Tempo is counted in quarter notes per minute unless a panel says otherwise.
Each cell gives the delay time in milliseconds and the matching rate in hertz for an LFO, tremolo or auto-pan. Tap any value to copy it.
Tap four or more times. The average of your last eight taps sets the shared tempo. You can also tap the T key. The metronome clicks quarter notes and accents beat one.
Starting points for a reverb timed to the tempo. The suggested RT60 (the time for the tail to fall by 60 dB) is the note length minus the pre-delay. The audible tail can run past it depending on the algorithm, wet level and mix, so adjust by ear.
This panel gives the length of a section. It also gives its size in samples for editing and loop points. For 6/8 or 12/8 felt in two or four, set the tempo to count dotted quarters.
This panel fits a sample to a new tempo. Stretching keeps the pitch. Resampling (varispeed) changes the pitch by the amount shown. Leave the target blank to use the shared tempo.
Notes, hertz, cents, reference pitch and tuning systems.
Pick a note or tap a key. Frequencies follow the shared A4 reference.
Enter a value from 8 Hz to 20 kHz, such as a peak on a spectrum analyzer. The test tone plays this exact frequency and ignores the A4 setting.
Each row shows how far a reference is from A = 440 Hz. Only 440 Hz (ISO 16) and 435 Hz (France, 1859) are formal standards. The others are approximate practice references. Historical pitch varied widely by place and period. Choose one to retune the calculator, including notes that are still sounding.
This table shows each interval above the chosen root in three tuning systems. Deviation is how far the pure ratio sits from the equal-tempered note. Play both versions of an interval to hear the beating that equal temperament introduces.
Scales with correct spelling, chords in every key, transposition and capo shapes.
Notes, step pattern and the chords built on each degree. Tap a chord to hear it.
Each chord stacks every other note of the scale. Roman numerals show chord quality. In modal and synthetic scales they do not imply standard functional harmony. Combinations without a common chord symbol are shown as their notes.
Spelling, formula and voicing for any chord and inversion.
Paste chord symbols, including slash chords and bar lines. Then shift them by semitones.
The capo finder shows which open shapes to play in this key. Highlighted rows use the most common open-position shapes.
Decibels, levels, loudness targets, file sizes and room modes.
Amplitude quantities (voltage, sample values, pressure) use 20·log₁₀. Power and intensity use 10·log₁₀.
Perceived loudness depends on frequency, level, program material and listening conditions. The right-hand column is a rough rule of thumb.
Identical, phase-aligned signals add by 20·log₁₀(N). Unrelated signals add by 10·log₁₀(N). The distance estimate assumes a point source in a free field (inverse-square law). Rooms add reflections that reduce the drop.
This is an idealized calculation. It gives the gain that would move this master to each reference level and shows where its true peak would land with no limiter. Services differ in whether they raise quiet tracks, whether they limit, and which mode the listener has chosen, so these are planning numbers. Actual playback can differ. Reference levels are commonly cited values. Check each service's current documentation before relying on them.
Uncompressed PCM, as in WAV and AIFF files.
The chart shows axial modes only, up to 300 Hz. It assumes a rectangular room with rigid walls and sound at 343 m/s (about 20 °C). Shaded bands flag axial modes from different dimensions that lie within 5 Hz of each other. Check these possible coincidences with a measurement. Tangential and oblique modes, absorption, and the speaker and listener positions all change the real response. This chart does not predict the level at any seat.