Something to Believe in
30s preview
- BPM
- 127
- Open Key
- 4m
- Energy
- 45/100
- Pop
- 1/100
- Length
- 4:50
- Released
- 2017
- Genre
- Trance
- Loudness
- -10.4 dB
- Dynamics
- 11.6 dB
- ISRC
- NLQ881700052
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
At 127 BPM in F♯ minor (11A), Something to Believe in is a peak-time tempo trance production. The feel is balanced in mood. The mix is almost entirely instrumental. 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 12 dB). A 2017 production that still circulates in sets. Calmer than 89% of Ferry Corsten's catalogue. In a set it works best as a mid-set roller.
- Low end:
- more bass-heavy than 87% of Ferry Corsten's catalogue
- Tempo:
- slower than 77% of Ferry Corsten's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 39%
- Low
- 30-130 Hz
- 40%
- Low-mid
- 130-570 Hz
- 17%
- Upper-mid
- 570 Hz-2.5 kHz
- 3%
- High
- 2.5-11 kHz
FAQ
What key is Something to Believe in in?
Something to Believe in by Ferry Corsten is in F♯ minor, or 11A on the Camelot wheel.
What BPM is Something to Believe in?
Something to Believe in runs at 127 BPM, a peak-time tempo track.
What mixes well with Something to Believe in?
From 11A it blends harmonically with 12A, 11B, 10A. Moving to 12A lifts the energy a step.
Is Something to Believe in good for peak time?
With energy 45 out of 100 at 127 BPM, it works best as a mid-set roller.
Mixes harmonically
11A → 10A · 12A · 11BFrom 11A, 12A (D♭ minor) lifts the energy a step; 11B (A major) brightens to the relative major; 10A (B minor) cools the energy down a step.
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How to mix it
In 11A at 127 BPM: 12A (D♭ minor) — move to 12A to push the floor harder; 11B (A major) — switch to 11B for a mood change without losing the groove; 10A (B minor) — drop to 10A to bring the room down gently.
Pitch range at ±6%: 119-135 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 6A rather than 11A; below -5% it reads as 4A. With key lock on, it stays 11A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 127 — 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 127 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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