mapped it all out as mermaid then touched it up in autodesk sketchup
bc it was super short and wide.
previewed it with mermaid js
screenshot with flameshot
added mermaid js and markdown support to my blog to try
to do it all with mermaid but im not going to keep it
I like using html now and its not worth loading the
highlight js cdn twice.
ai upscaled it in ibispaint because it was pixelly.
printerfriendly version dropbox link
the lowest diminished chord on uke is c#dim7.
the c#,e,g,Bb diminished chord is a half step below the d,f,ab,b diminished chord where the 1 chords live.
im saying m6 and m3 meaning b3 here
ios and on mac you can use the pages app. It has a scroll function. I don't trust the free apps the data harvesting creeps me out. many of the paid ones you can't even own they are like a 60$ yearly subscription. Even after you buy them you still need to by a two way mirrored glass camera attachment. If its not going to be good even after spending 60$ Id rather just memorize it. If your eyes arent looking at the camera directly theres no point. Might be useful for some makeshift karaoke
| Mode Name | Scale Degrees |
|---|---|
| 1. Harmonic Major | 1 – 2 – 3 – 4 – 5 – ♭6 – 7 |
| 2. Dorian ♭5 | 1 – 2 – ♭3 – ♭4 – ♭5 – 6 – ♭7 |
| 3. Phrygian ♭4 | 1 – ♭2 – ♭3 – ♭4 – 5 – ♭6 – ♭7 |
| 4. Lydian diminished | 1 – 2 – 3 – ♯4 – 5 – ♭6 – ♭7 |
| 5. Mixolydian ♭2 | 1 – ♭2 – 3 – 4 – 5 – ♭6 – ♭7 |
| 6. Lydian Augmented ♯2 | 1 – ♯2 – 3 – ♯4 – ♯5 – 6 – 7 |
| 7. Locrian ♭♭7 | 1 – ♭2 – ♭3 – 4 – ♭5 – ♭6 – ♭♭7 |
| Scale | Degrees (Relative to Major Scale) |
|---|---|
| Ukrainian Dorian | 1 – 2 – b3 – ♯4 – 5 – 6 – b7 – 1 |
| Byzantine | 1 – b2 – 3 – 4 – 5 – b6 – 7 – 1 |
| Hungarian Minor | 1 – 2 – b3 – ♯4 – 5 – 6 – 7 – 1 |
| Melodic Minor | 1 – 2 – b3 – 4 – 5 – 6 – 7 – 1 |
| Harmonic Minor | 1 – 2 – b3 – 4 – 5 – b6 – 7 – 1 |
| Aeolian | 1 – 2 – b3 – 4 – 5 – b6 – b7 – 1 |
| Dorian | 1 – 2 – b3 – 4 – 5 – 6 – b7 – 1 |
| Lydian Dominant | 1 – 2 – 3 – ♯4 – 5 – 6 – b7 – 1 |
| Lydian ♯2 | 1 – ♯2 – 3 – ♯4 – 5 – 6 – 7 – 1 |
| Half-whole Diminished | 1 – b2 – ♯2 – 3 – ♯4 – 5 – 6 – b7 – 1 |
| Whole-Half Diminished | 1 – 2 – b3 – 4 – b5 – ♭6 – 6 – 7 – 1 |
| Altered Scale | 1 – b2 – ♯2 – 3 – ♯4 – b6 – b7 – 1 |
Major 6
| LH | RH |
|---|---|
| 1, 6 | 3, 5, 1 |
| 2, 7 | 4, b6, 2 |
| 3, 1 | 5, 6, 3 |
| 4, 2 | b6, 7, 4 |
| 5, 3 | 6, 1, 5 |
| b6, 4 | 7, 2, b6 |
| 6, 5 | 1, 3, 6 |
| 7, b6 | 2, 4, 7 |
| degree | LH | RH | note | third details |
|---|---|---|---|---|
| 1st | major 6th | minor third, 4th | egc over ca | bottom note in RH |
| 3rd | minor 6th | maj 2nd, 5th | g,a,e over ec. The g,a cluster is 4th inv of A min7 | bottom in LH top in RH |
| 5th | 6th | minor third, 5th | a min7 fifthless (acg) over g6 shell | top in LH |
| 6th | b7th | maj third, 4th | 6th chord cea (am7 2nd inv) over ag 7th shell | 2nd note in RH |
Notice how the third isn't voiced in the right hand on the 5th degree but it is on the 1st, 3rd and 6th. The third is in the left hand on the 3rd degree as the bottom note, then on the 5th degree the third is the top note in the left hand. It's absent from the left hand on the 6th degree while the RH takes it.
