Where the Roads Collide
30s preview
- Key
- 6A · G minor
- BPM
- 120
- Open Key
- 11m
- Energy
- 68/100
- Pop
- 0/100
- Length
- 4:55
- Released
- 2020
- Genre
- Deep House
- Loudness
- -9.7 dB
- Dynamics
- 14.7 dB
- ISRC
- DELV41900858
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A club-tempo deep house cut, Where the Roads Collide sits in G minor (6A) at 120 BPM. Tonally it lands dark and driving. The mix is almost entirely instrumental. Its spectrum is centred in the low-mids, warm and bass-forward. The master keeps unusual dynamic range for club music (crest 15 dB). More underground than 99% of Fritz Kalkbrenner's catalogue. In a set it works best as a mid-set roller.
- Low end:
- more treble-tilted than 98% of Fritz Kalkbrenner's catalogue
- Tempo:
- slower than 82% of Fritz Kalkbrenner's catalogue
- Brightness:
- darker than 81% of Fritz Kalkbrenner's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 26%
- Low
- 30-130 Hz
- 33%
- Low-mid
- 130-570 Hz
- 27%
- Upper-mid
- 570 Hz-2.5 kHz
- 14%
- High
- 2.5-11 kHz
FAQ
What key is Where the Roads Collide in?
Where the Roads Collide by Fritz Kalkbrenner is in G minor, or 6A on the Camelot wheel.
What BPM is Where the Roads Collide?
Where the Roads Collide runs at 120 BPM, a club-tempo track.
What mixes well with Where the Roads Collide?
From 6A it blends harmonically with 7A, 6B, 5A. Moving to 7A lifts the energy a step.
Is Where the Roads Collide good for peak time?
With energy 68 out of 100 at 120 BPM, it works best as a mid-set roller.
Mixes harmonically
6A → 5A · 7A · 6BFrom 6A, 7A (D minor) lifts the energy a step; 6B (B♭ major) brightens to the relative major; 5A (C minor) cools the energy down a step.
How to mix it
In 6A at 120 BPM: 7A (D minor) — move to 7A to push the floor harder; 6B (B♭ major) — switch to 6B for a mood change without losing the groove; 5A (C minor) — drop to 5A 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 1A rather than 6A; below -5% it reads as 11A. With key lock on, it stays 6A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 120 — beatmatch without a big tempo pull.
More deep house
More from Fritz Kalkbrenner
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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