Waiting For The Rain
30s preview
- BPM
- 141
- Half-time
- 71
- Open Key
- 8d
- Energy
- 97/100
- Pop
- 0/100
- Length
- 7:06
- Released
- 2002
- Album
- Weather E.P.
- Genre
- Techno
- Loudness
- -11.5 dB
- Dynamics
- 10.5 dB
- ISRC
- DEW560210702
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Waiting For The Rain - Renato Cohen Remixremix11A · 134
- Waiting For The Rainoriginal11A · 134
A driving up-tempo techno cut, Waiting For The Rain sits in D♭ major (3B) at 141 BPM. The feel is dark and driving. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps real dynamic headroom. A 2002 production that still circulates in sets. More underground than 99% of Chris Liebing's catalogue.
- Groove:
- less groove-driven than 77% of Chris Liebing's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 40%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 18%
- Upper-mid
- 570 Hz-2.5 kHz
- 14%
- High
- 2.5-11 kHz
FAQ
What key is Waiting For The Rain in?
Waiting For The Rain by Chris Liebing is in D♭ major, or 3B on the Camelot wheel.
What BPM is Waiting For The Rain?
Waiting For The Rain runs at 141 BPM, a driving up-tempo track.
What mixes well with Waiting For The Rain?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Waiting For The Rain good for peak time?
With energy 97 out of 100 at 141 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
3B → 2B · 4B · 3AFrom 3B, 4B (A♭ major) lifts the energy a step; 3A (B♭ minor) settles into the relative minor; 2B (F♯ major) cools the energy down a step.
How to mix it
In 3B at 141 BPM: 4B (A♭ major) — move to 4B to push the floor harder; 3A (B♭ minor) — switch to 3A for a mood change without losing the groove; 2B (F♯ major) — drop to 2B to bring the room down gently.
Pitch range at ±6%: 133-149 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 10B rather than 3B; below -5% it reads as 8B. With key lock on, it stays 3B across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 141 — 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 141 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
