Mixing Tools Suite

PRECISION
MIX TOOLS

Delay calculators, reverb pre-delay, compression guides, gain staging, and stereo field tools — everything you need to mix tight and professional.

DELAY CALCULATOR
120

Click any millisecond value to copy it to clipboard.

Note ValueStraightDotted (×1.5)Triplet (×⅔)
REVERB PRE-DELAY

Pre-delay separates the dry signal from the reverb tail, adding clarity. Set it to a rhythmic subdivision to keep the reverb in groove with your track.

REVERB TYPES GUIDE
Room
Pre-Delay5–15ms
Decay0.3–0.8s
SizeSmall
Adds subtle glue and space. Use on drums and percussion to add presence without washing them out.
Hall
Pre-Delay20–60ms
Decay1.5–3.5s
SizeLarge
The classic orchestral reverb. Push strings and brass into a hall for epic, cinematic scope.
Plate
Pre-Delay10–30ms
Decay1.0–2.5s
SizeMedium
Bright, smooth, musical. The go-to for lead vocals. Filter the return to keep it from cluttering the mix.
Spring
Pre-Delay0–10ms
Decay0.5–1.5s
SizeSmall
Vintage and characterful. Great on guitar, keys, and for lo-fi aesthetics. Color is the point.
COMPRESSION GUIDE

Starting points for common instruments and scenarios. Adjust by ear — these are anchors, not rules.

Kick Drum
Attack5–20ms (fast)
Release50–100ms (auto)
Ratio4:1 – 8:1
Gain Reduction4–8dB
Fast attack clamps the transient for punch. Release should match the kick's sustain. Parallel compress for width.
Snare Drum
Attack5–15ms
Release40–80ms
Ratio4:1 – 6:1
Gain Reduction3–6dB
Allow the initial crack through (slower attack). New York parallel compression on snare is a staple technique.
Drum Bus
Attack10–30ms
ReleaseAuto or 200ms
Ratio2:1 – 4:1
Gain Reduction2–4dB
Glues the kit together. Use an SSL-style bus compressor with makeup gain. The "pumping" should be musical.
Bass / Electric Bass
Attack20–50ms
Release100–200ms
Ratio4:1 – 8:1
Gain Reduction4–8dB
Tame the dynamic range so the bass sits consistently in the mix. Slower attack preserves the pick attack.
Lead Vocal
Attack5–20ms
Release40–100ms (auto)
Ratio3:1 – 6:1
Gain Reduction3–6dB
Serial compression: fast 1176 for peaks, then slow LA-2A for smoothing. Automate gain before compressor for consistency.
Acoustic Guitar
Attack30–60ms (slow)
Release100–200ms
Ratio2:1 – 4:1
Gain Reduction2–4dB
Slower attack preserves the pick transient and natural attack. Keep the ratio gentle — transparency is the goal.
Mix Bus
Attack30–100ms (slow)
ReleaseAuto
Ratio1.5:1 – 2:1
Gain Reduction1–3dB
Mix bus compression should glue, not squeeze. A dB or two of GR goes a long way. Set it up early in the mix.
Strings (orchestral)
Attack50–100ms (very slow)
Release200–400ms
Ratio2:1 – 3:1
Gain Reduction2–4dB
Very transparent compression preserving the natural swell. Opto-style compressors work well here for their musical response.
GAIN STAGING CALCULATOR

Proper gain staging prevents distortion and noise. Every stage should receive a healthy signal — not too hot, not too cold.

THE GOLDEN RULES
→Set your interface gain so the input peaks at –18 to –12 dBFS. This leaves headroom while keeping a healthy signal above the noise floor.
→Every plugin in your chain should receive and output at the same level. If a plugin adds gain, trim it at the output.
→Channel faders should sit near unity (0 dB). Use clip gain or plugin input to adjust level before the fader.
→Aim for the mix bus to peak at –6 to –3 dBFS before the master limiter. Leave the limiter for mastering.
→Saturation and distortion sound best when driven into them with the right level — check the plugin's documentation.
STEREO FIELD GUIDE

A well-organized stereo field gives every element its own space. Low frequencies should be mono; width lives in the mids and highs.

STEREO PLACEMENT MAP
CENTER
LEFT
RIGHT
MONO (Center)
Kick, Snare, Bass, Lead Vocal, Lead Synth/Instrument. Everything that drives the track lives in the center for impact and translation.
SLIGHT WIDTH (±15–30%)
Rhythm guitar, piano accompaniment, backing vocals. Creates depth without pulling focus from the center.
MODERATE WIDTH (±30–60%)
Pads, mid-range strings, additional synth layers. These fill the stereo field and add width to the mix.
WIDE (±60–100%)
Reverb returns, high-frequency percussion (hi-hats, shakers), atmospheric elements, FX tails. Width at the top of the spectrum.
MID-SIDE TIPS
→High-pass your side channel at 200–300Hz. Bass frequencies in the sides cause translation problems on mono systems.
→Check your mix in mono regularly. If an element disappears, there's phase cancellation that needs addressing.
→MS EQ on the mix bus: cut 2–4kHz in the sides slightly to push lead elements forward without touching their level.
→Use a correlation meter to monitor stereo phase. Stay above 0 (green zone). Negative correlation = phase issues.