The Other Side (original)
30s preview
- Key
- 1B · B major
- BPM
- 140
- Half-time
- 70
- Open Key
- 6d
- Energy
- 45/100
- Pop
- 16/100
- Length
- 5:24
- Released
- 2009
- Genre
- Trance
- Loudness
- -12.6 dB
- Dynamics
- 13.5 dB
- ISRC
- DEQ692000044
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A driving up-tempo trance cut, The Other Side (original) sits in B major (1B) at 140 BPM. The feel is dark and steady. It leans atmospheric over strictly danceable. It is vocal-led. The master keeps real dynamic headroom. The master keeps unusual dynamic range for club music (crest 14 dB). A 2009 production that still circulates in sets. Calmer than 95% of Paul van Dyk's catalogue. In a set it works best as a high-intensity peak cut.
- Groove:
- less groove-driven than 93% of Paul van Dyk's catalogue
- Tempo:
- faster than 82% of Paul van Dyk's catalogue
- Low end:
- more treble-tilted than 81% of Paul van Dyk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 31%
- Low
- 30-130 Hz
- 30%
- Low-mid
- 130-570 Hz
- 23%
- Upper-mid
- 570 Hz-2.5 kHz
- 16%
- High
- 2.5-11 kHz
FAQ
What key is The Other Side (original) in?
The Other Side (original) by Paul van Dyk is in B major, or 1B on the Camelot wheel.
What BPM is The Other Side (original)?
The Other Side (original) runs at 140 BPM, a driving up-tempo track.
What mixes well with The Other Side (original)?
From 1B it blends harmonically with 2B, 1A, 12B. Moving to 2B lifts the energy a step.
Is The Other Side (original) good for peak time?
With energy 45 out of 100 at 140 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
1B → 12B · 2B · 1AFrom 1B, 2B (F♯ major) lifts the energy a step; 1A (A♭ minor) settles into the relative minor; 12B (E major) cools the energy down a step.
How to mix it
In 1B at 140 BPM: 2B (F♯ major) — move to 2B to push the floor harder; 1A (A♭ minor) — switch to 1A for a mood change without losing the groove; 12B (E major) — drop to 12B to bring the room down gently.
Pitch range at ±6%: 132-148 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 8B rather than 1B; below -5% it reads as 6B. With key lock on, it stays 1B across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 140 — 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 140 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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