Caught - Duderstadt Remix
30s preview
- BPM
- 128
- Open Key
- 8d
- Energy
- 44/100
- Pop
- 1/100
- Length
- 6:09
- Released
- 2012
- Album
- Caught (The Remixes)
- Genre
- Trance
- Loudness
- -7.4 dB
- Dynamics
- 15.0 dB
- ISRC
- NLF711204362
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Caughtoriginal2B · 128
- Caught - Club Mixversion3A · 128
- Caught - Duderstadt Radio Editversion3B · 128
- Caught - Tritonal Club Mixversion3A · 128
- Caught - Tritonal Radio Editversion3A · 128
- Caught (Radio Edit) (feat. Adina Butar)version2B · 128
Against the original (2B at 128 BPM), this version holds the same tempo and moves the key from 2B to 3B.
At 128 BPM in D♭ major (3B), Caught - Duderstadt Remix is a peak-time tempo trance production. The mix is almost entirely instrumental. The master keeps unusual dynamic range for club music (crest 15 dB). A 2012 production that still circulates in sets. Calmer than 98% of Markus Schulz's catalogue. In a set it works best as a warm-up or breakdown cut.
- Low end:
- more treble-tilted than 95% of Markus Schulz's catalogue
- Groove:
- groovier than 93% of Markus Schulz's catalogue
- Tempo:
- slower than 77% of Markus Schulz's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 26%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 26%
- Upper-mid
- 570 Hz-2.5 kHz
- 20%
- High
- 2.5-11 kHz
FAQ
What key is Caught - Duderstadt Remix in?
Caught - Duderstadt Remix by Markus Schulz is in D♭ major, or 3B on the Camelot wheel.
What BPM is Caught - Duderstadt Remix?
Caught - Duderstadt Remix runs at 128 BPM, a peak-time tempo track.
What mixes well with Caught - Duderstadt Remix?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Caught - Duderstadt Remix good for peak time?
With energy 44 out of 100 at 128 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
3B → 2B · 4B · 3AFrom 3B, 4B (A♭ major) lifts the energy a step; 3A (B♭ minor) settles into the relative minor; 2B (F♯ major) cools the energy down a step.
How to mix it
In 3B at 128 BPM: 4B (A♭ major) — move to 4B to push the floor harder; 3A (B♭ minor) — switch to 3A for a mood change without losing the groove; 2B (F♯ major) — drop to 2B to bring the room down gently.
Pitch range at ±6%: 120-136 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 10B rather than 3B; below -5% it reads as 8B. With key lock on, it stays 3B across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 128 — 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 128 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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