Got Me Working - Christopher Benjamin Rework
30s preview
- BPM
- 127
- Open Key
- 4m
- Energy
- 70/100
- Pop
- 0/100
- Length
- 6:34
- Released
- 2009
- Album
- Got Me Working
- Genre
- Techno
- Loudness
- -9.4 dB
- Dynamics
- 15.0 dB
- ISRC
- NLCK40902091
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Got Me Workingoriginal11A · 126
- Got Me Working - Chris Finke Remixremix11A · 126
- Got Me Working - Paul Woolford Dub Mixversion10A · 127
Against the original (11A at 126 BPM), this version runs 1 BPM faster in the same key.
A peak-time tempo techno cut, Got Me Working - Christopher Benjamin Rework sits in F♯ minor (11A) at 127 BPM. It reads as punchy, neutral in mood. Rhythmically it is built for the dancefloor. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 15 dB). A 2009 production that still circulates in sets. More underground than 99% of Mark Broom's catalogue. In a set it works best as a floor-filler.
- Groove:
- groovier than 95% of Mark Broom's catalogue
- Brightness:
- brighter than 90% of Mark Broom's catalogue
- Low end:
- more treble-tilted than 90% of Mark Broom's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 35%
- Low
- 30-130 Hz
- 29%
- Low-mid
- 130-570 Hz
- 21%
- Upper-mid
- 570 Hz-2.5 kHz
- 15%
- High
- 2.5-11 kHz
FAQ
What key is Got Me Working - Christopher Benjamin Rework in?
Got Me Working - Christopher Benjamin Rework by Mark Broom is in F♯ minor, or 11A on the Camelot wheel.
What BPM is Got Me Working - Christopher Benjamin Rework?
Got Me Working - Christopher Benjamin Rework runs at 127 BPM, a peak-time tempo track.
What mixes well with Got Me Working - Christopher Benjamin Rework?
From 11A it blends harmonically with 12A, 11B, 10A. Moving to 12A lifts the energy a step.
Is Got Me Working - Christopher Benjamin Rework good for peak time?
With energy 70 out of 100 at 127 BPM, it works best as a floor-filler.
Mixes harmonically
11A → 10A · 12A · 11BFrom 11A, 12A (D♭ minor) lifts the energy a step; 11B (A major) brightens to the relative major; 10A (B minor) cools the energy down a step.
How to mix it
In 11A at 127 BPM: 12A (D♭ minor) — move to 12A to push the floor harder; 11B (A major) — switch to 11B for a mood change without losing the groove; 10A (B minor) — drop to 10A 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 6A rather than 11A; below -5% it reads as 4A. With key lock on, it stays 11A across the whole range.
Programming: a floor-filler.
Similar tempo
Within ±3 BPM of 127 — beatmatch without a big tempo pull.
More techno
More from Mark Broom
Full profile
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.
Every insight on this page, for your own library.
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