TempoPeek

U2 · Songs of Innocence

This Is Where You Can Reach Me Now

This Is Where You Can Reach Me Now is in C minor at 144 beats per minute.

4080120160200

Tempo

144 BPM · Allegromedian of 196 analyses · 144–144 across the middle eight tenths
Key
C minor3 flats · the key most of the analyses agreed on
Agreement
100%share of analyses that agreed
Analyses
196people who ran the extractor
One beat
416.7milliseconds, 60,000 ÷ BPM
Tuning
434.2Hz · -23 cents from A 440
Dynamics
3.35dB the level wanders from its average
Loudness
0.844Essentia's 0–1 scale, not dB
Danceability
1.334Essentia'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

196 independent analyses of this recording were submitted to AcousticBrainz. All but a handful of them — 100% — put it in C minor, a key signature of 3 flats. The tempo printed above is the median of the 196 readings; 100% of them land within 2% of it, and they barely differ at all.

At 144 BPM one beat lasts 416.7 milliseconds, so a sixteenth note is 104.2 ms and a dotted eighth 312.5 ms — the delay times for this recording. Counted half as fast it is 72 BPM, counted twice as fast 288. A score would mark that Allegro, by the ranges this site uses.

The analyses put the reference pitch of the recording at 434.2 Hz, which is 23 cents below 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 3.35 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 0.844 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 minor; 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 minor

Each of these differs from C minor 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 144 BPM

Note valueBeatsMillisecondsHertz
Whole note41666.70.6
Half note2833.31.2
Dotted quarter1.56251.6
Quarter note (one beat)1416.72.4
Quarter triplet0.667277.83.6
Dotted eighth0.75312.53.2
Eighth note0.5208.34.8
Eighth triplet0.333138.97.2
Dotted sixteenth0.375156.36.4
Sixteenth note0.25104.29.6
Sixteenth triplet0.16769.414.4
Thirty-second note0.12552.119.2

Half time 72 BPM · double time 288 BPM. Every row is one beat (416.7 ms) times the fraction in the second column.

Closest in key and tempo

  1. LowFoo FightersC minor144BPM
  2. No Good (Start the Dance)The ProdigyC minor145BPM
  3. ToxicBritney SpearsC minor143BPM
  4. Tainted LoveMarilyn MansonC minor142BPM
  5. Dark LadyCherC minor147BPM
  6. Lost and Lookin’Sam CookeC minor148BPM
  7. Crank That (Soulja Boy)Soulja Boy Tell ’EmC minor140BPM
  8. OverPortisheadC minor148BPM
  9. BiologicalAirC minor150BPM
  10. Keine LustRammsteinC minor138BPM

Recordings in C minor, ordered by how near their tempo is to 144 BPM. A calculation, not a recommendation.

All songs in C minorAll songs at 144 BPMC minor at 140–149 BPMU2

MusicBrainz collapses 1 recording id into this one. Recording id 18f59b3d-0d5d-4920-b131-8b864d36cf0a.