First Come
- Key
- 9A · E minor
- BPM
- 128
- Open Key
- 2m
- Energy
- 61/100
- Pop
- 9/100
- Length
- 4:02
- Released
- 2016
- Genre
- Tech House
- Loudness
- -7.8 dB
- ISRC
- DEAF71672831
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A peak-time tempo tech house cut, First Come sits in E minor (9A) at 128 BPM. It reads as dark and driving. Rhythmically it is built for the dancefloor. The mix is almost entirely instrumental. A 2016 production that still circulates in sets. Faster than 93% of Oliver Koletzki's catalogue. For programming, treat it as a mid-set roller.
- Brightness:
- darker than 84% of Oliver Koletzki's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is First Come in?
First Come by Oliver Koletzki is in E minor, or 9A on the Camelot wheel.
What BPM is First Come?
First Come runs at 128 BPM, a peak-time tempo track.
What mixes well with First Come?
From 9A it blends harmonically with 10A, 9B, 8A. Moving to 10A lifts the energy a step.
Is First Come good for peak time?
With energy 61 out of 100 at 128 BPM, it works best as a mid-set roller.
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 128 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%: 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 4A rather than 9A; below -5% it reads as 2A. With key lock on, it stays 9A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 128 — beatmatch without a big tempo pull.
More tech house
More from Oliver Koletzki
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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