Lingot - a cool little tuner for linux

sudo apt install lingot

blend modes explained

Blend Mode	What It Does	Effect Description
Normal	Displays the top layer as-is.	No blending occurs — pixels on top layer simply cover the bottom layer.
Multiply	Multiplies base and blend layer colors.	Darkens the image; white does nothing, black stays black.
Screen	Multiplies the inverse of the colors, then inverts the result.	Lightens the image; black does nothing, white stays white.
Overlay	Combines Multiply and Screen based on base brightness.	Increases contrast; darks get darker, lights get lighter.
Color Dodge	Brightens the base color to reflect the blend color.	Intense lightening; highlights are boosted dramatically, midtones stay.
Color Burn	Darkens the base color to reflect the blend color.	Increases contrast by darkening; shadows deepen.
Difference	Subtracts the darker color from the lighter one (absolute difference).	Inverts colors where layers differ; useful for creative or abstract effects.
Soft Light	Gently darkens or lightens based on blend color.	A subtle overlay; like shining a diffused spotlight.
Hard Light	A harsher version of Soft Light, combines Multiply and Screen.	High-contrast lighting effect; amplifies intensity.
Darken	Keeps the darker of the base and blend colors.	Replaces lighter areas with darker ones.
Lighten	Keeps the lighter of the base and blend colors.	Replaces darker areas with lighter ones.

Blend Mode	When to Use It	Example Use Case
Normal	When no blending is needed.	Adding a logo or icon to a design without any blending.
Multiply	To darken an image or add shadows and shading.	Adding realistic shadows under objects or deepening midtones in a photo.
Screen	To lighten an image or simulate light.	Creating a soft glow effect or simulating bright light over an object.
Overlay	To boost contrast and make textures pop.	Enhancing details in skin or fabrics in photo retouching.
Color Dodge	To create intense lighting or shine.	Adding sparkles, lens flares, or lighting highlights on metallic surfaces.
Color Burn	To deepen shadows or create high-contrast gritty effects.	Creating dramatic poster effects or adding depth to a stylized illustration.
Difference	For abstract, surreal, or comparison visuals.	Creating glitch art, testing pixel alignment, or designing inverted backgrounds.
Soft Light	For subtle lighting effects and texture enhancement.	Gently increasing contrast on portraits or applying a textured paper overlay.
Hard Light	To emphasize highlights and shadows more aggressively than Soft Light.	Adding strong rim lighting or punchy contrast to action scenes or comics.
Darken	To keep only the darkest parts of overlapping layers.	Merging grunge textures into a background while preserving shadowed details.
Lighten	To reveal only the brightest parts of a texture or image.	Overlaying bokeh or light leaks without affecting darker image areas.

How to turn a bunch of jpegs into a pdf from cli

img2pdf $(ls -v *.jpeg) -o output.pdf

fontself

app store link to fontself for ios
seems like the best app for making your own custom fonts

Inkscape background remove extension

Rembg is a python tool to remove backgrounds
problem is i used pipx to install it so inkscape cant find it
It works fine in the cli though and its great
link to linuxlinks page on rembg

rembg i 'path to input' 'path to output'

inkscape mail merge - next generator

youtube link showing how to use the extension the extension on gitlab

You can batch generate documents from csv like scribus or affinity publishers datamerge

Learned scribus last night

learned about DTP (desktop publishing software)

• affinity publisher 22$ ios

It has a cool feature called datamerge where you can use spreadsheets to populate designs. Scribus can do mailmerge from csv. being able to patch process multiple things into a cohesive publication is a big deal. the data entry format looks like this.

%VAR_placeholder%

Here is the link for the python script that adds this functionality
scribus generator

you can print your own shipping labels and make stickers!!

my dim byz

dropbox link

The link is to a pdf I made of spread voiced chords in every key. alternating between a major 6 and a diminished chord to harmonize up the major scale using the b6 as a passing note to create an even octatonic scale. each diminished chord can resolve to 4 different keys. page 4 is on half whole diminished scales on ukulele and then I included a few other scales for fun

every dim7 substitution

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

relating c# dim to 4 keys visually

the lowest diminished chord on uke is c#dim7.

• c#m f#7 bmaj7
• em a7 dmaj7
• gm c7 fmaj7
• Bbm eb7 abmaj7

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

Best Native Teleprompter on apple

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

Harmonic Major Modes

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

12 great scales

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

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

---

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."

---

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

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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

---

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

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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

---

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

---

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

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.