B - The Real Schranz (Part 2)
30s preview
- BPM
- 137
- Open Key
- 6m
- Energy
- 99/100
- Pop
- 2/100
- Length
- 6:07
- Released
- 1999
- Album
- The Real Schranz (Part 2)
- Genre
- Techno
- Label
- CLAU
- Loudness
- -9.8 dB
- Dynamics
- 11.4 dB
- ISRC
- DEW569910202
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Boriginal9B · 139
- B - The Real Schranz (Part 1)original3B · 138
- B - A, B, C, D EP Part Oneoriginal11A · 129
- B - The Biggest Ten Inches I Have Ever Seenoriginal3A · 143
- B- Call It What You Want (Part 4)original3A · 144
At 137 BPM in A♭ minor (1A), B - The Real Schranz (Part 2) is a driving up-tempo techno production. The feel is punchy, neutral in mood. The groove is strong and floor-ready. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 11 dB). A 1999 production that still circulates in sets. Groovier than 92% of Chris Liebing's catalogue. In a set it works best as a peak-time weapon.
- Brightness:
- brighter than 91% of Chris Liebing's catalogue
- Energy:
- hotter than 85% of Chris Liebing's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 38%
- Low
- 30-130 Hz
- 33%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 8%
- High
- 2.5-11 kHz
FAQ
What key is B - The Real Schranz (Part 2) in?
B - The Real Schranz (Part 2) by Chris Liebing is in A♭ minor, or 1A on the Camelot wheel.
What BPM is B - The Real Schranz (Part 2)?
B - The Real Schranz (Part 2) runs at 137 BPM, a driving up-tempo track.
What mixes well with B - The Real Schranz (Part 2)?
From 1A it blends harmonically with 2A, 1B, 12A. Moving to 2A lifts the energy a step.
Is B - The Real Schranz (Part 2) good for peak time?
With energy 99 out of 100 at 137 BPM, it works best as a peak-time weapon.
Mixes harmonically
1A → 12A · 2A · 1BFrom 1A, 2A (E♭ minor) lifts the energy a step; 1B (B major) brightens to the relative major; 12A (D♭ minor) cools the energy down a step.
How to mix it
In 1A at 137 BPM: 2A (E♭ minor) — move to 2A to push the floor harder; 1B (B major) — switch to 1B for a mood change without losing the groove; 12A (D♭ minor) — drop to 12A to bring the room down gently.
Pitch range at ±6%: 129-145 BPM — anything in that window beatmatches without sounding stretched.
Key on the fader: without key lock (Master Tempo on CDJs), above roughly +5% it plays a semitone higher, so treat it as 8A rather than 1A; below -5% it reads as 6A. With key lock on, it stays 1A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 99/100).
Similar tempo
Within ±3 BPM of 137 — beatmatch without a big tempo pull.
More techno
More from Chris Liebing
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 137 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
