Seeing & Believing (extended version)
30s preview
- BPM
- 128
- Open Key
- 3d
- Energy
- 72/100
- Pop
- 0/100
- Length
- 3:32
- Released
- 2020
- Genre
- Deep House
- Loudness
- -8.9 dB
- Dynamics
- 16.6 dB
- ISRC
- DEY472085295
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Seeing & Believing (extended version) runs 128 BPM in D major (10B), a peak-time tempo deep house record. The mix is almost entirely instrumental. Its spectrum is centred in the low-mids, warm and bass-forward. The master keeps unusual dynamic range for club music (crest 17 dB). More underground than 99% of Chris Stussy's catalogue. In a set it works best as a floor-filler.
- Low end:
- more treble-tilted than 99% of Chris Stussy's catalogue
- Energy:
- calmer than 81% of Chris Stussy's catalogue
- Brightness:
- brighter than 76% of Chris Stussy's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 11%
- Low
- 30-130 Hz
- 37%
- Low-mid
- 130-570 Hz
- 32%
- Upper-mid
- 570 Hz-2.5 kHz
- 20%
- High
- 2.5-11 kHz
FAQ
What key is Seeing & Believing (extended version) in?
Seeing & Believing (extended version) by Chris Stussy is in D major, or 10B on the Camelot wheel.
What BPM is Seeing & Believing (extended version)?
Seeing & Believing (extended version) runs at 128 BPM, a peak-time tempo track.
What mixes well with Seeing & Believing (extended version)?
From 10B it blends harmonically with 11B, 10A, 9B. Moving to 11B lifts the energy a step.
Is Seeing & Believing (extended version) good for peak time?
With energy 72 out of 100 at 128 BPM, it works best as a floor-filler.
Mixes harmonically
10B → 9B · 11B · 10AFrom 10B, 11B (A major) lifts the energy a step; 10A (B minor) settles into the relative minor; 9B (G major) cools the energy down a step.
How to mix it
In 10B at 128 BPM: 11B (A major) — move to 11B to push the floor harder; 10A (B minor) — switch to 10A for a mood change without losing the groove; 9B (G major) — drop to 9B to bring the room down gently.
Pitch range at ±6%: 120-136 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 5B rather than 10B; below -5% it reads as 3B. With key lock on, it stays 10B across the whole range.
Programming: a floor-filler.
Similar tempo
Within ±3 BPM of 128 — beatmatch without a big tempo pull.
More deep house
More from Chris Stussy
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 128 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
