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BPM Tools
BPM
Common tempos
468.75ms

At 128 BPM, one beat (a quarter note) is 468.75 ms.

Eighth note
234.38 ms
Sixteenth note
117.19 ms
Dotted quarter
703.13 ms
Triplet quarter
312.50 ms
BPM, reversed
128 BPM

Every subdivision scales the same quarter-note ms value. Reversed, that ms value read as one beat is exactly the BPM you entered.

Straight

Straight note values in ms and Hz at 128 BPM
Note valueMsHz
1 bar (4 beats)1875.00 ms0.53 Hz
Half note (2 beats)937.50 ms1.07 Hz
Quarter note (1 beat)468.75 ms2.13 Hz
8th note234.38 ms4.27 Hz
16th note117.19 ms8.53 Hz
32nd note58.59 ms17.07 Hz

Dotted

Dotted note values in ms and Hz at 128 BPM
Note valueMsHz
Dotted half1406.25 ms0.71 Hz
Dotted quarter703.13 ms1.42 Hz
Dotted 8th351.56 ms2.84 Hz
Dotted 16th175.78 ms5.69 Hz

Triplet

Triplet note values in ms and Hz at 128 BPM
Note valueMsHz
Triplet half625.00 ms1.60 Hz
Triplet quarter312.50 ms3.20 Hz
Triplet 8th156.25 ms6.40 Hz
Triplet 16th78.13 ms12.80 Hz

Enter a BPM and instantly convert it to milliseconds for every note subdivision: straight, dotted, and triplet. Use this delay time calculator to dial in reverb tails, sidechain timing, and tempo-synced effects.

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Why it matters

Why Converting BPM to Milliseconds Matters

When setting delay times, reverb pre-delays, sidechain release times, or LFO rates in your DAW or DJ software, you need timing values in milliseconds that match your track's tempo. A delay set to the exact ms value of a dotted 8th note at 128 BPM creates that classic "ping-pong" effect that sits perfectly in the groove. Use this chart as a quick reference while producing or preparing effects for a live set.

Formula

BPM to Milliseconds Formula

The base formula is simple: ms = 60,000 ÷ BPM. This gives you the duration of one quarter note (one beat) in milliseconds. From there, derive other note values:

How to derive each note value from the base ms figure
Note valueDerivation
Whole notems × 4
Half notems × 2
Quarter notems (base value)
Eighth notems ÷ 2
Sixteenth notems ÷ 4
Dotted valuesbase × 1.5
Triplet valuesbase × 2/3

For bar-level timing (transitions and cue points), see the beats-to-time calculator. To tempo-match two tracks, use the pitch & tempo calculator.

Ben Modigell

Hey, it's Ben Modigell 👋

I've been DJing and producing music as "so I so," focusing on downtempo, minimal, dub house, tech house, and techno. My background in digital marketing, web development, and UX design over the past 6 years helps me create DJ tutorials that are clear, practical, and easy to follow.

DJingMusic ProductionTech HouseMinimal HouseDigital MarketingWeb DevelopmentUX Design

Methodology

Last updated

Author and Methodology

Maintained by Ben Modigell, founder of Vibes. Ben builds DJ library, preparation, BPM, and harmonic-mixing tools for working DJs.

Source
Vibes DJ-tool taxonomy and page logic maintained by Vibes.
Evidence
Page output checked against the current tool behavior and internal DJ reference data.
How this page is made
Tool pages are built from reusable page logic, internal DJ reference data, and visible on-page calculations. Programmatic reference pages are generated from structured data rather than hand-written one by one.

BPM, key, and genre labels can vary by edit, remaster, detection engine, and DJ software. Use these pages as a practical mixing reference, then verify important tracks in your own library.

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Frequently Asked Questions

The formula is: milliseconds = 60,000 ÷ BPM. For a quarter note at 120 BPM: 60,000 ÷ 120 = 500ms. For other note values, multiply or divide accordingly: an eighth note is half the quarter note value, a dotted quarter is 1.5× the quarter note value.
At 120 BPM, a quarter note equals 500 milliseconds. An eighth note is 250ms, a sixteenth note is 125ms, a dotted quarter is 750ms, and a triplet quarter is approximately 333ms.
Setting delay, reverb pre-delay, and sidechain timing to exact millisecond values that match the track's tempo ensures effects sit perfectly in the groove. A synced delay creates rhythmic echoes; an unsynced delay sounds sloppy and out of time.
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