- BPM
- 77
- Double-time
- 154
- Open Key
- 5m
- Energy
- 80/100
- Pop
- 21/100
- Length
- 4:40
- Released
- 2024
- Album
- Double Caper / Hate
- Genre
- House
- Loudness
- -7.4 dB
- ISRC
- USA2P2463154
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A house cut, Hate sits in D♭ minor (12A) at 77 BPM. It reads as bright and euphoric. The mix is almost entirely instrumental. Slower than 99% of Ross From Friends's catalogue. For programming, treat it as a high-intensity peak cut.
- Brightness:
- brighter than 84% of Ross From Friends's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
FAQ
What key is Hate in?
Hate by Ross From Friends is in D♭ minor, or 12A on the Camelot wheel.
What BPM is Hate?
Hate runs at 77 BPM.
What mixes well with Hate?
From 12A it blends harmonically with 1A, 12B, 11A. Moving to 1A lifts the energy a step.
Is Hate good for peak time?
With energy 80 out of 100 at 77 BPM, it works best as a high-intensity peak cut.
Mixes harmonically
12A → 11A · 1A · 12BFrom 12A, 1A (A♭ minor) lifts the energy a step; 12B (E major) brightens to the relative major; 11A (F♯ minor) cools the energy down a step.
How to mix it
In 12A at 77 BPM: 1A (A♭ minor) — move to 1A to push the floor harder; 12B (E major) — switch to 12B for a mood change without losing the groove; 11A (F♯ minor) — drop to 11A to bring the room down gently.
Pitch range at ±6%: 72-82 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 7A rather than 12A; below -5% it reads as 5A. With key lock on, it stays 12A across the whole range.
Programming: a high-intensity peak cut.
Similar tempo
Within ±3 BPM of 77 — beatmatch without a big tempo pull.
More house
More from Ross From Friends
Full profileOther recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 77 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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