Talking All That Jazz
30s preview
- BPM
- 125
- Open Key
- 8m
- Energy
- 73/100
- Pop
- 0/100
- Length
- 7:16
- Released
- 2010
- Genre
- Tech House
- Loudness
- -7.2 dB
- Dynamics
- 10.6 dB
- ISRC
- DEDL80902283
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Talking All That Jazz - Patrick Lindsey & M.In Remixremix10A · 125
At 125 BPM in B♭ minor (3A), Talking All That Jazz is a club-tempo tech house production. It reads as punchy, neutral in mood. 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. A 2010 production that still circulates in sets. More underground than 99% of Marc Romboy's catalogue. For programming, treat it as a floor-filler.
- Groove:
- groovier than 90% of Marc Romboy's catalogue
- Brightness:
- brighter than 80% of Marc Romboy's catalogue
- Low end:
- more treble-tilted than 77% of Marc Romboy's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 36%
- Low
- 30-130 Hz
- 27%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 15%
- High
- 2.5-11 kHz
FAQ
What key is Talking All That Jazz in?
Talking All That Jazz by Marc Romboy is in B♭ minor, or 3A on the Camelot wheel.
What BPM is Talking All That Jazz?
Talking All That Jazz runs at 125 BPM, a club-tempo track.
What mixes well with Talking All That Jazz?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is Talking All That Jazz good for peak time?
With energy 73 out of 100 at 125 BPM, it works best as a floor-filler.
Mixes harmonically
3A → 2A · 4A · 3BFrom 3A, 4A (F minor) lifts the energy a step; 3B (D♭ major) brightens to the relative major; 2A (E♭ minor) cools the energy down a step.
How to mix it
In 3A at 125 BPM: 4A (F minor) — move to 4A to push the floor harder; 3B (D♭ major) — switch to 3B for a mood change without losing the groove; 2A (E♭ minor) — drop to 2A to bring the room down gently.
Pitch range at ±6%: 117-133 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 10A rather than 3A; below -5% it reads as 8A. With key lock on, it stays 3A across the whole range.
Programming: a floor-filler.
Similar tempo
Within ±3 BPM of 125 — beatmatch without a big tempo pull.
More tech house
More from Marc Romboy
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 125 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
