BPM Delay + Reverb Time Calculator

If you’ve ever landed on a delay that feels almost right, you already know the problem: guessing milliseconds slows you down and the groove suffers. This BPM delay calculator gives you a clean delay time chart in ms from 20–300 BPM, including dotted and triplet values—plus musical reverb decay time (RT60) by BPM and a wide range of pre-delay options so you can keep vocals forward and the mix breathing.

Use it for vocal throws, ping-pong delays, tempo-synced slap, compressor release timing, and quick mix decisions when you’re working fast. Built for producer-engineers and artists who self-mix, and designed to be “plugin-ready” so you can copy values straight into your session.

BPM Delay + Reverb Time Calculator

Tempo-locked delay, pre-delay, musical RT60, plus MS→division finder and compressor/gate timing helper.

BPM (20–300)
120 BPM Tip: type freely. It only updates when BPM is valid (20–300). Press Enter to commit.
Time Signature (for bar-based reverb)
Tap 6–10 times for best accuracy.

Delay Times

Reverb Times (Musical)

Pre-Delay (small → large)
RT60 Targets (bars)
Musical RT60 is a starting point. Then tune density, damping, and early reflections for the actual vibe.

MS ⇄ Note Division Finder

Paste a plugin delay time in ms and get the closest musical values at the current BPM.

Compressor + Gate Timing Helper

Use these as release targets (compressor) or hold/release (gate/expander) so dynamics breathe on the grid.

Genre Presets

Want this dialled in on your track?

If you’re close but not getting that “finished record” translation—vocal sitting right, delays tucked, reverb controlled—bring the session in and we’ll lock it properly.

Safe House Studios (Sydney CBD):

  • Recording sessions with engineering + vocal direction

  • Mixing & mastering (vocals, stems, full productions)

  • Same-day recording packages when you need it moving fast

Use the calculator above to get your tempo values, then if you want a pro set of ears to take it the rest of the way, you can book a session through our calendar.

Book a Session
Same-Day Record • Mix • Master Packages
Mixing / Mastering Services

FAQs

  • A BPM delay calculator converts tempo (BPM) into delay times in milliseconds (ms) for common note divisions (1/4, 1/8, 1/16), including dotted and triplet values. It helps you pick delay times that naturally lock to the groove instead of guessing.

  • A delay time chart is the output—a list of ms values for note divisions at a given BPM. A BPM delay calculator generates that chart instantly when you change BPM, so you can work across any tempo (including 20–300 BPM).

    • 1/8 usually feels steady and modern for general groove support.

    • 1/8 dotted creates a wider, more syncopated bounce that’s common in vocal throws and hip-hop/pop delays.

    • Triplets lean into a rolling feel that can work great for drills, melodic rap, or more rhythmic phrases.
      Best practice: pick the division that matches the vocal rhythm first, then control feedback and filtering so it sits in the pocket.

  • Musical reverb decay time by BPM is often set using bar lengths (e.g., 1/2 bar, 1 bar, 2 bars). Faster BPM generally needs shorter decay to stay clear; slower BPM can handle longer tails. Use the RT60 table as a starting point, then adjust by ear for density and damping.

  • Pre-delay creates space between the dry vocal and the reverb so the words stay upfront. Typical starting points:

    • Tight and modern: 1/64–1/16

    • Natural but still clear: 1/16–1/8

    • Bigger, more dramatic separation: 1/8–1/2
      Your calculator’s larger options (including 1/2 and 1/1) are useful for dramatic effects, slow songs, and intentional “reverb behind the vocal” depth.

  • You can. Slightly different divisions or offsets can widen the image, but be mindful of mono compatibility. A safe approach is to keep the main division consistent and widen with filtering, panning, or a subtle offset rather than extreme differences.

  • Yes. Tempo-based release/hold times help dynamics breathe musically. Use the helper table as a starting point, then fine-tune by ear depending on transients, vocal density, and how hard you’re compressing.