Waiting (Mick Harris remake)
30s preview
- BPM
- 120
- Open Key
- 8m
- Energy
- 44/100
- Pop
- 0/100
- Length
- 5:57
- Released
- 1997
- Genre
- Techno
- Loudness
- -8.4 dB
- Dynamics
- 10.3 dB
- ISRC
- DEF279708503
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A club-tempo techno cut, Waiting (Mick Harris remake) sits in B♭ minor (3A) at 120 BPM. The feel is balanced in mood. 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. A 1997 production that still circulates in sets. More underground than 99% of Surgeon's catalogue. In a set it works best as a warm-up or breakdown cut.
- Energy:
- calmer than 97% of Surgeon's catalogue
- Low end:
- more bass-heavy than 96% of Surgeon's catalogue
- Tempo:
- slower than 92% of Surgeon's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 47%
- Low
- 30-130 Hz
- 34%
- Low-mid
- 130-570 Hz
- 18%
- Upper-mid
- 570 Hz-2.5 kHz
- 0%
- High
- 2.5-11 kHz
FAQ
What key is Waiting (Mick Harris remake) in?
Waiting (Mick Harris remake) by Surgeon is in B♭ minor, or 3A on the Camelot wheel.
What BPM is Waiting (Mick Harris remake)?
Waiting (Mick Harris remake) runs at 120 BPM, a club-tempo track.
What mixes well with Waiting (Mick Harris remake)?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is Waiting (Mick Harris remake) good for peak time?
With energy 44 out of 100 at 120 BPM, it works best as a warm-up or breakdown cut.
Mixes harmonically
3A → 2A · 4A · 3BFrom 3A, 4A (F minor) lifts the energy a step; 3B (D♭ major) brightens to the relative major; 2A (E♭ minor) cools the energy down a step.
How to mix it
In 3A at 120 BPM: 4A (F minor) — move to 4A to push the floor harder; 3B (D♭ major) — switch to 3B for a mood change without losing the groove; 2A (E♭ minor) — drop to 2A to bring the room down gently.
Pitch range at ±6%: 113-127 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 10A rather than 3A; below -5% it reads as 8A. With key lock on, it stays 3A across the whole range.
Programming: a warm-up or breakdown cut — early set or after a peak to reset the room.
Similar tempo
Within ±3 BPM of 120 — beatmatch without a big tempo pull.
More techno
More from Surgeon
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 120 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
