Tout doit disparaître
30s preview
- BPM
- 120
- Open Key
- 8d
- Energy
- 50/100
- Pop
- 0/100
- Length
- 6:24
- Released
- 1998
- Album
- Super Discount
- Genre
- House
- Loudness
- -10.6 dB
- Dynamics
- 22.8 dB
- ISRC
- FRR909600011
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Tout doit disparaitreoriginal3B · 120
A club-tempo house cut, Tout doit disparaître sits in D♭ major (3B) at 120 BPM. The feel is bright and easy. The mix is almost entirely instrumental. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 23 dB). A 1998 production that still circulates in sets. More underground than 99% of Étienne de Crécy's catalogue.
- Low end:
- more treble-tilted than 97% of Étienne de Crécy's catalogue
- Energy:
- calmer than 87% of Étienne de Crécy's catalogue
- Groove:
- groovier than 78% of Étienne de Crécy's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 26%
- Low
- 30-130 Hz
- 27%
- Low-mid
- 130-570 Hz
- 27%
- Upper-mid
- 570 Hz-2.5 kHz
- 20%
- High
- 2.5-11 kHz
FAQ
What key is Tout doit disparaître in?
Tout doit disparaître by Étienne de Crécy is in D♭ major, or 3B on the Camelot wheel.
What BPM is Tout doit disparaître?
Tout doit disparaître runs at 120 BPM, a club-tempo track.
What mixes well with Tout doit disparaître?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Tout doit disparaître good for peak time?
With energy 50 out of 100 at 120 BPM, it works best as a mid-set roller.
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 120 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%: 113-127 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 mid-set roller.
Similar tempo
Within ±3 BPM of 120 — beatmatch without a big tempo pull.
More house
More from Étienne de Crécy
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 120 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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