Its cool how the third shuffles back and forth between hands. On the 3rd degree the pinkies get joint custody on that day.
Minor 6
| LH | RH |
|---|---|
| 1, 6 | b3, 5, 1 |
| 2, 7 | 4, b6, 2 |
| b3, 1 | 5, 6, b3 |
| 4, 2 | b6, 7, 4 |
| 5, b3 | 6, 1, 5 |
| b6, 4 | 7, 2, b6 |
| 6, 5 | 1, b3, 6 |
| 7, b6 | 2, 4, 7 |
The difference between the major and the minor is the b3. The Diminished patterns stays the same.
| Root | Root Hz | Third | Third Hz | Fifth | Fifth Hz | Octave | Octave Hz |
|---|---|---|---|---|---|---|---|
| E3 | 164.81 | G#3 | 207.65 | B3 | 246.94 | E4 | 329.63 |
| F3 | 174.61 | A3 | 220.00 | C4 | 261.63 | F4 | 349.23 |
| F#3 | 185.00 | A#3 | 233.08 | C#4 | 277.18 | F#4 | 369.99 |
| G3 | 196.00 | B3 | 246.94 | D4 | 293.66 | G4 | 392.00 |
| G#3 | 207.65 | C4 | 261.63 | D#4 | 311.13 | G#4 | 415.30 |
| A3 | 220.00 | C#4 | 277.18 | E4 | 329.63 | A4 | 440.00 |
| A#3 | 233.08 | D4 | 293.66 | F4 | 349.23 | A#4 | 466.16 |
| B3 | 246.94 | D#4 | 311.13 | F#4 | 369.99 | B4 | 493.88 |
| C4 | 261.63 | E4 | 329.63 | G4 | 392.00 | C5 | 523.25 |
| C#4 | 277.18 | F4 | 349.23 | G#4 | 415.30 | C#5 | 554.37 |
| D4 | 293.66 | F#4 | 369.99 | A4 | 440.00 | D5 | 587.33 |
| D#4 | 311.13 | G4 | 392.00 | A#4 | 466.16 | D#5 | 622.25 |
| E4 | 329.63 | G#4 | 415.30 | B4 | 493.88 | E5 | 659.26 |
| F4 | 349.23 | A4 | 440.00 | C5 | 523.25 | F5 | 698.46 |
| F#4 | 369.99 | A#4 | 466.16 | C#5 | 554.37 | F#5 | 739.99 |
| G4 | 392.00 | B4 | 493.88 | D5 | 587.33 | G5 | 783.99 |
| G#4 | 415.30 | C5 | 523.25 | D#5 | 622.25 | G#5 | 830.61 |
| A4 | 440.00 | C#5 | 554.37 | E5 | 659.26 | A5 | 880.00 |
| A#4 | 466.16 | D5 | 587.33 | F5 | 698.46 | A#5 | 932.33 |
| B4 | 493.88 | D#5 | 622.25 | F#5 | 739.99 | B5 | 987.77 |
| C5 | 523.25 | E5 | 659.26 | G5 | 783.99 | C6 | 1046.50 |
| C#5 | 554.37 | F5 | 698.46 | G#5 | 830.61 | C#6 | 1108.73 |
| D5 | 587.33 | F#5 | 739.99 | A5 | 880.00 | D6 | 1174.66 |
| D#5 | 622.25 | G5 | 783.99 | A#5 | 932.33 | D#6 | 1244.51 |
| E5 | 659.26 | G#5 | 830.61 | B5 | 987.77 | E6 | 1318.51 |
my mnemonic for visually finding notes that align with the logarithmic markers on tb spectrogram was approximately
Maybe instead for the limited range I'll make it "green grass blue birds. for approx 100hz, 200hz, 500hz, 1khz"
the lines on sunvox's spectrogram seem to visually align with c notes and powers of 2.
heres my annotated graphic of the grand staff with some significant pitch landmarks to help make sense of the bigger picture as to where the notes all fit in. Notice how glorious ebony ebeneezer bells doesn't fit because it extends beyond the ledger lines. (no g1, b6, eb8, eb9)
This could all be hogwash but I thought it was interesting.
the first few intervals are downa 4th till you get to c4 which is a tritone away. Down again a 4th to g, up a fifth then d down to f, d is the maj 6 of f or f is the minor third in d. After that f3 to f4 is octaves.
| Step | Note | Direction | Beat Rate (approx.) |
|---|---|---|---|
| 1 | A4 | — | — |
| 2 | E4 | Below | 0.9 bps |
| 3 | B3 | Below | 6–7 bps |
| 4 | F#3 | Below | 3–4 bps |
| 5 | C4 | Above | 5–6 bps |
| 6 | G3 | Below | 2–3 bps |
| 7 | D4 | Above | 1–2 bps |
| 8 | F3 | Below | 4–5 bps |
| 9 | F4 | Above | 0 (octave) |
This gives you a base for equal temperament from f3 to f4 which you can expand outwards tuning to octaves and checking against 12ths (octave and a fifth) to get the rest of the notes.
