Caught - Tritonal Radio Edit
30s preview
- BPM
- 128
- Open Key
- 8m
- Energy
- 87/100
- Pop
- 1/100
- Length
- 4:05
- Released
- 2012
- Album
- Caught (Tritonal Radio Edit)
- Genre
- Trance
- Loudness
- -6.3 dB
- Dynamics
- 13.3 dB
- ISRC
- NLF711204444
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 - Duderstadt Remixremix3B · 128
- Caught - Tritonal Club Mixversion3A · 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 3A.
At 128 BPM in B♭ minor (3A), Caught - Tritonal Radio Edit is a peak-time tempo trance production. The groove is loose and less beat-driven. It is vocal-led. The master keeps unusual dynamic range for club music (crest 13 dB). A 2012 production that still circulates in sets. Less groove-driven than 94% of Markus Schulz's catalogue. In a set it works best as a peak-time weapon.
- Low end:
- more treble-tilted than 90% of Markus Schulz's catalogue
- Tempo:
- slower than 77% of Markus Schulz's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 28%
- Low
- 30-130 Hz
- 29%
- Low-mid
- 130-570 Hz
- 23%
- Upper-mid
- 570 Hz-2.5 kHz
- 20%
- High
- 2.5-11 kHz
FAQ
What key is Caught - Tritonal Radio Edit in?
Caught - Tritonal Radio Edit by Markus Schulz is in B♭ minor, or 3A on the Camelot wheel.
What BPM is Caught - Tritonal Radio Edit?
Caught - Tritonal Radio Edit runs at 128 BPM, a peak-time tempo track.
What mixes well with Caught - Tritonal Radio Edit?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is Caught - Tritonal Radio Edit good for peak time?
With energy 87 out of 100 at 128 BPM, it works best as a peak-time weapon.
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 128 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%: 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 10A rather than 3A; below -5% it reads as 8A. With key lock on, it stays 3A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 87/100).
Similar tempo
Within ±3 BPM of 128 — beatmatch without a big tempo pull.
![Corsten's Countdown 448 Intro [CC448] by Ferry Corsten cover art](https://i.scdn.co/image/ab67616d00001e026d979db2bef8673e9026799f){kind=small}
More trance
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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.
![Corsten's Countdown Intro [CC447] by Ferry Corsten cover art](https://i.scdn.co/image/ab67616d00001e023b846f5c2f7ea915d9184be4){kind=small}
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