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One equation drives the whole page: 60000 divided by BPM gives the milliseconds in a beat, so 120 BPM is exactly 500 ms. The table scales that beat by note value — a whole note is 4×, a half 2×, an eighth 0.5×, down to 0.0625× for a sixty-fourth — and adds two more columns, dotted at 1.5× and triplet at two-thirds. A Hz column inverts each figure as 1000 divided by the millisecond value, which is what an LFO rate control wants.
BPM is the only real input, accepting 20 to 400 in steps of 0.1, with preset buttons at 60, 75, 90, 100, 110, 120, 128, 140, 174 and 180 that cover most house, hip-hop and drum and bass sessions. Enter the tempo your project is actually running at, including any decimal, because a 0.5 BPM error compounds across a long delay tail. Leave the reference selector on Quarter note = 1 beat, which is the standard reading.
The reference selector multiplies every value in the table without changing any of the note labels, so choosing Half note = 1 beat at 120 BPM leaves the row still headed quarter note showing 1000 ms. The numbers themselves are mathematically exact, but they assume a rigid grid: swing, shuffle and humanised timing all shift the real note positions, and a delay set to host sync may round differently from these figures.
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What delay time should I use at 120 BPM? +
A quarter note is 500 ms, an eighth 250 ms and a sixteenth 125 ms. For rhythmic interest, the dotted eighth at 375 ms is the classic guitar and synth setting, while the eighth-note triplet lands at 166.7 ms.
What is a dotted eighth delay at 128 BPM? +
351.6 ms. At 128 BPM a beat is 468.75 ms, so a straight eighth is 234.4 ms and the dotted version adds half again. The dotted eighth is the signature house and pop delay because it cuts across the four-on-the-floor pulse.
How do I convert BPM into Hz for an LFO? +
Divide 1000 by the millisecond figure, which the Hz column does for every row. At 120 BPM the beat is 2.000 Hz, an eighth note is 4 Hz and a sixteenth 8 Hz. Set a free-running LFO to those rates to lock it to tempo.
What is the difference between dotted and triplet times? +
A dotted note is one and a half times its straight length, so it falls behind the grid and creates a lurching cross-rhythm. A triplet is two-thirds of the straight length, fitting three notes where two would go, which pushes the feel forward.
Can I use these times for compressor attack and release? +
Yes, that is one of the tool's stated uses. Setting a release to a sixteenth or eighth note in milliseconds makes the compressor recover in time with the track, which is the basis of a pumping mix. Pre-delay on reverb works the same way.