Original was in Bb
I pitched it down to start on G to give you a bit of room to warm up into the Bb.
I automated a formant shift so as it pitches up it doesn't sound as chipmunked.
This Exercise moves through all 12 keys using the mm sound
| Chord | Note | Octave 2 (Hz) | Octave 3 (Hz) | Octave 4 (Hz) |
|---|---|---|---|---|
| Cmaj7 | C | 65.41 | 130.81 | 261.63 |
| E | 82.41 | 164.81 | 329.63 | |
| G | 98.00 | 196.00 | 392.00 | |
| B | 123.47 | 246.94 | 493.88 | |
| Dm7 | D | 73.42 | 146.83 | 293.66 |
| F | 87.31 | 174.61 | 349.23 | |
| A | 110.00 | 220.00 | 440.00 | |
| C | 130.81 | 261.63 | 523.25 | |
| Em7 | E | 82.41 | 164.81 | 329.63 |
| G | 98.00 | 196.00 | 392.00 | |
| B | 123.47 | 246.94 | 493.88 | |
| D | 146.83 | 293.66 | 587.33 | |
| Fmaj7 | F | 87.31 | 174.61 | 349.23 |
| A | 110.00 | 220.00 | 440.00 | |
| C | 130.81 | 261.63 | 523.25 | |
| E | 164.81 | 329.63 | 659.26 | |
| G7 | G | 98.00 | 196.00 | 392.00 |
| B | 123.47 | 246.94 | 493.88 | |
| D | 146.83 | 293.66 | 587.33 | |
| F | 174.61 | 349.23 | 698.46 | |
| Am7 | A | 110.00 | 220.00 | 440.00 |
| C | 130.81 | 261.63 | 523.25 | |
| E | 164.81 | 329.63 | 659.26 | |
| G | 196.00 | 392.00 | 783.99 | |
| Bm7♭5 | B | 123.47 | 246.94 | 493.88 |
| D | 146.83 | 293.66 | 587.33 | |
| F | 174.61 | 349.23 | 698.46 | |
| A | 220.00 | 440.00 | 880.00 |
c4 = 261.63hz
b3 = 246.94hz
its b3 27.94% sharp
251 hz is b3 + 28 cents
Determine whether 251 Hz represents a sharp B3 note by calculating its position between the standard frequencies of B3 (246.94 Hz) and C4 (261.63 Hz).
The full semitone distance between B3 and C4:
Semitone Range = 261.63 Hz - 246.94 Hz = 14.69 Hz
Target Distance = 251 Hz - 246.94 Hz = 4.06 Hz
Position Percentage = (Target Distance ÷ Semitone Range) × 100%
Position Percentage = (4.06 Hz ÷ 14.69 Hz) × 100% = 27.64%
In musical terms, one semitone equals 100 cents. To convert our percentage to cents:
Cents from B3 = Position Percentage × 100 cents
Cents from B3 = 27.64% × 100 cents = 27.64 cents
251 Hz is a B3 note that is approximately 27.64 cents sharp. Since this is less than 50 cents (which would be halfway to C4), we can properly describe it as a "slightly sharp B3" rather than a flat C4.
To find where a frequency falls between two reference notes:
HigherFrequency - LowerFrequencyTargetFrequency - LowerFrequency(TargetDistance ÷ SemitoneRange) × 100%PositionPercentage × 100 cents
Goal:
Make your instrument lock in with the natural resonance frequencies of the room, so it sounds fuller, louder, and more "alive."
Every room has natural frequencies it favors — like how a wine glass vibrates at a particular pitch.
These resonant frequencies depend on:
At certain frequencies, the sound waves bounce perfectly and amplify themselves.
Those pitches are where your instrument will sound best or loudest without extra effort.
You have a few ways:
When you hit one, hold it. Walk around.
If it stays loud in multiple spots, that's a room resonance.
Write these down (even roughly):
Example: "Somewhere around a low A" or "near middle C."
Use a tone generator app (many free ones exist) and sweep from 20 Hz to 500 Hz slowly.
