a restricted range of tunes for a bit too longĪll of these methods involve altering the tempo before you try and mix into the next tune.Being able to move quickly around the tempo ranges adds a whole different range of mixing and programming skills to your arsenal In fact, it’s not really about that at all.

Learning to alter BPMs makes you a better DJ – DJing is not just about beatmatching.

Even if you are using keylock, best to play a track as close to its original BPM as possible) (You may think keylocking would save you here, but often it makes tracks sound unacceptably stuttery or dull. You’d be better off playing them closer to the BPM they were intended to be played at.

Tracks sound better close to the tempo they were recorded at – If you’ve stuck on say 126 BPM, but you’re using tracks from 120 to 135 BPM, those at the extremities of this range won’t sound so hot at 126.

Overlook tracks at different BPMs and you may be overlooking the perfect track to play next

A track’s energy level is not directly related to its BPM – Just because a track has a lower BPM, doesn’t mean it doesn’t have energy, or isn’t danceable-to.

Tempo changes can be obvious and extreme, or so subtle that nobody on the dancefloor even notices them – but however you do them, there are some solid reasons why you should.