Now We Are Talking (Radio Edit)
30s preview
- BPM
- 128
- Open Key
- 3m
- Energy
- 94/100
- Pop
- 0/100
- Length
- 3:36
- Released
- 2015
- Album
- Now We Are Talking
- Genre
- Trance
- Loudness
- -3.4 dB
- Dynamics
- 9.5 dB
- ISRC
- NLF711503668
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Now We Are Talkingoriginal10B · 128
Against the original (10B at 128 BPM), this version holds the same tempo and moves the key from 10B to 10A.
Now We Are Talking (Radio Edit) runs 128 BPM in B minor (10A), a peak-time tempo trance record. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master is loud and heavily compressed. A 2015 production that still circulates in sets. More underground than 99% of Orjan Nilsen's catalogue.
- Brightness:
- darker than 90% of Orjan Nilsen's catalogue
- Tempo:
- slower than 84% of Orjan Nilsen's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 35%
- Low
- 30-130 Hz
- 27%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 17%
- High
- 2.5-11 kHz
FAQ
What key is Now We Are Talking (Radio Edit) in?
Now We Are Talking (Radio Edit) by Orjan Nilsen is in B minor, or 10A on the Camelot wheel.
What BPM is Now We Are Talking (Radio Edit)?
Now We Are Talking (Radio Edit) runs at 128 BPM, a peak-time tempo track.
What mixes well with Now We Are Talking (Radio Edit)?
From 10A it blends harmonically with 11A, 10B, 9A. Moving to 11A lifts the energy a step.
Is Now We Are Talking (Radio Edit) good for peak time?
With energy 94 out of 100 at 128 BPM, it works best as a peak-time weapon.
Mixes harmonically
10A → 9A · 11A · 10BFrom 10A, 11A (F♯ minor) lifts the energy a step; 10B (D major) brightens to the relative major; 9A (E minor) cools the energy down a step.
How to mix it
In 10A at 128 BPM: 11A (F♯ minor) — move to 11A to push the floor harder; 10B (D major) — switch to 10B for a mood change without losing the groove; 9A (E minor) — drop to 9A 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 5A rather than 10A; below -5% it reads as 3A. With key lock on, it stays 10A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 94/100).
Similar tempo
Within ±3 BPM of 128 — beatmatch without a big tempo pull.
More trance
More from Orjan Nilsen
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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