West Side Sax (2014 remaster)
30s preview
- BPM
- 167
- Half-time
- 84
- Open Key
- 4d
- Energy
- 83/100
- Pop
- 0/100
- Length
- 6:46
- Released
- 2014
- Genre
- Drum N Bass
- Loudness
- -8.0 dB
- Dynamics
- 11.9 dB
- ISRC
- GBNZT1400023
- Explicit
- Yes
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
West Side Sax (2014 remaster): very fast drum n bass, A major (11B), 167 BPM. It reads as bright and euphoric. 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 12 dB). A 2014 production that still circulates in sets. More underground than 99% of Ed Rush's catalogue. For programming, treat it as a high-intensity peak cut.
- Brightness:
- brighter than 89% of Ed Rush's catalogue
- Energy:
- calmer than 75% of Ed Rush's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 32%
- Low
- 30-130 Hz
- 25%
- Low-mid
- 130-570 Hz
- 23%
- Upper-mid
- 570 Hz-2.5 kHz
- 19%
- High
- 2.5-11 kHz
FAQ
What key is West Side Sax (2014 remaster) in?
West Side Sax (2014 remaster) by Ed Rush is in A major, or 11B on the Camelot wheel.
What BPM is West Side Sax (2014 remaster)?
West Side Sax (2014 remaster) runs at 167 BPM, a very fast track.
What mixes well with West Side Sax (2014 remaster)?
From 11B it blends harmonically with 12B, 11A, 10B. Moving to 12B lifts the energy a step.
Is West Side Sax (2014 remaster) good for peak time?
With energy 83 out of 100 at 167 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
11B → 10B · 12B · 11AFrom 11B, 12B (E major) lifts the energy a step; 11A (F♯ minor) settles into the relative minor; 10B (D major) cools the energy down a step.
How to mix it
In 11B at 167 BPM: 12B (E major) — move to 12B to push the floor harder; 11A (F♯ minor) — switch to 11A for a mood change without losing the groove; 10B (D major) — drop to 10B to bring the room down gently.
Pitch range at ±6%: 157-177 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 6B rather than 11B; below -5% it reads as 4B. With key lock on, it stays 11B across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 167 — 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 167 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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