Apparition
30s preview
- BPM
- 67
- Double-time
- 134
- Open Key
- 5d
- Energy
- 1/100
- Pop
- 11/100
- Length
- 2:02
- Released
- 2001
- Album
- Opalescent
- Genre
- Downtempo
- Label
- Just Music
- Loudness
- -33.0 dB
- Dynamics
- 17.5 dB
- ISRC
- GBDDN9900063
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Apparitionoriginal12B · 121
- Apparitionoriginal12B · 64
A downtempo cut, Apparition sits in E major (12B) at 67 BPM. Tonally it lands brooding and low-slung. It leans atmospheric over strictly danceable. 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 18 dB). A 2001 production that still circulates in sets. Calmer than 99% of Jon Hopkins's catalogue. For programming, treat it as a warm-up or breakdown cut.
- Tempo:
- slower than 95% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 36%
- Low
- 30-130 Hz
- 43%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 0%
- High
- 2.5-11 kHz
FAQ
What key is Apparition in?
Apparition by Jon Hopkins is in E major, or 12B on the Camelot wheel.
What BPM is Apparition?
Apparition runs at 67 BPM.
What mixes well with Apparition?
From 12B it blends harmonically with 1B, 12A, 11B. Moving to 1B lifts the energy a step.
Is Apparition good for peak time?
With energy 1 out of 100 at 67 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
12B → 11B · 1B · 12AFrom 12B, 1B (B major) lifts the energy a step; 12A (D♭ minor) settles into the relative minor; 11B (A major) cools the energy down a step.
How to mix it
In 12B at 67 BPM: 1B (B major) — move to 1B to push the floor harder; 12A (D♭ minor) — switch to 12A for a mood change without losing the groove; 11B (A major) — drop to 11B to bring the room down gently.
Pitch range at ±6%: 63-71 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 7B rather than 12B; below -5% it reads as 5B. With key lock on, it stays 12B across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 67 — beatmatch without a big tempo pull.
More downtempo
More from Jon Hopkins
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 67 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
