What Used to Be Called Used to Be
30s preview
- BPM
- 127
- Open Key
- 5m
- Energy
- 54/100
- Pop
- 3/100
- Length
- 10:06
- Released
- 2009
- Genre
- Minimal
- Label
- Ovum Recordings
- Loudness
- -14.1 dB
- ISRC
- US4LK0990073
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
What Used to Be Called Used to Be is a peak-time tempo minimal track in D♭ minor (12A) at 127 BPM. The groove is strong and floor-ready. 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. A 2009 production that still circulates in sets. More bass-heavy than 94% of Josh Wink's catalogue. In a set it works best as a mid-set roller.
- Energy:
- calmer than 87% of Josh Wink's catalogue
- Groove:
- groovier than 86% of Josh Wink's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 45%
- Low
- 30-130 Hz
- 31%
- Low-mid
- 130-570 Hz
- 13%
- Upper-mid
- 570 Hz-2.5 kHz
- 11%
- High
- 2.5-11 kHz
FAQ
What key is What Used to Be Called Used to Be in?
What Used to Be Called Used to Be by Josh Wink is in D♭ minor, or 12A on the Camelot wheel.
What BPM is What Used to Be Called Used to Be?
What Used to Be Called Used to Be runs at 127 BPM, a peak-time tempo track.
What mixes well with What Used to Be Called Used to Be?
From 12A it blends harmonically with 1A, 12B, 11A. Moving to 1A lifts the energy a step.
Is What Used to Be Called Used to Be good for peak time?
With energy 54 out of 100 at 127 BPM, it works best as a mid-set roller.
Mixes harmonically
12A → 11A · 1A · 12BFrom 12A, 1A (A♭ minor) lifts the energy a step; 12B (E major) brightens to the relative major; 11A (F♯ minor) cools the energy down a step.
How to mix it
In 12A at 127 BPM: 1A (A♭ minor) — move to 1A to push the floor harder; 12B (E major) — switch to 12B for a mood change without losing the groove; 11A (F♯ minor) — drop to 11A to bring the room down gently.
Pitch range at ±6%: 119-135 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 7A rather than 12A; below -5% it reads as 5A. With key lock on, it stays 12A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 127 — beatmatch without a big tempo pull.
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Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 127 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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