Wednesday, April 9, 2025

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."


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.


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.


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.


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.

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.

Why Do This?

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tuesday, April 8, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Monday, April 7, 2025

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.

Thursday, April 3, 2025

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

Wednesday, April 2, 2025

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.