When the tone gets super loud without raising the volume, that's a resonance peak.
Once you know the resonant frequencies:
Example:
If your room has a big resonance around 110 Hz (A2),
you might slightly adjust your guitar’s tuning so the open A string aligns even better.
using this knowledge you can pick out frequencies on an eq or tune up just by eyeballing what lines up with your scope
The pattern:
a mnemonic to help you remember
Glorious Green Grapes Beat Big Bells Ebony Ebeneezer
| Frequency (Hz) | Nearest Note | Cents Off (Sharp/Flat) |
|---|---|---|
| 50 | G1 | +2 cents |
| 100 | G2 | +2 cents |
| 200 | G3 | +2 cents |
| 500 | B4 | -13 cents |
| 1000 | B5 | -13 cents |
| 2000 | B6 | -13 cents |
| 5000 | D#8 / Eb8 | -32 cents |
| 10000 | D#9 / Eb9 | -32 cents |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 82.41 | E2 |
| 2 | 164.82 | E3 |
| 3 | 247.23 | B3 |
| 4 | 329.64 | E4 |
| 5 | 412.05 | G#4 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 87.31 | F2 |
| 2 | 174.62 | F3 |
| 3 | 261.93 | C4 |
| 4 | 349.24 | F4 |
| 5 | 436.55 | A4 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 92.50 | F#2 |
| 2 | 185.00 | F#3 |
| 3 | 277.50 | C#4 |
| 4 | 370.00 | F#4 |
| 5 | 462.50 | A#4 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 98.00 | G2 |
| 2 | 196.00 | G3 |
| 3 | 294.00 | D4 |
| 4 | 392.00 | G4 |
| 5 | 490.00 | B4 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 103.83 | G#2 |
| 2 | 207.66 | G#3 |
| 3 | 311.49 | D#4 |
| 4 | 415.32 | G#4 |
| 5 | 519.15 | C5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 110.00 | A2 |
| 2 | 220.00 | A3 |
| 3 | 330.00 | E4 |
| 4 | 440.00 | A4 |
| 5 | 550.00 | C#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 116.54 | A#2 |
| 2 | 233.08 | A#3 |
| 3 | 349.62 | F4 |
| 4 | 466.16 | A#4 |
| 5 | 582.70 | D5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 123.47 | B2 |
| 2 | 246.94 | B3 |
| 3 | 370.41 | F#4 |
| 4 | 493.88 | B4 |
| 5 | 617.35 | D#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 130.81 | C3 |
| 2 | 261.62 | C4 |
| 3 | 392.43 | G4 |
| 4 | 523.24 | C5 |
| 5 | 654.05 | E5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 138.59 | C#3 |
| 2 | 277.18 | C#4 |
| 3 | 415.77 | G#4 |
| 4 | 554.36 | C#5 |
| 5 | 692.95 | F5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 146.83 | D3 |
| 2 | 293.66 | D4 |
| 3 | 440.49 | A4 |
| 4 | 587.32 | D5 |
| 5 | 734.15 | F#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 155.56 | D#3 |
| 2 | 311.12 | D#4 |
| 3 | 466.68 | A#4 |
| 4 | 622.24 | D#5 |
| 5 | 777.80 | G5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 164.81 | E3 |
| 2 | 329.62 | E4 |
| 3 | 494.43 | B4 |
| 4 | 659.24 | E5 |
| 5 | 824.05 | G#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 110.00 | A2 |
| 2 | 220.00 | A3 |
| 3 | 330.00 | E4 |
| 4 | 440.00 | A4 |
| 5 | 550.00 | C#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 116.54 | A#2 |
| 2 | 233.08 | A#3 |
| 3 | 349.62 | F4 |
| 4 | 466.16 | A#4 |
| 5 | 582.70 | D5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 123.47 | B2 |
| 2 | 246.94 | B3 |
| 3 | 370.41 | F#4 |
| 4 | 493.88 | B4 |
| 5 | 617.35 | D#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 130.81 | C3 |
| 2 | 261.62 | C4 |
| 3 | 392.43 | G4 |
| 4 | 523.24 | C5 |
| 5 | 654.05 | E5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 138.59 | C#3 |
| 2 | 277.18 | C#4 |
| 3 | 415.77 | G#4 |
| 4 | 554.36 | C#5 |
| 5 | 692.95 | F5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 146.83 | D3 |
