Silly Sundays - Simon Schmalfeld Remix by Tim Engelhardt cover art

Silly Sundays - Simon Schmalfeld Remix

Tim Engelhardt

30s preview

Key
9A · E minor
BPM
125
Open Key
2m
Energy
74/100
Pop
0/100
Length
5:05
Released
2012
Album
Mittwoch
Genre
Tech House
Loudness
-11.6 dB
Dynamics
11.0 dB
ISRC
ITH641029610

Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026

Other versions

Against the original (11B at 127 BPM), this version runs 2 BPM slower and moves the key from 11B to 9A.

Silly Sundays - Simon Schmalfeld Remix runs 125 BPM in E minor (9A), a club-tempo tech house record. The feel is dark and driving. 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 real dynamic headroom. The master keeps unusual dynamic range for club music (crest 11 dB). A 2012 production that still circulates in sets. More underground than 99% of Tim Engelhardt's catalogue. In a set it works best as a floor-filler.

Groove:
groovier than 84% of Tim Engelhardt's catalogue
Brightness:
darker than 82% of Tim Engelhardt's catalogue
Tempo:
faster than 78% of Tim Engelhardt's catalogue

Sonic profile

EnergyGrooveMoodOrganicInstr.LiveTempo
Energy74
Mood10Dark
Groove81
Acoustic7
Instrumental94
Live11
Speech9

Frequency spectrum

amplitude · bass → treble

601252505001k2k4k8k
39%
Low
30-130 Hz
29%
Low-mid
130-570 Hz
16%
Upper-mid
570 Hz-2.5 kHz
16%
High
2.5-11 kHz

FAQ

What key is Silly Sundays - Simon Schmalfeld Remix in?

Silly Sundays - Simon Schmalfeld Remix by Tim Engelhardt is in E minor, or 9A on the Camelot wheel.

What BPM is Silly Sundays - Simon Schmalfeld Remix?

Silly Sundays - Simon Schmalfeld Remix runs at 125 BPM, a club-tempo track.

What mixes well with Silly Sundays - Simon Schmalfeld Remix?

From 9A it blends harmonically with 10A, 9B, 8A. Moving to 10A lifts the energy a step.

Is Silly Sundays - Simon Schmalfeld Remix good for peak time?

With energy 74 out of 100 at 125 BPM, it works best as a floor-filler.

Mixes harmonically

9A8A · 10A · 9B

From 9A, 10A (B minor) lifts the energy a step; 9B (G major) brightens to the relative major; 8A (A minor) cools the energy down a step.

Every move from 9A

10ASimple Mix Upper
8ASimple Mix Downer
9BTonal Shift·
10BDiagonal Mix Upper
8BDiagonal Mix Downer
6BCompatible Tone·
11AHigh Energy Boost▲▲▲
7AHigh Energy Drain▼▼▼
12AParallel Key Upper▲▲
6AParallel Key Downer▼▼
4ATritone Jump▲▲
1ARelated Keyrisky

How to mix it

In 9A at 125 BPM: 10A (B minor) — move to 10A to push the floor harder; 9B (G major) — switch to 9B for a mood change without losing the groove; 8A (A minor) — drop to 8A to bring the room down gently.

Pitch range at ±6%: 117-133 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 4A rather than 9A; below -5% it reads as 2A. With key lock on, it stays 9A across the whole range.

Programming: a floor-filler.

Similar tempo

Within ±3 BPM of 125 — beatmatch without a big tempo pull.

More tech house

More from Tim Engelhardt

Full profile

Other recommendations

Beyond strict key and genre matches: tracks that still sit in beatmatch range of 125 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.

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