Vortex
- BPM
- 184
- Half-time
- 92
- Open Key
- 8d
- Energy
- 72/100
- Pop
- 27/100
- Length
- 2:37
- Released
- 2019
- Genre
- Dark Ambient
- Loudness
- -12.4 dB
- ISRC
- USQX91803318
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A dark ambient cut, Vortex sits in D♭ major (3B) at 184 BPM. The mix is almost entirely instrumental. The master keeps real dynamic headroom. Faster than 97% of Gesaffelstein's catalogue.
- Brightness:
- brighter than 84% of Gesaffelstein's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is Vortex in?
Vortex by Gesaffelstein is in D♭ major, or 3B on the Camelot wheel.
What BPM is Vortex?
Vortex runs at 184 BPM.
What mixes well with Vortex?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Vortex good for peak time?
With energy 72 out of 100 at 184 BPM, it works best as an opener or closing-set piece.
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 184 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%: 173-195 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: an opener or closing-set piece.
Similar tempo
Within ±3 BPM of 184 — beatmatch without a big tempo pull.
More dark ambient
More from Gesaffelstein
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 184 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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