Receiving (Jon Hopkins piano version)
30s preview
- BPM
- 133
- Open Key
- 3d
- Energy
- 9/100
- Pop
- 40/100
- Length
- 6:23
- Released
- 2023
- Genre
- Electro
- Loudness
- -30.0 dB
- Dynamics
- 16.3 dB
- ISRC
- GBUM72206358
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Receiving (Jon Hopkins piano version) is a peak-time tempo electro track in D major (10B) at 133 BPM. It reads as brooding and low-slung. The groove is loose and less beat-driven. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 16 dB). More bass-heavy than 94% of Jon Hopkins's catalogue. In a set it works best as a warm-up or breakdown cut.
- Brightness:
- darker than 90% of Jon Hopkins's catalogue
- Reach:
- better known than 90% of Jon Hopkins's catalogue
- Energy:
- calmer than 88% of Jon Hopkins's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 50%
- Low
- 30-130 Hz
- 32%
- Low-mid
- 130-570 Hz
- 13%
- Upper-mid
- 570 Hz-2.5 kHz
- 5%
- High
- 2.5-11 kHz
FAQ
What key is Receiving (Jon Hopkins piano version) in?
Receiving (Jon Hopkins piano version) by Jon Hopkins is in D major, or 10B on the Camelot wheel.
What BPM is Receiving (Jon Hopkins piano version)?
Receiving (Jon Hopkins piano version) runs at 133 BPM, a peak-time tempo track.
What mixes well with Receiving (Jon Hopkins piano version)?
From 10B it blends harmonically with 11B, 10A, 9B. Moving to 11B lifts the energy a step.
Is Receiving (Jon Hopkins piano version) good for peak time?
With energy 9 out of 100 at 133 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
10B → 9B · 11B · 10AFrom 10B, 11B (A major) lifts the energy a step; 10A (B minor) settles into the relative minor; 9B (G major) cools the energy down a step.
How to mix it
In 10B at 133 BPM: 11B (A major) — move to 11B to push the floor harder; 10A (B minor) — switch to 10A for a mood change without losing the groove; 9B (G major) — drop to 9B to bring the room down gently.
Pitch range at ±6%: 125-141 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 5B rather than 10B; below -5% it reads as 3B. With key lock on, it stays 10B 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 133 — beatmatch without a big tempo pull.
More electro
More from Jon Hopkins
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 133 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
