First There Was Sound - Jamie Stevens Remix
30s preview
- Key
- 9A · E minor
- BPM
- 126
- Open Key
- 2m
- Energy
- 93/100
- Pop
- 0/100
- Length
- 8:25
- Released
- 2010
- Album
- First There Was Sound
- Genre
- Progressive House
- Loudness
- -6.8 dB
- Dynamics
- 11.1 dB
- ISRC
- AUOP11000002
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- First There Was Soundoriginal10A · 126
- First There Was Sound - Continuum Mixoriginal9B · 126
- First There Was Sound - Fulcrum's Daydream Mixoriginal10B · 124
Against the original (10A at 126 BPM), this version holds the same tempo and moves the key from 10A to 9A.
First There Was Sound - Jamie Stevens Remix is a club-tempo progressive house track in E minor (9A) at 126 BPM. The feel is punchy, neutral in mood. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 11 dB). A 2010 production that still circulates in sets. More underground than 99% of GMJ's catalogue.
- Tempo:
- faster than 96% of GMJ's catalogue
- Energy:
- hotter than 94% of GMJ's catalogue
- Groove:
- less groove-driven than 82% of GMJ's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 37%
- Low
- 30-130 Hz
- 32%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 11%
- High
- 2.5-11 kHz
FAQ
What key is First There Was Sound - Jamie Stevens Remix in?
First There Was Sound - Jamie Stevens Remix by GMJ is in E minor, or 9A on the Camelot wheel.
What BPM is First There Was Sound - Jamie Stevens Remix?
First There Was Sound - Jamie Stevens Remix runs at 126 BPM, a club-tempo track.
What mixes well with First There Was Sound - Jamie Stevens Remix?
From 9A it blends harmonically with 10A, 9B, 8A. Moving to 10A lifts the energy a step.
Is First There Was Sound - Jamie Stevens Remix good for peak time?
With energy 93 out of 100 at 126 BPM, it works best as a peak-time weapon.
Mixes harmonically
9A → 8A · 10A · 9BFrom 9A, 10A (B minor) lifts the energy a step; 9B (G major) brightens to the relative major; 8A (A minor) cools the energy down a step.
How to mix it
In 9A at 126 BPM: 10A (B minor) — move to 10A to push the floor harder; 9B (G major) — switch to 9B for a mood change without losing the groove; 8A (A minor) — drop to 8A to bring the room down gently.
Pitch range at ±6%: 118-134 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 4A rather than 9A; below -5% it reads as 2A. With key lock on, it stays 9A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 93/100).
Similar tempo
Within ±3 BPM of 126 — beatmatch without a big tempo pull.
More progressive house
More from GMJ
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 126 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
