Ain't No Stoppin' (Original Extended)
30s preview
- Key
- 4A · F minor
- BPM
- 130
- Open Key
- 9m
- Energy
- 78/100
- Pop
- 0/100
- Length
- 3:21
- Released
- 2012
- Genre
- Trance
- Loudness
- -4.3 dB
- Dynamics
- 8.8 dB
- ISRC
- NLQ881100957
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Ain't No Stoppin' (Original Extended): peak-time tempo trance, F minor (4A), 130 BPM. Tonally it lands punchy, neutral in mood. It is vocal-led. Its spectrum is weighted to the sub and kick, with a heavy low end. The master is loud and heavily compressed. A 2012 production that still circulates in sets. More underground than 99% of Ferry Corsten's catalogue. In a set it works best as a peak-time weapon.
- Groove:
- groovier than 82% of Ferry Corsten's catalogue
- Brightness:
- brighter than 78% of Ferry Corsten's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 36%
- Low
- 30-130 Hz
- 26%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 17%
- High
- 2.5-11 kHz
FAQ
What key is Ain't No Stoppin' (Original Extended) in?
Ain't No Stoppin' (Original Extended) by Ferry Corsten is in F minor, or 4A on the Camelot wheel.
What BPM is Ain't No Stoppin' (Original Extended)?
Ain't No Stoppin' (Original Extended) runs at 130 BPM, a peak-time tempo track.
What mixes well with Ain't No Stoppin' (Original Extended)?
From 4A it blends harmonically with 5A, 4B, 3A. Moving to 5A lifts the energy a step.
Is Ain't No Stoppin' (Original Extended) good for peak time?
With energy 78 out of 100 at 130 BPM, it works best as a peak-time weapon.
Mixes harmonically
4A → 3A · 5A · 4BFrom 4A, 5A (C minor) lifts the energy a step; 4B (A♭ major) brightens to the relative major; 3A (B♭ minor) cools the energy down a step.
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How to mix it
In 4A at 130 BPM: 5A (C minor) — move to 5A to push the floor harder; 4B (A♭ major) — switch to 4B for a mood change without losing the groove; 3A (B♭ minor) — drop to 3A to bring the room down gently.
Pitch range at ±6%: 122-138 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 11A rather than 4A; below -5% it reads as 9A. With key lock on, it stays 4A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 78/100).
Similar tempo
Within ±3 BPM of 130 — 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 130 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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