drop 2 spread voicings

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.

E3 to E6 Maj Triads as Hz

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

the grand staff and hz values

my mnemonic for visually finding notes that align with the logarithmic markers on tb spectrogram was approximately

• glorious g1 50ish hz
• green g2 100ish hz
• grapes g3 200ish hz
• beat b4 500ish hz
• big b5 1k
• bells b6 2k
• ebony eb8 5k
• ebeneezer eb9 10k

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)

how to tune a piano to et using a single reference pitch

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.

how off is et from ji

Most off:

• Minor seventh (7:4): +31 cents
• Major third (5:4): +13.7 cents
• Minor third (6:5): −15.6 cents
• Major sixth (5:3): +15.6 cents

Closest to just:

• Perfect fifth/fourth: 1.96 cents off
• Octave: perfectly in tune

Frankie Lymon "Little Bitty Pretty One" Vocal Exercise

dropbox link to the audio file

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

The MM Sound

1. Gently Engages the Vocal Folds
   The "mm" sound, especially when done lightly (like humming), encourages your vocal folds to come together without too much pressure. It helps you get your voice going without strain.
2. Resonance and Placement
   It brings the vibration forward, often felt in your lips, nose, or face (aka "mask"). This helps with resonance, which makes your voice sound fuller and carry better.
3. Breath Connection
   Doing "mm" helps you manage airflow and breath support. You’re not pushing too hard, so it keeps everything in check — breath, tone, and tension.
4. Lip and Facial Relaxation
   It warms up facial muscles and gets your articulators (lips, cheeks, etc.) moving in a relaxed, focused way — which is great before diving into more intense singing or speaking.
5. Easy Onsets
   You can explore clean onsets (how your voice starts) without attacking the note harshly. It's like easing into singing instead of jumping in cold.

C Diatonic 7th Chord Freqs - c2 To C4

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

Fun Fact : 251hz Is Very Close To Middle C

c4 = 261.63hz
b3 = 246.94hz

its b3 27.94% sharp
251 hz is b3 + 28 cents

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Determining if 251 Hz is a Sharp B3

The Problem

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).

Step-by-Step Calculation

1. Identify the Reference Frequencies

• B3 = 246.94 Hz
• C4 = 261.63 Hz

2. Calculate the Distance Between Notes

The full semitone distance between B3 and C4:

Semitone Range = 261.63 Hz - 246.94 Hz = 14.69 Hz

3. Calculate the Distance From B3 to Our Target

Target Distance = 251 Hz - 246.94 Hz = 4.06 Hz

4. Calculate the Percentage Position

Position Percentage = (Target Distance ÷ Semitone Range) × 100%
Position Percentage = (4.06 Hz ÷ 14.69 Hz) × 100% = 27.64%

5. Convert to Cents

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

Conclusion

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.

Formula Summary

To find where a frequency falls between two reference notes:

1. Calculate the semitone range: HigherFrequency - LowerFrequency
2. Calculate the target distance: TargetFrequency - LowerFrequency
3. Calculate the position percentage: (TargetDistance ÷ SemitoneRange) × 100%
4. Convert to cents: PositionPercentage × 100 cents

Tuning an Instrument to Room Resonance

Goal:
Make your instrument lock in with the natural resonance frequencies of the room, so it sounds fuller, louder, and more "alive."

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1. Understand Room Resonance

Every room has natural frequencies it favors — like how a wine glass vibrates at a particular pitch.
These resonant frequencies depend on:

• Room dimensions (length, width, height)
• Surfaces (walls, floor, ceiling material)

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.

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2. Find the Room Resonant Frequencies

You have a few ways:

Quick and Ears-Only Method

• Stand in the middle of the room.
• Hum a steady low pitch.
• Slowly glide your voice up (like a slow siren).
• You'll notice some notes "bloom" — they get louder or feel like the room "catches" them.

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."

Technical Method (Optional)

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.

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3. Tune Your Instrument

Once you know the resonant frequencies:

• Match a string or note on your instrument to a nearby room resonance.
• You don’t have to match exactly — being close can still boost the sound.
• Tiny detunings (a few cents sharp or flat) can help maximize resonance.

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.

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4. Play and Adjust

• Strum or bow or pluck your instrument near the center of the room.
• Listen for notes that seem to "hang" or get louder with less effort.
• Slightly tweak tuning until certain notes or chords ring out.

