BPM & ms
Note lengths in milliseconds and Hz for any tempo β for setting delay, reverb, compressor release and LFOs.
Tempo
ms β BPM
Reverb pre-delay suggestions
Pre-delay lets the dry vocal or instrument speak before the reverb arrives, adding space without mud. Tempo-synced values make the reverb sit in the groove. 10β60 ms usually sounds natural; above 80 ms you hear a clear gap, and above 100 ms it can start to sound like a slapback.
Note value table
| Note | Straight ms | Dotted ms | Triplet ms | Straight Hz |
|---|
Frequency & Period
Convert between frequency, period, wavelength and the nearest note.
Input
Results
- Frequency
- β
- Period
- β
- Speed of sound
- β
- Wavelength
- β
- Half wavelength
- β
- Noteβs exact frequency
- β
Period = 1000 Γ· frequency (ms); wavelength = speed of sound Γ· frequency; speed of sound β 331.3 Γ β(1 + temp/273.15) m/s; cents = 1200 Γ logβ(f Γ· reference).
Keyboard
Pressing a key plays it, highlights it and fills in the frequency above; typing a frequency highlights the nearest key. Pitches follow the A4 reference, and note names follow the accidentals setting.
Harmonics (overtone series)
| # | Frequency | Nearest note | Cents |
|---|
Harmonic n = n Γ fundamental; note names and cents use the A4 setting above. Harmonics 7, 11 and 13 sit noticeably off equal temperament.
Q β bandwidth in octaves
- Q
- β
- Bandwidth (octaves)
- β
- Lower β3 dB point
- β
- Upper β3 dB point
- β
- Bandwidth (Hz)
- β
Q = β(2α΄Ί) Γ· (2α΄Ί β 1); N = 2/ln2 Γ arsinh(1/(2Q)); β3 dB points = centre Γ· / Γ 2^(N/2) (geometrically symmetric). EQs differ slightly in how they define βQβ.
Levels
Convert between dBu, dBV, Vrms, Vpeak and dBFS (sine wave), and work out headroom from your interfaceβs calibration.
Input level
Interface calibration
Results
- dBu
- β
- dBV
- β
- Vrms
- β
- Vpeak
- β
- Vpp (peak-to-peak)
- β
- dBFS (calibrated)
- β
- Headroom to max input
- β
- Headroom to max output
- β
- Headroom at +4 dBu nominal
- β
0 dBu = 0.7746 Vrms (β0.6 V, i.e. 1 mW into 600 Ξ©); 0 dBV = 1 Vrms; dBV = dBu β 2.218; Vpeak = Vrms Γ β2 (sine). Negative headroom means clipping.
Decibels
Convert decibels to power and amplitude (voltage) ratios, and see how much louder several sources get when summed.
dB β ratio
- Power ratio
- β
- Amplitude ratio (voltage / SPL)
- β
Ratio β dB
- as power ratio
- β
- as amplitude ratio
- β
Summing N equal sources
- Correlated (same signal, in phase)
- β
- Uncorrelated (different signals / noise)
- β
Correlated signals add by amplitude: +20Β·logββN; uncorrelated signals add by power: +10Β·logββN. Two guitars at the same level (different takes) together are about +3 dB; duplicating one track in phase gives +6 dB.
Quick reference
| dB | Power ratio | Amplitude ratio | In plain terms |
|---|
Power ratio = 10^(dB/10); amplitude ratio = 10^(dB/20). βTwice as loudβ to the ear is roughly +10 dB.
Sample Rate & Bit Depth
File size, theoretical dynamic range and Nyquist frequency for uncompressed PCM (WAV/AIFF).
Format
Results
- Bit rate
- β
- Per minute
- β
- Per hour
- β
- File size for this length
- β
- Dynamic range (theory)
- β
- Nyquist frequency
- β
Bytes/s = sample rate Γ bit depth Γ· 8 Γ channels. File sizes follow the switch above: Windows uses 1024 (1 MB = 1024Γ1024 bytes, as File Explorer shows), Mac uses 1000 (1 MB = 1000Γ1000 bytes, as Finder shows). Dynamic range β 6.02 Γ bits + 1.76 dB (full-scale sine vs quantisation noise); 32-bit float has a huge theoretical range, with precision equal to a 24-bit mantissa.Nyquist = sample rate Γ· 2. Excludes headers and metadata.
Room & Mics
Estimate standing waves (room modes) in a rectangular room, plus the delay and comb filtering from two mics at different distances.
Room modes
- Volume
- β
- Schroeder frequency (est.)
- β
- Modes below 300 Hz (axial / tangential / oblique)
- β
- Clusters
- β
f = c/2 Γ β((nx/L)Β² + (ny/W)Β² + (nz/H)Β²); Schroeder frequency β 2000 Γ β(RT60 Γ· volume) β below it the room is dominated by modes. β marks modes within 5% of a neighbour (with at least one axial), which tend to cause clear peaks or dips. Axial modes are usually the strongest.
Mode list (β€ 300 Hz)
| Frequency | Type | (nx, ny, nz) | Note |
|---|
Mic distance β time β samples
Results
- Distance difference
- β
- Time difference
- β
- Samples
- β
- Speed of sound
- β
- First comb-filter notch
- β
- Notch spacing
- β
When two equal-level signals are summed, notches fall at 1/(2Ξt), 3/(2Ξt), 5/(2Ξt)β¦; the bigger the level difference, the shallower the notches. To align, nudge the track by that many samples or use delay compensation.
File Analysis
π Files are analysed in your browser and never uploaded. Loudness, true peak and loudness range follow ITU-R BS.1770-4 / EBU R128.
Loudness (BS.1770-4)
- Integrated loudness
- β
- Max short-term loudness
- β
- Max momentary loudness
- β
- Loudness range (LRA)
- β
- True peak (4Γ oversampled)
- β
- Loudness change when summed to mono
- β
Levels
- Sample peak L / R
- β
- RMS L / R
- β
- Crest factor L / R
- β
- L/R balance
- β
- DC offset L / R
- β
- Clipping (β₯3 consecutive full-scale samples)
- β
Stereo & file
- Correlation
- β
- Side / Mid energy ratio
- β
- Format
- β
- Sample rate / bit depth
- β
- Channels / length
- β
- Analysis time
- β
Short-term loudness over time
Time runs left to right, short-term loudness (LUFS, 3 s window) bottom to top; the dashed line is integrated loudness.
Goniometer (loudest 3 s)
Vertical = mid (mono) content, horizontal = side content. A narrow vertical line is close to mono; a wide horizontal spread means out-of-phase content.
Glossary
Common mixing, recording and mastering terms with short definitions. Search by term or keyword.