51°11′17″n 10°3′10″e - We Haven't Lost Our Way
30s preview
- Key
- 4A · F minor
- BPM
- 125
- Open Key
- 9m
- Energy
- 88/100
- Pop
- 0/100
- Length
- 4:18
- Released
- 2018
- Album
- We Are the Light
- Genre
- Trance
- Loudness
- -6.8 dB
- Dynamics
- 13.9 dB
- ISRC
- NLE711800431
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- 51°11′17″N 10°3′10″E [We Haven’t Lost Our Way] -original3B · 128
- 51°11′17″N 10°3′10″E (We Haven’t Lost Our Way) - Extended Mixversion4A · 125
51°11′17″n 10°3′10″e - We Haven't Lost Our Way runs 125 BPM in F minor (4A), a club-tempo trance record. It reads as punchy, neutral in mood. It is vocal-led. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 14 dB). A 2018 production that still circulates in sets. More underground than 99% of Markus Schulz's catalogue. For programming, treat it as a peak-time weapon.
- Tempo:
- slower than 92% of Markus Schulz's catalogue
- Brightness:
- brighter than 87% of Markus Schulz's catalogue
- Groove:
- less groove-driven than 76% of Markus Schulz's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 32%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 18%
- High
- 2.5-11 kHz
FAQ
What key is 51°11′17″n 10°3′10″e - We Haven't Lost Our Way in?
51°11′17″n 10°3′10″e - We Haven't Lost Our Way by Markus Schulz is in F minor, or 4A on the Camelot wheel.
What BPM is 51°11′17″n 10°3′10″e - We Haven't Lost Our Way?
51°11′17″n 10°3′10″e - We Haven't Lost Our Way runs at 125 BPM, a club-tempo track.
What mixes well with 51°11′17″n 10°3′10″e - We Haven't Lost Our Way?
From 4A it blends harmonically with 5A, 4B, 3A. Moving to 5A lifts the energy a step.
Is 51°11′17″n 10°3′10″e - We Haven't Lost Our Way good for peak time?
With energy 88 out of 100 at 125 BPM, it works best as a peak-time weapon.
Mixes harmonically
4A → 3A · 5A · 4BFrom 4A, 5A (C minor) lifts the energy a step; 4B (A♭ major) brightens to the relative major; 3A (B♭ minor) cools the energy down a step.
How to mix it
In 4A at 125 BPM: 5A (C minor) — move to 5A to push the floor harder; 4B (A♭ major) — switch to 4B for a mood change without losing the groove; 3A (B♭ minor) — drop to 3A 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 11A rather than 4A; below -5% it reads as 9A. With key lock on, it stays 4A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 88/100).
Similar tempo
Within ±3 BPM of 125 — beatmatch without a big tempo pull.
More trance
More from Markus Schulz
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.
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