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Get the beat-synced compressor release in ms from any BPM and note value, with straight, dotted and triplet figures for sidechain pump.

📘 How to Use

  1. Enter the tempo in BPM
  2. Pick a note value such as 1/4 or 1/8
  3. Switch between straight, dotted and triplet
  4. Read the release time shown in ms

Sidechain Release Time Calculator

tune Input

BPM

graphic_eq Release time

Release (synced to one beat)

242 ms

Suggested attack

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Share of one bar

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For sidechain pumping, set the release to match the gap between kicks so the level recovers smoothly. Start from one beat, then shorten it if the pump feels too obvious or the groove drags.

※ Release figures use (60000 / BPM) x (4 / note value), with x1.5 for dotted and x2/3 for triplet notes.

※ Suggested attack shows about 1/16 of the release (min 0.5 ms) as a starting point; classic pumping often uses 10-30 ms, so fine-tune by ear.

timer Note-value ms reference

Note Straight Dotted Triplet

These figures are the theoretical beat divided by each note value. The best release also depends on the groove and your compressor, so trust your ears for the final touch.

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Article

Sidechain Release Time Calculator | Beat-Synced ms for Every Note Value

Pick a BPM and note value to get the compressor release time in milliseconds, locked to the beat. A reference table lists straight, dotted and triplet figures, so the number you need for a clean sidechain pump is right in front of you.

💡 About this tool

The pump in a sidechained mix lives or dies on the release. Set it too long or off the grid and the level recovers unevenly, smearing the groove. Tie the release to a note value and the compressor breathes in time with the track, giving you that classic ducking bounce.

The catch: most compressors only take a release in milliseconds and have no tempo-sync switch. So you end up doing 60000 / BPM in your head every time the tempo changes. This calculator does it for you, listing quarter, eighth and sixteenth notes plus their dotted and triplet variants in one table. Drag the BPM slider and the whole table updates, so you can hunt for the right value while you audition tempos.

A common starting point is a quarter-note release; if the pump feels too obvious, shorten it toward an eighth note. The suggested-attack field offers a short value as a jumping-off point.

🧐 Frequently Asked Questions

Which note value should the release be? A quarter or eighth note is the usual choice. With a kick on every beat, a quarter-note release lets the level recover just before the next kick, which is the classic pumping feel.

When would I use a faster release than a quarter note? When you want subtle ducking instead of an obvious pump. Shorter values like an eighth or sixteenth let the level snap back faster, so the movement stays in the background.

How do I set the attack? For pumping, keep it fast (roughly a few ms up to 10 ms). The suggested-attack figure here is about 1/16 of the release as a quick starting point, so trust your ears for the final value.

Why do I need dotted and triplet values? On shuffle or halftime grooves where beats are not evenly split, a dotted (x1.5) or triplet (x2/3) value can sit better in the pocket. The table lets you compare all of them at a glance.

Will the displayed value be perfect as-is? The figures are a theoretical starting point. The best release shifts with the length of your kick and the compressor's response, so treat the number as a base to fine-tune from.

📚 Why a quarter note pumps

In four-on-the-floor dance music the kick lands on every beat, and a quarter-note release lets the compressor recover its grip just before the next kick arrives. That steady duck-and-recover, beat after beat, is the classic pump — which is why a quarter note is the go-to release setting.

Starting points also vary by genre. Around 125 BPM house, producers often talk about a 150-250 ms release; at 140 BPM trap, something like 100-150 ms is a common "noticeable but not overdone" range. Generate the theoretical per-note figures here, then tighten them against the actual length of your kick to put both the math and your ears to work.