Secondary Power featuring Pete Simpson & Jenna G
30s preview
- BPM
- 105
- Open Key
- 8m
- Energy
- 92/100
- Pop
- 0/100
- Length
- 3:44
- Released
- 2007
- Album
- Experiments With Biasonics
- Genre
- House
- Loudness
- -2.2 dB
- Dynamics
- 11.3 dB
- ISRC
- GBPHK0700040
Key, BPM and audio features: model-based audio analysis · how we measure · catalogue updated July 2026
A mid-tempo house cut, Secondary Power featuring Pete Simpson & Jenna G sits in B♭ minor (3A) at 105 BPM. It is vocal-led. Its spectrum is weighted to the sub and kick, with a heavy low end. The master is loud and heavily compressed. The master keeps unusual dynamic range for club music (crest 11 dB). A 2007 production that still circulates in sets. More underground than 99% of Zed Bias's catalogue.
- Tempo:
- slower than 92% of Zed Bias's catalogue
- Energy:
- hotter than 85% of Zed Bias's catalogue
- Brightness:
- brighter than 79% of Zed Bias's catalogue
Sonic profile
Frequency spectrum
amplitude · bass → treble
- 32%
- Low
- 30-130 Hz
- 28%
- Low-mid
- 130-570 Hz
- 22%
- Upper-mid
- 570 Hz-2.5 kHz
- 18%
- High
- 2.5-11 kHz
FAQ
What key is Secondary Power featuring Pete Simpson & Jenna G in?
Secondary Power featuring Pete Simpson & Jenna G by Zed Bias is in B♭ minor, or 3A on the Camelot wheel.
What BPM is Secondary Power featuring Pete Simpson & Jenna G?
Secondary Power featuring Pete Simpson & Jenna G runs at 105 BPM, a mid-tempo track.
What mixes well with Secondary Power featuring Pete Simpson & Jenna G?
From 3A it blends harmonically with 4A, 3B, 2A. Moving to 4A lifts the energy a step.
Is Secondary Power featuring Pete Simpson & Jenna G good for peak time?
With energy 92 out of 100 at 105 BPM, it works best as a mid-set roller.
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 105 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%: 99-111 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 mid-set roller.
Similar tempo
Within ±3 BPM of 105 — beatmatch without a big tempo pull.
More house
More from Zed Bias
Full profile
Other recommendations
Beyond strict key and genre matches: tracks that still sit in beatmatch range of 105 BPM with a compatible energy and groove — candidates for a key jump or a genre crossover.
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