Saturday, May 17, 2025

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

Thursday, May 15, 2025

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

Wednesday, May 14, 2025

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

Sunday, May 4, 2025

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.

Saturday, April 26, 2025

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)

Saturday, April 19, 2025

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

Friday, April 18, 2025

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

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.
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.
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.
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.
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.

Wednesday, April 16, 2025

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

Wednesday, April 9, 2025

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:

Calculate the semitone range: HigherFrequency - LowerFrequency
Calculate the target distance: TargetFrequency - LowerFrequency
Calculate the position percentage: (TargetDistance ÷ SemitoneRange) × 100%
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

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..