We're Nothing Without Love
30s preview
- BPM
- 70
- Double-time
- 140
- Open Key
- 3d
- Energy
- 15/100
- Pop
- 0/100
- Length
- 3:20
- Released
- 2015
- Genre
- Drum N Bass
- Loudness
- -12.5 dB
- Dynamics
- 12.9 dB
- ISRC
- GBCJY2000417
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
We're Nothing Without Love: drum n bass, D major (10B), 70 BPM. The feel is brooding and low-slung. It is vocal-led. Its spectrum is centred in the low-mids, warm and bass-forward. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 13 dB). A 2015 production that still circulates in sets. Slower than 99% of Etherwood's catalogue. In a set it works best as a warm-up or breakdown cut.
- Reach:
- more underground than 99% of Etherwood's catalogue
- Energy:
- calmer than 97% of Etherwood's catalogue
- Low end:
- more treble-tilted than 87% of Etherwood's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 21%
- Low
- 30-130 Hz
- 38%
- Low-mid
- 130-570 Hz
- 26%
- Upper-mid
- 570 Hz-2.5 kHz
- 15%
- High
- 2.5-11 kHz
FAQ
What key is We're Nothing Without Love in?
We're Nothing Without Love by Etherwood is in D major, or 10B on the Camelot wheel.
What BPM is We're Nothing Without Love?
We're Nothing Without Love runs at 70 BPM.
What mixes well with We're Nothing Without Love?
From 10B it blends harmonically with 11B, 10A, 9B. Moving to 11B lifts the energy a step.
Is We're Nothing Without Love good for peak time?
With energy 15 out of 100 at 70 BPM, it works best as a warm-up or breakdown cut.
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 70 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%: 66-74 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 warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 70 — 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 70 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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