TempoPeek

Mike Oldfield · Five Miles Out

Five Miles Out

Five Miles Out is in C major at 172.3 beats per minute.

4080120160200

Tempo

172 BPM · Vivacemedian of 137 analyses · 86.8–172.3 across the middle eight tenths
Key
C majorno sharps and no flats · the key most of the analyses agreed on
Agreement
97%share of analyses that agreed
Analyses
137people who ran the extractor
One beat
348.2milliseconds, 60,000 ÷ BPM
Tuning
443.6Hz · +14 cents from A 440
Dynamics
5.13dB the level wanders from its average
Loudness
0.357Essentia's 0–1 scale, not dB
Danceability
1.039Essentia's danceability, 0–3

Source: AcousticBrainz, dump of 2022-06-23 (CC0) · MusicBrainz core data, 2026-09-17 (CC0) · how each number is measured. Measured up to 23.06.2022 — AcousticBrainz stopped collecting in 2022, so nothing released after that date is here.

What the numbers say

137 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 97% — put it in C major, a key signature of no sharps and no flats. The tempo printed above is the median of the 137 readings; 81% of them land within 2% of it, and the middle eight tenths of them run from 86.8 to 172.3 BPM.

At 172.3 BPM one beat lasts 348.2 milliseconds, so a sixteenth note is 87.1 ms and a dotted eighth 261.2 ms — the delay times for this recording. Counted half as fast it is 86.2 BPM, counted twice as fast 344.6. A score would mark that Vivace, by the ranges this site uses.

The analyses put the reference pitch of the recording at 443.6 Hz, which is 14 cents above concert A at 440 Hz — the sort of drift a tape machine or a slightly different mastering leaves behind. That is a fact about this transfer of the music, not about how it was played.

The dynamic complexity of the recording measures 5.13 dB: that is how far the level wanders from its own average, so a small number means a loud, flat master and a large one means a recording that still breathes. Its average loudness is 0.357 on Essentia's 0-to-1 scale, which is not decibels and is not comparable to a streaming service's number.

10 other recordings here are in C major; the ones listed below are the closest in tempo.

Beats per bar are not in this dataset. AcousticBrainz's analysis reports a tempo, a key and a loudness, and no time signature at all, so this page does not print one — a 4/4 here would be a guess dressed as a measurement.

Keys that fit with C major

Each of these differs from C major by at most one accidental, or shares its tonic. That is the whole of what a mixing wheel encodes; here the relations are named instead of numbered.

Delay times at 172 BPM

Note valueBeatsMillisecondsHertz
Whole note41392.90.72
Half note2696.51.44
Dotted quarter1.5522.31.91
Quarter note (one beat)1348.22.87
Quarter triplet0.667232.24.31
Dotted eighth0.75261.23.83
Eighth note0.5174.15.74
Eighth triplet0.333116.18.62
Dotted sixteenth0.375130.67.66
Sixteenth note0.2587.111.49
Sixteenth triplet0.1675817.23
Thirty-second note0.12543.522.97

Half time 86.2 BPM · double time 344.6 BPM. Every row is one beat (348.2 ms) times the fraction in the second column.

Closest in key and tempo

  1. Can't Buy Me LoveThe BeatlesC major172BPM
  2. True ColorsCyndi LauperC major172BPM
  3. Journey of the SorcererEaglesC major172BPM
  4. Don’t Pass Me ByThe BeatlesC major172BPM
  5. Long Hot Summer NightThe Jimi Hendrix ExperienceC major172BPM
  6. Wild ChildThe DoorsC major172BPM
  7. Bron‐Yr‐AurLed ZeppelinC major172BPM
  8. Solitary ManJohnny CashC major172BPM
  9. Only ShallowMy Bloody ValentineC major172BPM
  10. I Can Do BetterAvril LavigneC major172BPM

Recordings in C major, ordered by how near their tempo is to 172 BPM. A calculation, not a recommendation.

All songs in C majorAll songs at 172 BPMC major at 170–179 BPMMike Oldfield

MusicBrainz collapses 8 recording ids into this one. Recording id 8f5078b9-35e4-47c4-91ae-4390482ea216.