That Ain't Right
30s preview
- Key
- 8A · A minor
- BPM
- 122
- Open Key
- 1m
- Energy
- 49/100
- Pop
- 1/100
- Length
- 9:50
- Released
- 2013
- Genre
- Tech House
- Loudness
- -7.1 dB
- Dynamics
- 11.5 dB
- ISRC
- DEW871401967
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A club-tempo tech house cut, That Ain't Right sits in A minor (8A) at 122 BPM. Tonally it lands dark and steady. 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 2013 production that still circulates in sets. Calmer than 98% of Sidney Charles's catalogue. For programming, treat it as a mid-set roller.
- Tempo:
- slower than 98% of Sidney Charles's catalogue
- Low end:
- more bass-heavy than 97% of Sidney Charles's catalogue
- Groove:
- groovier than 95% of Sidney Charles's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 44%
- Low
- 30-130 Hz
- 33%
- Low-mid
- 130-570 Hz
- 18%
- Upper-mid
- 570 Hz-2.5 kHz
- 5%
- High
- 2.5-11 kHz
FAQ
What key is That Ain't Right in?
That Ain't Right by Sidney Charles is in A minor, or 8A on the Camelot wheel.
What BPM is That Ain't Right?
That Ain't Right runs at 122 BPM, a club-tempo track.
What mixes well with That Ain't Right?
From 8A it blends harmonically with 9A, 8B, 7A. Moving to 9A lifts the energy a step.
Is That Ain't Right good for peak time?
With energy 49 out of 100 at 122 BPM, it works best as a mid-set roller.
Mixes harmonically
8A → 7A · 9A · 8BFrom 8A, 9A (E minor) lifts the energy a step; 8B (C major) brightens to the relative major; 7A (D minor) cools the energy down a step.
How to mix it
In 8A at 122 BPM: 9A (E minor) — move to 9A to push the floor harder; 8B (C major) — switch to 8B for a mood change without losing the groove; 7A (D minor) — drop to 7A to bring the room down gently.
Pitch range at ±6%: 115-129 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 3A rather than 8A; below -5% it reads as 1A. With key lock on, it stays 8A across the whole range.
Programming: a mid-set roller.
Similar tempo
Within ±3 BPM of 122 — beatmatch without a big tempo pull.
More tech house
More from Sidney Charles
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 122 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
