The Sadist III
30s preview
- BPM
- 146
- Half-time
- 73
- Open Key
- 5m
- Energy
- 45/100
- Pop
- 7/100
- Length
- 4:25
- Released
- 2016
- Genre
- Breakbeat
- Loudness
- -18.3 dB
- Dynamics
- 16.0 dB
- ISRC
- ITYGV1400028
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
The Sadist III is a fast breakbeat track in D♭ minor (12A) at 146 BPM. The feel is dark and steady. 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 real dynamic headroom. The master keeps unusual dynamic range for club music (crest 16 dB). A 2016 production that still circulates in sets. Calmer than 91% of DJ Stingray 313's catalogue. In a set it works best as a high-intensity peak cut.
- Groove:
- groovier than 81% of DJ Stingray 313's catalogue
- Reach:
- better known than 78% of DJ Stingray 313's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 41%
- Low
- 30-130 Hz
- 29%
- Low-mid
- 130-570 Hz
- 20%
- Upper-mid
- 570 Hz-2.5 kHz
- 10%
- High
- 2.5-11 kHz
FAQ
What key is The Sadist III in?
The Sadist III by DJ Stingray 313 is in D♭ minor, or 12A on the Camelot wheel.
What BPM is The Sadist III?
The Sadist III runs at 146 BPM, a fast track.
What mixes well with The Sadist III?
From 12A it blends harmonically with 1A, 12B, 11A. Moving to 1A lifts the energy a step.
Is The Sadist III good for peak time?
With energy 45 out of 100 at 146 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
12A → 11A · 1A · 12BFrom 12A, 1A (A♭ minor) lifts the energy a step; 12B (E major) brightens to the relative major; 11A (F♯ minor) cools the energy down a step.
How to mix it
In 12A at 146 BPM: 1A (A♭ minor) — move to 1A to push the floor harder; 12B (E major) — switch to 12B for a mood change without losing the groove; 11A (F♯ minor) — drop to 11A to bring the room down gently.
Pitch range at ±6%: 137-155 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 7A rather than 12A; below -5% it reads as 5A. With key lock on, it stays 12A across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 146 — beatmatch without a big tempo pull.
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Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 146 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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