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Every key gets a code: a clock position from 1 to 12, plus A for minor or B for major. Keys next to each other on the wheel just sound good together — that's the whole trick. Click any key to see your safe moves.
Beat-tracked tempo and key detection measured from the audio itself, with the Camelot code included in every result.
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| Code | Major (B) | Code | Minor (A) |
|---|---|---|---|
| 1B | B major | 1A | A♭ minor |
| 2B | F♯ major | 2A | E♭ minor |
| 3B | D♭ major | 3A | B♭ minor |
| 4B | A♭ major | 4A | F minor |
| 5B | E♭ major | 5A | C minor |
| 6B | B♭ major | 6A | G minor |
| 7B | F major | 7A | D minor |
| 8B | C major | 8A | A minor |
| 9B | G major | 9A | E minor |
| 10B | D major | 10A | B minor |
| 11B | A major | 11A | F♯ minor |
| 12B | E major | 12A | C♯ minor |
Open Key notation (some DJ software) is the same wheel with different labels: Camelot 8A = Open Key 1m.
Measure it. Upload your track to the free key & BPM finder: the key is read from the actual audio — no tags, no guessing — and comes back with its Camelot code.
No. Percussive sections, long blends through outros, and deliberate key jumps all work without it. The wheel is a map, not a law; it tells you where the smooth roads are.
8A is A minor, 8B is C major: relative keys. They contain the same seven notes, so they mix seamlessly, but the tonal center and mood differ.
Independently, yes: repitching a track to match tempo without keylock shifts its key. A 6% tempo change moves pitch about a semitone, enough to move one Camelot position.
8A (A minor) mixes cleanly with 8A itself, 7A (D minor), 9A (E minor) and 8B (C major, the relative major). Click any code on the wheel above to see its compatible set.
Key, Camelot code and tempo, measured from your file.
The three strongest 15-second windows in your track.
Your sound, ranked against real editorial lineups.