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The catalogue
Every track here is Creative Commons and a person listened to it and marked where the drop is before it could be used at all. The preview is ten seconds centred on that drop, with the beat grid ticking over it and a ding on the drop itself — the instant your first kill lands in a clip. Where the drop is, is the curator's judgement and not something you can move.
On a round plays the track against a real moment — the same ten seconds for every track, silent, with the drop landing on the kill the way the renderer always lands it. It is there to answer whether a track suits Counter-Strike footage. It is not a preview of your clip: your clip is cut to the beat grid of your own round, and the pacing here — the shot, the slow motion, where it starts and stops — belongs to the round this sample was cut from and not to the track you are listening to.
Music for the next clip you make
This is remembered in your browser and applies to the next clip you ask for. Let KillBeat choose takes the track used least recently, which spreads the pool and makes repeats rare — surprise me is the opposite of that and is why it is a separate option.
KillBeat loves artists who love Counter-Strike. The artist, the title and the licence are on the end card of every clip — a licence condition rather than a courtesy, and the music is half of a clip here, not a bed under it. If you make music and want yours in this list, write to killbeat@gamah.net; what makes a track usable is the licence rather than the genre. The address works the other way too — a track of yours can come out of the pool by asking.