Lost in Berlin
30s preview
- BPM
- 132
- Open Key
- 4m
- Energy
- 56/100
- Pop
- 9/100
- Length
- 6:36
- Released
- 2012
- Album
- Evolution
- Genre
- Trance
- Loudness
- -3.9 dB
- Dynamics
- 11.6 dB
- ISRC
- DEQ691200011
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- Lost in Berlin - Giuseppe Ottaviani Remixremix11A · 135
- Lost In Berlin - Giuseppe Ottaviani Remixremix11A · 135
- Lost In Berlin - Giuseppe Ottaviani Remixremix11A · 134
- Lost In Berlin - Giuseppe Ottaviani Radio Editversion11A · 135
- Lost In Berlin - Extended Mixversion11A · 132
A peak-time tempo trance cut, Lost in Berlin sits in F♯ minor (11A) at 132 BPM. The feel is dark and steady. Its spectrum is weighted to the sub and kick, with a heavy low end. The master is loud and heavily compressed. The master keeps unusual dynamic range for club music (crest 12 dB). A 2012 production that still circulates in sets. Calmer than 90% of Paul van Dyk's catalogue. In a set it works best as a mid-set roller.
- Groove:
- groovier than 80% of Paul van Dyk'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
- 16%
- High
- 2.5-11 kHz
FAQ
What key is Lost in Berlin in?
Lost in Berlin by Paul van Dyk is in F♯ minor, or 11A on the Camelot wheel.
What BPM is Lost in Berlin?
Lost in Berlin runs at 132 BPM, a peak-time tempo track.
What mixes well with Lost in Berlin?
From 11A it blends harmonically with 12A, 11B, 10A. Moving to 12A lifts the energy a step.
Is Lost in Berlin good for peak time?
With energy 56 out of 100 at 132 BPM, it works best as a mid-set roller.
Mixes harmonically
11A → 10A · 12A · 11BFrom 11A, 12A (D♭ minor) lifts the energy a step; 11B (A major) brightens to the relative major; 10A (B minor) cools the energy down a step.
How to mix it
In 11A at 132 BPM: 12A (D♭ minor) — move to 12A to push the floor harder; 11B (A major) — switch to 11B for a mood change without losing the groove; 10A (B minor) — drop to 10A 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 6A rather than 11A; below -5% it reads as 4A. With key lock on, it stays 11A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 132 — beatmatch without a big tempo pull.
More trance
More from Paul van Dyk
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.
Every insight on this page, for your own library.
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