Out There and Back
30s preview
- BPM
- 139
- Open Key
- 8d
- Energy
- 98/100
- Pop
- 0/100
- Length
- 6:56
- Released
- 2000
- Genre
- Trance
- Loudness
- -7.5 dB
- Dynamics
- 11.7 dB
- ISRC
- DEN120000910
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Out There and Back is a driving up-tempo trance track in D♭ major (3B) at 139 BPM. Tonally it lands bright and euphoric. Rhythmically it is built for the dancefloor. The mix is almost entirely instrumental. Its spectrum is weighted to the sub and kick, with a heavy low end. The master keeps unusual dynamic range for club music (crest 12 dB). A 2000 production that still circulates in sets. More underground than 99% of Paul van Dyk's catalogue. For programming, treat it as a peak-time weapon.
- Brightness:
- brighter than 96% of Paul van Dyk's catalogue
- Energy:
- hotter than 88% of Paul van Dyk's catalogue
- Groove:
- groovier than 85% of Paul van Dyk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 35%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 15%
- High
- 2.5-11 kHz
FAQ
What key is Out There and Back in?
Out There and Back by Paul van Dyk is in D♭ major, or 3B on the Camelot wheel.
What BPM is Out There and Back?
Out There and Back runs at 139 BPM, a driving up-tempo track.
What mixes well with Out There and Back?
From 3B it blends harmonically with 4B, 3A, 2B. Moving to 4B lifts the energy a step.
Is Out There and Back good for peak time?
With energy 98 out of 100 at 139 BPM, it works best as a peak-time weapon.
Mixes harmonically
3B → 2B · 4B · 3AFrom 3B, 4B (A♭ major) lifts the energy a step; 3A (B♭ minor) settles into the relative minor; 2B (F♯ major) cools the energy down a step.
How to mix it
In 3B at 139 BPM: 4B (A♭ major) — move to 4B to push the floor harder; 3A (B♭ minor) — switch to 3A for a mood change without losing the groove; 2B (F♯ major) — drop to 2B to bring the room down gently.
Pitch range at ±6%: 131-147 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 10B rather than 3B; below -5% it reads as 8B. With key lock on, it stays 3B across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 98/100).
Similar tempo
Within ±3 BPM of 139 — 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 139 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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