Opalescent
- BPM
- 142
- Half-time
- 71
- Open Key
- 4m
- Energy
- 6/100
- Pop
- 27/100
- Length
- 2:11
- Released
- 2001
- Genre
- Downtempo
- Label
- Just Music
- Loudness
- -27.2 dB
- ISRC
- GBDDN1700676
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Opalescentoriginal12B · 120
- Opalescentoriginal12B · 120
Opalescent: driving up-tempo downtempo, F♯ minor (11A), 142 BPM. It reads as 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. A 2001 production that still circulates in sets. Calmer than 94% of Jon Hopkins's catalogue. In a set it works best as a warm-up or breakdown cut.
- Tempo:
- faster than 87% of Jon Hopkins's catalogue
- Groove:
- less groove-driven than 87% of Jon Hopkins's catalogue
- Brightness:
- darker than 86% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is Opalescent in?
Opalescent by Jon Hopkins is in F♯ minor, or 11A on the Camelot wheel.
What BPM is Opalescent?
Opalescent runs at 142 BPM, a driving up-tempo track.
What mixes well with Opalescent?
From 11A it blends harmonically with 12A, 11B, 10A. Moving to 12A lifts the energy a step.
Is Opalescent good for peak time?
With energy 6 out of 100 at 142 BPM, it works best as a warm-up or breakdown cut.
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.
How to mix it
In 11A at 142 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%: 133-151 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 warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 142 — 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 142 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
