Time
& Space.
Tap the tempo, read the numbers, get back to the mix. Every subdivision in milliseconds and hertz, plus reverb pre-delay and decay that sit in the pocket instead of smearing across it.
Reverb — pre-delay & decay
Four room sizes locked to the grid. The tail dies just before the next hit, so the space breathes with the track instead of fighting it. Pre-delay is a 1/64 of the total reverb time — long enough to keep the source dry and forward.
| Reverb size | Pre-delay | Decay time | Total (RT60) |
|---|
Delay times & LFO rates
Every subdivision against your tempo, straight, dotted and triplet. The hertz value under each time is the same figure as a rate — dial it into an LFO, a tremolo or an auto-pan and it stays in time. Click any value to copy it.
| Note | Straight | Dotted | Triplet |
|---|
Using the numbers
Pre-delay is the room
The gap before the reverb arrives is what tells the ear how far away the walls are. Too short and the source drowns in its own tail; too long and it detaches from the mix.
Start at the 1/64 value. Shorten to 1/128 if the source loses weight, lengthen to 1/32 if the vocal needs more room to sit forward.
Set the tail to the snare
In 4/4 with backbeat snares, a half-note total reverb time drops the tail right before the next hit. If the snare lands on 3, take the whole-bar value instead.
Then subtract: decay = total − pre-delay. That is the number the plugin
actually wants.
Three delays, three widths
Movement comes from disagreement. Run a dotted 1/8 hard left, a triplet 1/8 hard right and a straight 1/16 up the middle — the same tempo, three different feels.
Pull a few milliseconds off a value to push the groove forward, add a few to lay it back. The grid is the starting point, not the verdict.