| 2 | 293.66 | D4 |
| 3 | 440.49 | A4 |
| 4 | 587.32 | D5 |
| 5 | 734.15 | F#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 155.56 | D#3 |
| 2 | 311.12 | D#4 |
| 3 | 466.68 | A#4 |
| 4 | 622.24 | D#5 |
| 5 | 777.80 | G5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 164.81 | E3 |
| 2 | 329.62 | E4 |
| 3 | 494.43 | B4 |
| 4 | 659.24 | E5 |
| 5 | 824.05 | G#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 174.61 | F3 |
| 2 | 349.22 | F4 |
| 3 | 523.83 | C5 |
| 4 | 698.44 | F5 |
| 5 | 873.05 | A5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 185.00 | F#3 |
| 2 | 370.00 | F#4 |
| 3 | 555.00 | C#5 |
| 4 | 740.00 | F#5 |
| 5 | 925.00 | A#5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 196.00 | G3 |
| 2 | 392.00 | G4 |
| 3 | 588.00 | D5 |
| 4 | 784.00 | G5 |
| 5 | 980.00 | B5 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 207.65 | G#3 |
| 2 | 415.30 | G#4 |
| 3 | 622.95 | D#5 |
| 4 | 830.60 | G#5 |
| 5 | 1038.25 | C6 |
| Harmonic | Frequency (Hz) | Note |
|---|---|---|
| 1 | 220.00 | A3 |
| 2 | 440.00 | A4 |
| 3 | 660.00 | E5 |
| 4 | 880.00 | A5 |
| 5 | 1100.00 | C#6 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 41.20 | 28 |
| 2 | 82.40 | 40 |
| 3 | 123.60 | 47 |
| 4 | 164.80 | 52 |
| 5 | 206.00 | 56 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 43.65 | 29 |
| 2 | 87.30 | 41 |
| 3 | 130.95 | 48 |
| 4 | 174.60 | 53 |
| 5 | 218.25 | 57 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 46.25 | 30 |
| 2 | 92.50 | 42 |
| 3 | 138.75 | 49 |
| 4 | 185.00 | 54 |
| 5 | 231.25 | 58 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 49.00 | 31 |
| 2 | 98.00 | 43 |
| 3 | 147.00 | 50 |
| 4 | 196.00 | 55 |
| 5 | 245.00 | 59 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 51.91 | 32 |
| 2 | 103.82 | 44 |
| 3 | 155.73 | 51 |
| 4 | 207.64 | 56 |
| 5 | 259.55 | 60 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 55.00 | 33 |
| 2 | 110.00 | 45 |
| 3 | 165.00 | 52 |
| 4 | 220.00 | 57 |
| 5 | 275.00 | 61 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 58.27 | 34 |
| 2 | 116.54 | 46 |
| 3 | 174.81 | 53 |
| 4 | 233.08 | 58 |
| 5 | 291.35 | 62 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 61.74 | 35 |
| 2 | 123.48 | 47 |
| 3 | 185.22 | 54 |
| 4 | 246.96 | 59 |
| 5 | 308.70 | 63 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 65.41 | 36 |
| 2 | 130.82 | 48 |
| 3 | 196.23 | 55 |
| 4 | 261.64 | 60 |
| 5 | 327.05 | 64 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 69.30 | 37 |
| 2 | 138.60 | 49 |
| 3 | 207.90 | 56 |
| 4 | 277.20 | 61 |
| 5 | 346.50 | 65 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 73.42 | 38 |
| 2 | 146.84 | 50 |
| 3 | 220.26 | 57 |
| 4 | 293.68 | 62 |
| 5 | 367.10 | 66 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 77.78 | 39 |
| 2 | 155.56 | 51 |
| 3 | 233.34 | 58 |
| 4 | 311.12 | 63 |
| 5 | 388.90 | 67 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 82.41 | 40 |
| 2 | 164.82 | 52 |
| 3 | 247.23 | 59 |
| 4 | 329.64 | 64 |
| 5 | 412.05 | 68 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 55.00 | 33 |
| 2 | 110.00 | 45 |
| 3 | 165.00 | 52 |
| 4 | 220.00 | 57 |
| 5 | 275.00 | 61 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 58.27 | 34 |
| 2 | 116.54 | 46 |
| 3 | 174.81 | 53 |
| 4 | 233.08 | 58 |
| 5 | 291.35 | 62 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 61.74 | 35 |
| 2 | 123.48 | 47 |
| 3 | 185.22 | 54 |
| 4 | 246.96 | 59 |
