The dotted eighth delay is the most iconic delay effect in music production. Used by The Edge (U2), David Gilmour (Pink Floyd), and thousands of modern producers, it creates a syncopated rhythmic shimmer that fills space without cluttering the mix.
A dotted note is 1.5x its base note. A dotted eighth is 1.5x an eighth note, which is 0.75x a quarter note. So multiply the quarter note delay by 0.75 to get the dotted eighth value.
Enter any BPM and get the dotted eighth value instantly, plus all other note values in one table.
All values rounded to one decimal place. Use these directly in your DAW's delay plugin.
| BPM | Dotted 8th (ms) | Quarter Note (ms) | Typical Genre |
|---|---|---|---|
| 60 | 750.0ms | 1000.0ms | Slow ballad, ambient |
| 70 | 642.9ms | 857.2ms | Reggae, slow hip-hop |
| 80 | 562.5ms | 750.0ms | Hip-hop, R&B |
| 85 | 529.4ms | 705.9ms | Boom bap, lo-fi |
| 90 | 500.0ms | 666.7ms | Lo-fi, slow trap |
| 95 | 473.7ms | 631.6ms | Hip-hop, rap |
| 100 | 450.0ms | 600.0ms | Pop, hip-hop |
| 105 | 428.6ms | 571.5ms | Pop, mid-tempo |
| 110 | 409.1ms | 545.5ms | Pop, R&B |
| 115 | 391.3ms | 521.7ms | Pop, funk |
| 120 | 375.0ms | 500.0ms | House, pop, dance |
| 123 | 365.9ms | 487.9ms | Deep house |
| 125 | 360.0ms | 480.0ms | House music standard |
| 128 | 351.6ms | 468.8ms | House, techno |
| 130 | 346.2ms | 461.6ms | House, electro |
| 135 | 333.3ms | 444.4ms | Techno, electro |
| 138 | 326.1ms | 434.8ms | Techno, hard dance |
| 140 | 321.4ms | 428.5ms | Techno, drum and bass |
| 145 | 310.3ms | 413.7ms | Hard techno, DnB |
| 150 | 300.0ms | 400.0ms | Drum and bass, jungle |
| 160 | 281.3ms | 375.1ms | Drum and bass, footwork |
| 170 | 264.7ms | 352.9ms | Drum and bass standard |
| 174 | 258.6ms | 344.8ms | Drum and bass standard |
| 180 | 250.0ms | 333.3ms | Fast DnB, hardcore |
Quarter note = 60,000 / BPM. Dotted eighth = quarter x 0.75.
In 4/4 time, each beat is one quarter note. A dotted eighth is 3/4 of a quarter note, meaning the delay repeats land on the "and" subdivision between beats. This creates a counter-rhythm to your main signal, filling gaps rather than doubling existing notes.
Play one note and the delay creates a second note a dotted eighth later, and a third note after that. This makes single notes sound like arpeggio runs. The Edge plays simple patterns that become intricate textures via this effect.
Because the repeats fall between beats rather than on them, they don't compete with kick, snare, or other rhythmic elements. The delay fills the space the groove leaves open, adding density without muddiness.
With low feedback (1-2 repeats), you get subtle movement. With medium feedback (3-4 repeats), you get the classic shimmer. High feedback creates a cascading, washy buildup that works for intros and breakdowns.
The Edge's signature sound. Edge runs the delay into a clean amp, creating the shimmering arpeggiated feel.
Another classic Edge dotted eighth delay. At 100 BPM the delay is 450ms - slightly longer, giving a more open feel.
David Gilmour used dotted eighth delay on this track. The rhythmic guitar chops lock into the delay perfectly.
Gentle dotted eighth on lead guitar creates the floating, ethereal quality of this ambient track.
Dotted eighth delay on vocals at 90-100 BPM is a staple of modern R&B production. Adds movement without cluttering.
Most modern delay plugins have a "sync to tempo" mode. In this mode, select "1/8d" or "8D" (dotted eighth). The plugin calculates the ms value automatically from your project tempo. This is the fastest approach but requires your project BPM to match the track's actual tempo. If you're processing a sample or an imported recording, manual ms entry is more reliable.
Use a ping-pong delay set to dotted eighth. The left-right alternation doubles the rhythmic interest. Left tap at 0ms, right tap at the dotted eighth value. Classic for guitar and synth leads.
A single repeat of dotted eighth on the snare (low feedback, 10-15% wet) adds a ghost note feel. Works especially well in hip-hop and R&B where the snare falls on beat 3 in a half-time feel.
Filter the delay return channel at 200-300Hz. Removing the low end from delay repeats keeps the mix clean. The shimmer comes from mids and highs, not sub energy.
Layer a quiet quarter note delay under the dotted eighth. The quarter note grounds the rhythm while the dotted eighth provides movement. Keep the quarter note at 20-25% of the dotted eighth's volume.
Automate delay feedback from 20% to 60% heading into a chorus or drop. As the feedback climbs the delay builds into a wash of sound, then cut it to dry at the downbeat for impact.
Before printing, collapse to mono and check the delay sits well. Phase cancellation can occur with stereo delays. If the effect disappears in mono, reduce the stereo spread or use a slightly mismatched L/R time (e.g. left = dotted eighth, right = dotted eighth + 8ms).
A dotted note is 1.5 times the duration of its base note. A dotted eighth note is therefore 1.5 times an eighth note. Since an eighth note is half a beat (half a quarter note), a dotted eighth is 3/4 of a beat. In milliseconds: quarter note ms x 0.75.
At 120 BPM, the dotted eighth delay is 375ms. The calculation: 60,000 / 120 = 500ms (quarter note), 500 x 0.75 = 375ms.
Yes. A dotted eighth note equals three sixteenth notes in duration. In delay terms, both represent 0.75 quarter notes, or 75% of one beat. Some DAWs label this delay as "3/16" in their sync mode, while others call it "1/8d" or "D8". They produce the same delay time.
Use dotted eighth for melodic elements (guitar, vocals, leads, pads) where you want movement and syncopation. Use quarter note delay when you want the repeats to reinforce the main beat (rhythmic chops, stutter effects, call-and-response patterns). Quarter note delay is more locked-in; dotted eighth floats over the groove.
Pair this guide with the rest of the BeatKey toolkit for a complete production workflow.