part viii — nothing is lost
30s preview
- BPM
- 120
- Open Key
- 5d
- Energy
- 23/100
- Pop
- 35/100
- Length
- 5:42
- Released
- 2024
- Genre
- Ambient
- Loudness
- -29.2 dB
- Dynamics
- 17.4 dB
- ISRC
- GBCEL2400102
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A club-tempo ambient cut, part viii — nothing is lost sits in E major (12B) at 120 BPM. The feel is brooding and low-slung. The groove is loose and less beat-driven. 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 17 dB). Better known than 83% of Jon Hopkins's catalogue. For programming, treat it as a warm-up or breakdown cut.
- Low end:
- more treble-tilted than 77% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 33%
- Low
- 30-130 Hz
- 39%
- Low-mid
- 130-570 Hz
- 23%
- Upper-mid
- 570 Hz-2.5 kHz
- 4%
- High
- 2.5-11 kHz
FAQ
What key is part viii — nothing is lost in?
part viii — nothing is lost by Jon Hopkins is in E major, or 12B on the Camelot wheel.
What BPM is part viii — nothing is lost?
part viii — nothing is lost runs at 120 BPM, a club-tempo track.
What mixes well with part viii — nothing is lost?
From 12B it blends harmonically with 1B, 12A, 11B. Moving to 1B lifts the energy a step.
Is part viii — nothing is lost good for peak time?
With energy 23 out of 100 at 120 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 120 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%: 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 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 120 — beatmatch without a big tempo pull.
More ambient
More from Jon Hopkins
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.