| 5 | 308.70 | 63 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 65.41 | 36 |
| 2 | 130.82 | 48 |
| 3 | 196.23 | 55 |
| 4 | 261.64 | 60 |
| 5 | 327.05 | 64 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 69.30 | 37 |
| 2 | 138.60 | 49 |
| 3 | 207.90 | 56 |
| 4 | 277.20 | 61 |
| 5 | 346.50 | 65 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 73.42 | 38 |
| 2 | 146.84 | 50 |
| 3 | 220.26 | 57 |
| 4 | 293.68 | 62 |
| 5 | 367.10 | 66 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 77.78 | 39 |
| 2 | 155.56 | 51 |
| 3 | 233.34 | 58 |
| 4 | 311.12 | 63 |
| 5 | 388.90 | 67 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 82.41 | 40 |
| 2 | 164.82 | 52 |
| 3 | 247.23 | 59 |
| 4 | 329.64 | 64 |
| 5 | 412.05 | 68 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 87.31 | 41 |
| 2 | 174.62 | 53 |
| 3 | 261.93 | 60 |
| 4 | 349.24 | 65 |
| 5 | 436.55 | 69 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 92.50 | 42 |
| 2 | 185.00 | 54 |
| 3 | 277.50 | 61 |
| 4 | 370.00 | 66 |
| 5 | 462.50 | 70 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 98.00 | 43 |
| 2 | 196.00 | 55 |
| 3 | 294.00 | 62 |
| 4 | 392.00 | 67 |
| 5 | 490.00 | 71 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 103.83 | 44 |
| 2 | 207.66 | 56 |
| 3 | 311.49 | 63 |
| 4 | 415.32 | 68 |
| 5 | 519.15 | 72 |
| Harmonic | Frequency (Hz) | MIDI Note |
|---|---|---|
| 1 | 110.00 | 45 |
| 2 | 220.00 | 57 |
| 3 | 330.00 | 64 |
| 4 | 440.00 | 69 |
| 5 | 550.00 | 73 |
| G String (Note - Frequency) | C String (Note - Frequency) | E String (Note - Frequency) | A String (Note - Frequency) |
|---|---|---|---|
| G4 - 392.00 Hz | C4 - 261.63 Hz | E4 - 329.63 Hz | A4 - 440.00 Hz |
| G♯4/A♭4 - 415.30 Hz | C♯4/D♭4 - 277.18 Hz | F4 - 349.23 Hz | A♯4/B♭4 - 466.16 Hz |
| A4 - 440.00 Hz | D4 - 293.66 Hz | F♯4/G♭4 - 369.99 Hz | B4 - 493.88 Hz |
| A♯4/B♭4 - 466.16 Hz | D♯4/E♭4 - 311.13 Hz | G4 - 392.00 Hz | C5 - 523.25 Hz |
| B4 - 493.88 Hz | E4 - 329.63 Hz | G♯4/A♭4 - 415.30 Hz | C♯5/D♭5 - 554.37 Hz |
| C5 - 523.25 Hz | F4 - 349.23 Hz | A4 - 440.00 Hz | D5 - 587.33 Hz |
| C♯5/D♭5 - 554.37 Hz | F♯4/G♭4 - 369.99 Hz | A♯4/B♭4 - 466.16 Hz | D♯5/E♭5 - 622.25 Hz |
| D5 - 587.33 Hz | G4 - 392.00 Hz | B4 - 493.88 Hz | E5 - 659.26 Hz |
| D♯5/E♭5 - 622.25 Hz | G♯4/A♭4 - 415.30 Hz | C5 - 523.25 Hz | F5 - 698.46 Hz |
| E5 - 659.26 Hz | A4 - 440.00 Hz | C♯5/D♭5 - 554.37 Hz | F♯5/G♭5 - 739.99 Hz |
| F5 - 698.46 Hz | A♯4/B♭4 - 466.16 Hz | D5 - 587.33 Hz | G5 - 783.99 Hz |
| F♯5/G♭5 - 739.99 Hz | B4 - 493.88 Hz | D♯5/E♭5 - 622.25 Hz | G♯5/A♭5 - 830.61 Hz |
| G5 - 783.99 Hz | C5 - 523.25 Hz | E5 - 659.26 Hz | A5 - 880.00 Hz |
| Low E String (Note - Frequency) | A String (Note - Frequency) |
|---|---|
| E2 - 82.41 Hz | A2 - 110.00 Hz |
| F2 - 87.31 Hz | A♯2/B♭2 - 116.54 Hz |
| F♯2/G♭2 - 92.50 Hz | B2 - 123.47 Hz |
| G2 - 98.00 Hz | C3 - 130.81 Hz |
| G♯2/A♭2 - 103.83 Hz | C♯3/D♭3 - 138.59 Hz |
| A2 - 110.00 Hz | D3 - 146.83 Hz |
| A♯2/B♭2 - 116.54 Hz | D♯3/E♭3 - 155.56 Hz |
| B2 - 123.47 Hz | E3 - 164.81 Hz |
| C3 - 130.81 Hz | F3 - 174.61 Hz |
| C♯3/D♭3 - 138.59 Hz | F♯3/G♭3 - 185.00 Hz |
| D3 - 146.83 Hz | G3 - 196.00 Hz |
| D♯3/E♭3 - 155.56 Hz | G♯3/A♭3 - 207.65 Hz |
| E3 - 164.81 Hz | A3 - 220.00 Hz |
| Low E String (Note - Frequency) | Low A String (Note - Frequency) |
|---|---|
| E1 - 41.20 Hz | A1 - 55.00 Hz |
| F1 - 43.65 Hz | A♯1/B♭1 - 58.27 Hz |
| F♯1/G♭1 - 46.25 Hz | B1 - 61.74 Hz |
| G1 - 49.00 Hz | C2 - 65.41 Hz |
