Taken It All - Todd Edwards Soul Line Remix
30s preview
- Key
- 5A · C minor
- BPM
- 132
- Open Key
- 10m
- Energy
- 72/100
- Pop
- 0/100
- Length
- 6:05
- Released
- 2021
- Album
- Defected Presents House Masters - Todd Edwards
- Genre
- Uk Garage
- Loudness
- -4.3 dB
- Dynamics
- 12.3 dB
- ISRC
- GBCFC0300097
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
Taken It All - Todd Edwards Soul Line Remix: peak-time tempo uk garage, C minor (5A), 132 BPM. The feel is bright and euphoric. Rhythmically it is built for the dancefloor. It is vocal-led. The master is loud and heavily compressed. The master keeps unusual dynamic range for club music (crest 12 dB). More underground than 99% of Todd Edwards's catalogue. In a set it works best as a floor-filler.
- Low end:
- more treble-tilted than 95% of Todd Edwards's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 31%
- Low
- 30-130 Hz
- 27%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 19%
- High
- 2.5-11 kHz
FAQ
What key is Taken It All - Todd Edwards Soul Line Remix in?
Taken It All - Todd Edwards Soul Line Remix by Todd Edwards is in C minor, or 5A on the Camelot wheel.
What BPM is Taken It All - Todd Edwards Soul Line Remix?
Taken It All - Todd Edwards Soul Line Remix runs at 132 BPM, a peak-time tempo track.
What mixes well with Taken It All - Todd Edwards Soul Line Remix?
From 5A it blends harmonically with 6A, 5B, 4A. Moving to 6A lifts the energy a step.
Is Taken It All - Todd Edwards Soul Line Remix good for peak time?
With energy 72 out of 100 at 132 BPM, it works best as a floor-filler.
Mixes harmonically
5A → 4A · 6A · 5BFrom 5A, 6A (G minor) lifts the energy a step; 5B (E♭ major) brightens to the relative major; 4A (F minor) cools the energy down a step.
How to mix it
In 5A at 132 BPM: 6A (G minor) — move to 6A to push the floor harder; 5B (E♭ major) — switch to 5B for a mood change without losing the groove; 4A (F minor) — drop to 4A to bring the room down gently.
Pitch range at ±6%: 124-140 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 12A rather than 5A; below -5% it reads as 10A. With key lock on, it stays 5A across the whole range.
Programming: a floor-filler.
Similar tempo
Within ±3 BPM of 132 — beatmatch without a big tempo pull.
More uk garage
More from Todd Edwards
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 132 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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