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5. Other Tips

• Height matters: Some notes resonate better higher up (standing) or lower down (sitting).
• Corners boost bass: Low frequencies are stronger in corners. Try playing there.
• Move around: Find "sweet spots" where both you and the room are happy.
• Use harmonics: On strings, lightly touch at 12th fret, 7th, 5th — natural harmonics often catch resonances strongly.

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Why Do This?

• Bigger, richer sound.
• Easier to project without forcing.
• Can make a cheap instrument sound surprisingly powerful.

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Bonus: Use It Musically

• Tuning your drone notes (if you’re using one) to a room resonance makes the whole room feel like it’s vibrating with your music.
• Great for solo performance, ambient setups, and recording.

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logarithmic notes of the spectrogram

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:

• 3 g
• 3 b
• 2 eb

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

guitar harmonics ( e and a strings)

E String, Fret 0 (E)

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

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E String, Fret 1 (F)

Harmonic	Frequency (Hz)	Note
1	87.31	F2
2	174.62	F3
3	261.93	C4
4	349.24	F4
5	436.55	A4

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E String, Fret 2 (F#/Gb)

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

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E String, Fret 3 (G)

Harmonic	Frequency (Hz)	Note
1	98.00	G2
2	196.00	G3
3	294.00	D4
4	392.00	G4
5	490.00	B4

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E String, Fret 4 (G#/Ab)

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

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E String, Fret 5 (A)

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

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E String, Fret 6 (A#/Bb)

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

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E String, Fret 7 (B)

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

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E String, Fret 8 (C)

Harmonic	Frequency (Hz)	Note
1	130.81	C3
2	261.62	C4
3	392.43	G4
4	523.24	C5
5	654.05	E5

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E String, Fret 9 (C#/Db)

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

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E String, Fret 10 (D)

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

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E String, Fret 11 (D#/Eb)

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

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E String, Fret 12 (E)

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

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A String, Fret 0 (A)

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

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A String, Fret 1 (A#/Bb)

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

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A String, Fret 2 (B)

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

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A String, Fret 3 (C)

Harmonic	Frequency (Hz)	Note
1	130.81	C3
2	261.62	C4
3	392.43	G4
4	523.24	C5
5	654.05	E5

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A String, Fret 4 (C#/Db)

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

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A String, Fret 5 (D)

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

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A String, Fret 6 (D#/Eb)

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

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A String, Fret 7 (E)

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

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A String, Fret 8 (F)

Harmonic	Frequency (Hz)	Note
1	174.61	F3
2	349.22	F4
3	523.83	C5
4	698.44	F5
5	873.05	A5

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A String, Fret 9 (F#/Gb)

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

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A String, Fret 10 (G)

Harmonic	Frequency (Hz)	Note
1	196.00	G3
2	392.00	G4
3	588.00	D5
4	784.00	G5
5	980.00	B5

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A String, Fret 11 (G#/Ab)

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

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A String, Fret 12 (A)

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

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bass guitar harmonics (e and a strings to the 5th)

E String, Fret 0 (E)

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

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E String, Fret 1 (F)

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

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E String, Fret 2 (F#/Gb)

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

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E String, Fret 3 (G)

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

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E String, Fret 4 (G#/Ab)

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

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E String, Fret 5 (A)

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

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E String, Fret 6 (A#/Bb)

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

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E String, Fret 7 (B)

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

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E String, Fret 8 (C)

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

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E String, Fret 9 (C#/Db)

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

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E String, Fret 10 (D)

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

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E String, Fret 11 (D#/Eb)

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

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E String, Fret 12 (E)

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

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A String, Fret 0 (A)

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

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A String, Fret 1 (A#/Bb)

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

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A String, Fret 2 (B)

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

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A String, Fret 3 (C)

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

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A String, Fret 4 (C#/Db)

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

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A String, Fret 5 (D)

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

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A String, Fret 6 (D#/Eb)

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

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A String, Fret 7 (E)

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

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A String, Fret 8 (F)

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

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A String, Fret 9 (F#/Gb)

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

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A String, Fret 10 (G)

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

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A String, Fret 11 (G#/Ab)

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

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A String, Fret 12 (A)

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

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ukulele notes and frequencies

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

guitar (e and a string) frequencies

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

bass guitar notes and frequencies

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

its okay to use 5 soundgoodizers

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..