| G♯1/A♭1 - 51.91 Hz | C♯2/D♭2 - 69.30 Hz |
| A1 - 55.00 Hz | D2 - 73.42 Hz |
| A♯1/B♭1 - 58.27 Hz | D♯2/E♭2 - 77.78 Hz |
| B1 - 61.74 Hz | E2 - 82.41 Hz |
| C2 - 65.41 Hz | F2 - 87.31 Hz |
| C♯2/D♭2 - 69.30 Hz | F♯2/G♭2 - 92.50 Hz |
| D2 - 73.42 Hz | G2 - 98.00 Hz |
| D♯2/E♭2 - 77.78 Hz | G♯2/A♭2 - 103.83 Hz |
| E2 - 82.41 Hz | A2 - 110.00 Hz |
5 soundgoodizers on the c setting is actually perfect
not turned up (unless you want to do whatever you want)
its basically the same as using 3 OTTs in ableton
it really brings out the top end shine on some sytrus patches
I've got one thats just a sine with a volume envelope bringing in the harmonics and you can tell the sound is there but its really quiet
this perfectly levels it up and makes it nice and even. makes the chorus sound greasy
I honestly never messed around with soundgoodizer because I thought itw as a noob tool for people who didn't want to get into the sauce.
but it delivers
5 is also something that i wouldn't dare to do
you'd think it would be too much but its not
one caveat to add about this though is just like with maximus the lookahead on the compressor introduces latency which in version 10 FL on linux mint I don't think they did any plugin delay compensation (PDC) so you manually need to shift it.
normally in edison when you resample using 'on play mode' the loop markers line up with your time selection, in this case you'll need to go in and shift them to the start of the transient manually to get clean loops.
what was in my sytrus patch?
starting 3 octaves down at c8 (fl counts backwards from c5 for some reason)
2 into 1 going out to filter 1.
3 into 2
for the ratios:
op 1 = 2
op 2 = 4
op 3 = 64 a triangle wave
the envelopes:
op1 vol is the shortest tempo synced triangle (curving inward)
op3 vol is 4 bar zig zag triangles
op3 provides alot of the variation to the high harmonics when sustained.
Its really important that it all goes through the bandpass filter to mellow out the tops.
problem is it gets a little too mellow thats where the 5 soundgoodizers come in..
In Libre Office I write a placeholder Song - Artist line at the top (because formatting after is annoying otherwise)
then I add a 2 col table and set the border to invisible
finally, I save it as a template so i can use
shift ctrl n to make a new invisible 2 col table document that I paste the lyrics into
If I really want to squeeze in 2 songs maybe Il do 3 col but 2 is my go to to save paper.
print double sided if your printer has that functionality or print it and then flip it over and print on the other side.
Its really important for me to not have a song span more than 1 sheet of paper because otherwise they get lost
my goto site before was ultimate guitar but I refuse to sign in and they no longer seem to let you print without being a member
I used to go into the print setting on ug because they had an option to shrink the font and remove the chord diagrams and default to 2 col
I don't know of any other sites that have the 2 col option so thats why its good to know if you want to save paper and do it yourself.
most other sites that include chords have weird formatting that gets messed up if shrunken down or it just doesnt shrink well at all.
In that case I just go for the lyrics and figure it out by ear or write them in afterwards from some other site
A pet peeve of mine is when they capo it and it doesn't match the recording or they over complicate it with a bunch of sus2 chords.
