
A delay time calculator converts your tempo into the millisecond values that land on the beat. Enter the BPM and it returns the standard, dotted, and triplet delay times, so the repeats fall on musical subdivisions instead of drifting. Quarter-note delay is the workhorse; the dotted eighth gives the familiar rhythmic shimmer.
Every delay time starts from the quarter note: 60000 ÷ BPM milliseconds. From there, straight subdivisions halve, dotted values multiply by 1.5, and triplets take two-thirds.
| Delay | Formula | At 120 BPM |
|---|---|---|
| Quarter (1/4) | 60000 ÷ BPM | 500 ms |
| Eighth (1/8) | quarter ÷ 2 | 250 ms |
| Dotted eighth | eighth × 1.5 | 375 ms |
| Triplet eighth | eighth × 2/3 | 167 ms |
| Sixteenth (1/16) | quarter ÷ 4 | 125 ms |
The note value sets the feel. Match it to what the part is doing rather than reaching for the same setting every time.

An unsynced delay set to a round number fights the track — the repeats land slightly early or late on every beat and pile up as clutter. A tempo-matched delay puts each repeat on a subdivision of the beat, so it reinforces the groove and reads as part of the arrangement. Once you know the millisecond value, set it on the delay unit or switch the unit to tempo-sync mode. If you only need the raw note lengths, a BPM-to-ms converter gives you the full table.
Divide 60,000 by the BPM for the quarter-note delay. Halve it for an eighth, multiply the eighth by 1.5 for a dotted eighth, or take two-thirds for a triplet. At 120 BPM the quarter is 500 ms and the dotted eighth is 375 ms.
A quarter-note delay gives clean, on-the-beat throws that suit vocals. For a more rhythmic effect, a dotted eighth weaves the repeats between the beats. Match the choice to the tempo of the song using a delay calculator.
A dotted eighth is 1.5 times an eighth note. At 120 BPM the eighth is 250 ms, so the dotted eighth is 375 ms. Its repeats land between the main beats, creating the classic syncopated shimmer heard on countless guitar and synth parts.
Usually because it is not synced to the tempo, so the repeats drift against the beat. Set the delay to a tempo-matched value, and roll off some low end on the repeats so they sit behind the dry signal.