Till The End Of The Day - Stereo
- Key
- 7A · D minor
- BPM
- 145
- Half-time
- 73
- Open Key
- 12m
- Energy
- 99/100
- Pop
- 0/100
- Length
- 3:32
- Released
- 1968
- Album
- Live At Kelvin Hall (Bonus Track Edition - Reissue)
- Genre
- Techno
- Loudness
- -10.5 dB
- ISRC
- GBAJE0704843
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Till the End of the Day (2014 Remaster)original8B · 141
- Till The End Of The Day - Live 1972original8B · 166
- Till The End Of The Day - Live: Fillmore West 30 Nov 1970 KSAN-FM Broadcastoriginal6A · 77
- TILL THE END OF THE DAY - MONOoriginal8B · 140
- TILL THE END OF THE DAY - STEREOoriginal8B · 140
- Till The End Of The Day - Live: Fillmore West, San Francisco 29 Nov '69original3B · 82
At 145 BPM in D minor (7A), Till The End Of The Day - Stereo is a driving up-tempo techno production. The feel is dark and driving. The groove is loose and less beat-driven. The mix is almost entirely instrumental. The master keeps real dynamic headroom. A 1968 production that still circulates in sets. Hotter than 99% of Kink's catalogue. For programming, treat it as a high-intensity peak cut.
- Groove:
- less groove-driven than 99% of Kink's catalogue
- Brightness:
- darker than 99% of Kink's catalogue
- Reach:
- more underground than 99% of Kink's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is Till The End Of The Day - Stereo in?
Till The End Of The Day - Stereo by Kink is in D minor, or 7A on the Camelot wheel.
What BPM is Till The End Of The Day - Stereo?
Till The End Of The Day - Stereo runs at 145 BPM, a driving up-tempo track.
What mixes well with Till The End Of The Day - Stereo?
From 7A it blends harmonically with 8A, 7B, 6A. Moving to 8A lifts the energy a step.
Is Till The End Of The Day - Stereo good for peak time?
With energy 99 out of 100 at 145 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
7A → 6A · 8A · 7BFrom 7A, 8A (A minor) lifts the energy a step; 7B (F major) brightens to the relative major; 6A (G minor) cools the energy down a step.
How to mix it
In 7A at 145 BPM: 8A (A minor) — move to 8A to push the floor harder; 7B (F major) — switch to 7B for a mood change without losing the groove; 6A (G minor) — drop to 6A to bring the room down gently.
Pitch range at ±6%: 136-154 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 2A rather than 7A; below -5% it reads as 12A. With key lock on, it stays 7A across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 145 — beatmatch without a big tempo pull.
More techno
More from Kink
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 145 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