Lead sheets are supreme I wish there was more available
musescore has a bunch of sheets that are overcomplicated needlessly
(I need to just get better at sight reading and it wouldn't be much of a problem
A lot of times the music is more complicated than it needs to be.
cross fading with the mpe
this is a deep cut secret fl trick. probably could be used for comping takes too
those formant waves are sick you I think you can make them by rm'ing a saw wave in unipolar mode? anyway its wicked because normally you can't fm something that has rm applied in sytrus so it opens up some cool sound design possibilities
fruity slicer has chop on beat, or half beat while slicex just has autochop on 3 transient threshold levels. usually gives you too many or not enough usefull chops.
the whole point of using breaks is to keep those grooves which us why I don’t use transient chops which dump way too much junk midi to wade through in my piano roll.
Usually what I end up doing (if i go that route) is pick out a few choice 1 shots from the garbled mess that autochop spews and instead of quantizing it (which 90% shifts it to the wrong spot and ruins my shuffles) I draw it in.
before doing this its good to label the chops that are significant so you can find them easily in the piano roll.
breaks like the soul pride the timing is all over the place so how I work with it is i place the break at 0 in the timeline and drag the tempo till I see the snare align with the second grid line. Listening with the click on it should be fairly locked in for the rest of the bar up to the next snare and il use that next snare as my next anchor point to judge if i need to speed it up or slow it down for it to lock in. Usually thats enough to get a good loop but soul pride is really all over the place. id go in and just get a few choice shuffles and dip out once I resample them.
In edison you can go into sample settings to establish the tempo metadata in your sample before you save it and in render settings you use "save as acidized loop" to include the tempo in the .wav. Its also good practise to include it in the name of your file when you render it out.
The jungle warfare sample cds are sick but also kind of suck (like many sample cds). the problem is the sequenced loops try too hard to be original. they moved all the hits around to be uniquely choppy in a way that sounds bad for music. they sound good as loops stand alone but not as a supporting element in music. usually too busy and no backbeat. They are off kilter to sound jungley but they don’t hold up to be looped through an entire track because they are too busy. Its a whole lot of work to do un do it which is why its better to just use the original breaks imo. (it is inspiring to hear them though).
one of the best ways to chop that is surprisingly difficult to do in fl version 10 is to split a sample into even slices and throw it across your pads mpc style.
fruity slicer can do it if your tempo data is correct (you need to massage the sample into the grid and resample with edison on play mode sometimes to get the loops right first).
Slicex came in as the predecessor and I thought was better in every way until i revisited for that one purpose. the later versions of fl have edison/slicex scripts in the forum that finally let you chop to an even number of slices but my weird linux wine setup only lets me run version 10 (i got the last 32 but version v20 running once and 24 but it stopped launching for some reason and I gave up because 10 ran better for most things like 32 plugins wouldn't run in v24)
I like to keep my sessions short and focused. Im just going to fix my breaks and turn off the computer and go outside. my goal was to fix the soul pride break
resample all those in edison and export 1 wav with the tempo info
Like many of the knobs in sytrus, the reverb volume slider is bipolar so the middle point is actually zero. I saw in the manual that you can route the fx to their own channel in the mixer but it wasn't working for me thats why. Each time I thought I switched it off I actually just inverted the phase.
in fl studio i would use fruity soundfont player for multi sampled insturnents and drum kits. Sometimes i create layers, set and split children to play them from 1 midi lane (newer fl finally got around to letting you include samplers in patcher so you can use vfx splitter or set up key zone splits).
this lets you play everything in tbe channel rack at once!
mid is the sum divided by 2
side is the difference divided by 2
mid = (left + right) / 2
side = (left - right) / 2
today I learned you can create envelopes by dragging audio files from the browser or from edison.
intermodulation distortion
clicking on automation clips (not in the old fl) you can import audio and use the peaks to create automation clips
my old way was using the fruity peak controller
you can also drag audio into fruity love filter and the envelope controller.
I've been into using ctrl t (typing keys), ctrl e (step edit mode) to enter in triads.
then using what I learned about the harmonic series to create spread voicings
was watching a flux pavillion against the clock where he was using just a saw wave in massive but it was the way he arranged it
that made it sound huge.
being infront of a piano its easy to reach for those spread voicings but clicking it is quite a hassle untill I learned this way.
ctrl up down, to octave shift
shift up down, for semitones
right click edit events
alt o creates an lfo do this for each time selection
you can set the rate synced to the tempo and have it interpolate between 2 ranges
like 16th note slowing down to eighth and ramping down the intensity
then you can export the events data to an automation clip