We Are Tonight (Walden Radio Edit)
- BPM
- 128
- Open Key
- 7m
- Energy
- 82/100
- Pop
- 0/100
- Length
- 3:13
- Released
- 2013
- Album
- We Are Tonight
- Genre
- Trance
- Loudness
- -5.0 dB
- ISRC
- PLB381300166
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Other versions
- We Are Tonight - Las Salinas Remixremix2A · 130
- We Are Tonight - Las Salinas Radio Editversion2A · 130
- We Are Tonight - Club Mixversion2A · 134
- We Are Tonightoriginal2B · 128
- We Are Tonight - Walden Extended Remixremix2A · 128
- We Are Tonightoriginal2B · 128
Against the original (2B at 128 BPM), this version holds the same tempo and moves the key from 2B to 2A.
At 128 BPM in E♭ minor (2A), We Are Tonight (Walden Radio Edit) is a peak-time tempo trance production. The feel is punchy, neutral in mood. It is vocal-led. A 2013 production that still circulates in sets. More underground than 99% of Paul van Dyk's catalogue. In a set it works best as a peak-time weapon.
- Tempo:
- slower than 94% of Paul van Dyk's catalogue
- Groove:
- less groove-driven than 86% of Paul van Dyk's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is We Are Tonight (Walden Radio Edit) in?
We Are Tonight (Walden Radio Edit) by Paul van Dyk is in E♭ minor, or 2A on the Camelot wheel.
What BPM is We Are Tonight (Walden Radio Edit)?
We Are Tonight (Walden Radio Edit) runs at 128 BPM, a peak-time tempo track.
What mixes well with We Are Tonight (Walden Radio Edit)?
From 2A it blends harmonically with 3A, 2B, 1A. Moving to 3A lifts the energy a step.
Is We Are Tonight (Walden Radio Edit) good for peak time?
With energy 82 out of 100 at 128 BPM, it works best as a peak-time weapon.
Mixes harmonically
2A → 1A · 3A · 2BFrom 2A, 3A (B♭ minor) lifts the energy a step; 2B (F♯ major) brightens to the relative major; 1A (A♭ minor) cools the energy down a step.
![Daybreak [Boom] by Markus Schulz cover art](https://i.scdn.co/image/ab67616d00001e02c06d3577a2152b515a695226){kind=small}
How to mix it
In 2A at 128 BPM: 3A (B♭ minor) — move to 3A to push the floor harder; 2B (F♯ major) — switch to 2B for a mood change without losing the groove; 1A (A♭ minor) — drop to 1A 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 9A rather than 2A; below -5% it reads as 7A. With key lock on, it stays 2A across the whole range.
Programming: a peak-time weapon — save it for the main stretch (energy 82/100).
Similar tempo
Within ±3 BPM of 128 — 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 128 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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