MIXER TOOLBOX

Tap Tempo can derive BPM from the average interval across the most recent four taps, then updates as each new tap is entered. Straight, dotted, and triplet modes provide the corresponding musical subdivisions.

The reverb section uses the same tempo grid to create repeatable pre-delay and decay references. Each size combines a pre-delay with a decay time to reach the displayed total reverb time. These values are timing references rather than rules: the final setting still depends on the source, arrangement, reverb algorithm, and the sound you want.

Use the COPY control beside any millisecond value to paste the number directly into a delay or reverb plug-in.

This tool expresses compressor release times as musical note values at the selected BPM, with straight, dotted, and triplet options.

The General Character column describes the relative feel of each release length in plain language. Longer values keep gain reduction active for more of the musical phrase, while shorter values allow the compressor to recover sooner. The descriptions are intentionally broad because two compressors set to the same release time can behave differently depending on their detector, envelope, program dependence, gain reduction, and circuit or plug-in design.

Use the calculated time as a repeatable starting reference, then make the final release decision by ear.

This note frequency calculator works in both directions: select a note to calculate its frequency across octaves, or enter a frequency to find the nearest equal-tempered note and its cents offset. Standard tuning is set to A4 = 440 Hz by default, and the reference pitch can be changed when a session, instrument, ensemble, or historical tuning uses a different A4 frequency.

In equal temperament, each octave doubles in frequency and each semitone is separated by the twelfth root of two. Selecting a pitch class displays that note across the useful audible octaves, making it quick to identify frequencies for EQ work, filters, synthesis, tuning, resonance checks, and other audio tasks.

Frequency values are shown to two decimal places. The COPY control copies only the numeric frequency so it can be pasted directly into a compatible plug-in parameter.

A harmonic series is built from integer multiples of a fundamental frequency. The second harmonic is two times the fundamental, the third harmonic is three times the fundamental, and so on. This calculator shows the fundamental through the seventh harmonic and labels higher harmonics as odd or even.

You can start from a musical note or enter a fundamental frequency directly. Note mode uses the octave-0 frequency for the selected pitch class so the table can show the widest useful range without hiding lower-frequency information. Each harmonic also includes its octave multiples until the next value would exceed 20 kHz.

These are mathematical harmonic frequencies, not predictions of harmonic level. The actual strength of each harmonic depends on the instrument, voice, signal, excitation, processing, and recording chain.

When two microphones are different distances from the same source, the sound reaches them at different times. The calculator can start from microphone distance, a known time offset, or a known sample offset, then converts between distance, arrival time, and samples at 44.1, 48, or 96 kHz. It uses a fixed speed of sound of 343 meters per second, a practical room-temperature reference.

When similar signals with a time offset are combined, some frequencies reinforce while others cancel, producing comb filtering. The first destructive null is determined by the arrival-time difference, with additional nulls at odd multiples of that frequency. The table lists destructive nulls through 20 kHz.

This calculation describes the timing relationship created by distance. Real microphone signals may produce less-perfect cancellation because of level differences, polar patterns, reflections, source geometry, and differences between the microphones.