Film Credits
30s preview
- Key
- 9A · E minor
- BPM
- 132
- Open Key
- 2m
- Energy
- 19/100
- Pop
- 39/100
- Length
- 3:25
- Released
- 2011
- Genre
- Downtempo
- Loudness
- -13.0 dB
- Dynamics
- 13.2 dB
- ISRC
- GBWZD1103703
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Film Credits: peak-time tempo downtempo, E minor (9A), 132 BPM. It reads as brooding and low-slung. It leans atmospheric over strictly danceable. The mix is almost entirely instrumental. Its spectrum is centred in the low-mids, warm and bass-forward. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 13 dB). A 2011 production that still circulates in sets. Better known than 89% of Olafur Arnalds's catalogue. In a set it works best as a warm-up or breakdown cut.
- Groove:
- less groove-driven than 78% of Olafur Arnalds's catalogue
- Tempo:
- faster than 76% of Olafur Arnalds's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 28%
- Low
- 30-130 Hz
- 36%
- Low-mid
- 130-570 Hz
- 27%
- Upper-mid
- 570 Hz-2.5 kHz
- 10%
- High
- 2.5-11 kHz
FAQ
What key is Film Credits in?
Film Credits by Olafur Arnalds is in E minor, or 9A on the Camelot wheel.
What BPM is Film Credits?
Film Credits runs at 132 BPM, a peak-time tempo track.
What mixes well with Film Credits?
From 9A it blends harmonically with 10A, 9B, 8A. Moving to 10A lifts the energy a step.
Is Film Credits good for peak time?
With energy 19 out of 100 at 132 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
9A → 8A · 10A · 9BFrom 9A, 10A (B minor) lifts the energy a step; 9B (G major) brightens to the relative major; 8A (A minor) cools the energy down a step.
How to mix it
In 9A at 132 BPM: 10A (B minor) — move to 10A to push the floor harder; 9B (G major) — switch to 9B for a mood change without losing the groove; 8A (A minor) — drop to 8A to bring the room down gently.
Pitch range at ±6%: 124-140 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 4A rather than 9A; below -5% it reads as 2A. With key lock on, it stays 9A 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 132 — beatmatch without a big tempo pull.
More downtempo
More from Olafur Arnalds
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 132 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