How To Save Paper While Learning Songs

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.

edison multi purpose envelope

cross fading with the mpe
this is a deep cut secret fl trick. probably could be used for comping takes too

fm8 waveforms for sytrus

xenowave posted this in the FL forum its gold

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

the 1 reason to use slicer over slicex

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

• figure out the tempo for the main backbeat
• the shuffles
• try different time stretch algo
• half / double tempo sequence

resample all those in edison and export 1 wav with the tempo info

sytrus fx output demystified

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.

you don't need a fancy sampler

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).

• in settings set omnipreview to 1

this lets you play everything in tbe channel rack at once!

mid side

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

g melodic minor might make more sense than c major (harmonic series)

Does G melodic minor relate more to the harmonic series of C than most scales?

The harmonic series of C refers to the overtones generated when you play a fundamental C. These overtones are naturally occurring and help define what we perceive as consonance. The harmonic series of C includes notes like:

C  (1st harmonic, fundamental)
C  (2nd harmonic, octave)
G  (3rd harmonic, perfect fifth)
C  (4th harmonic)
E  (5th harmonic, major third)
G  (6th harmonic)
Bb (7th harmonic, but it’s flatter than equal temperament)
C  (8th harmonic)
D  (9th harmonic)
E  (10th harmonic)
F# (11th harmonic, sharper than in equal temperament)
G  (12th harmonic)
A  (13th harmonic)
Bb (14th harmonic, again a bit flat)
B  (15th harmonic)
C  (16th harmonic)

Now, the G melodic minor scale is:

G - A - Bb - C - D - E - F#

Compare this to the harmonic series of C:

It shares G, C, E, A, Bb, F#, and even D appears early in the series.

The G melodic minor scale includes several of the prominent early overtones from the harmonic series of C, particularly:

G   (3rd, 6th, 12th harmonics)
E   (5th, 10th)
Bb  (7th and 14th, though slightly off)
C   (1st, 2nd, 4th, 8th, 16th)
D   (9th)
F#  (11th harmonic-ish — although not exact in equal temperament)

Conclusion

Yes, G melodic minor does align more closely with the harmonic series of C than many other scales — especially because it includes many partials (or close approximations of them), including the somewhat oddballs like F# (11th) and Bb (7th/14th), which are rare in most diatonic scales.

So in a way, G melodic minor “echoes” the color of the C harmonic series more than, say, a C major scale does. It's an excellent observation if you're exploring spectral relationships or tuning theory.

Tutorial: Tempo Math in Reaper

Let's say you have a song that is originally 124 BPM (beats per minute), and you drag it into Reaper, which has the default project tempo set to 120 BPM. You then change the project rate to 200 BPM. Now, the question is: What is the new tempo of the song in this new project rate?

Step 1: Calculate the percentage change between the original project tempo (120 BPM) and the new project tempo (200 BPM).

When you change the project tempo, you're effectively stretching or compressing the song to match the new tempo. To understand how much this changes the song’s tempo, you first need to find the percentage change between the project tempos.

The formula for calculating the percentage change is:

Percentage change = ((New Tempo - Original Tempo) / Original Tempo) * 100

Using the values provided:

Percentage change = ((200 - 120) / 120) * 100
= (80 / 120) * 100
= 66.67%

So, the project tempo has increased by 66.67% when the rate changes from 120 BPM to 200 BPM.

Step 2: Apply the percentage change to the original song tempo.

Now that we know the project rate increased by 66.67%, we can use this same percentage to adjust the original song tempo. The formula to apply the percentage increase to the original tempo is:

New Song Tempo = Original Song Tempo * (1 + (Percentage Change / 100))

Substituting the values:

New Song Tempo = 124 * (1 + (66.67 / 100))
= 124 * 1.6667
= 206.67 BPM

So, after adjusting the project rate to 200 BPM, the new tempo of the song is approximately 206.67 BPM.

Conclusion

By understanding how the project rate affects the tempo, you can calculate how much the song’s speed will change when you adjust the project tempo in Reaper. In this case, with a project rate change from 120 BPM to 200 BPM, the original song tempo of 124 BPM increases to approximately 206.67 BPM.