frequency as to notes
- Thread starter Setherial
- Start date
regebro
Insane Genious!
12 seminotes is one octave is twice the frequency.
So there is not a specific number of hertz that differs between two notes, but a percentage.
In any case, I would be very suprised to see a program that adjustst the frequency by adding a specific number of hertz, because that wouldn't work very well...
So there is not a specific number of hertz that differs between two notes, but a percentage.
In any case, I would be very suprised to see a program that adjustst the frequency by adding a specific number of hertz, because that wouldn't work very well...
i guess it's integers...the program is analogX auto tune. u can select note/freq. and it will change a track to it as well as sample rate (i keep getting illegal operation though). what i'm trying to do is raise a copy of a track to a higher (root)note...u know an electronic way of having guitar harmonies. is there a program for this?? hey u guys don't sound like novices!
DavidK
New member
Drstawl has over 3000 posts, I am guessing he
is not a Novice
There are probably lots of programs that do that.
I think you are talking about a pitch shifter,
right? I dont know analogx, but the other
programs, like antares, have that feature.
It will say "up or down a perfect fifth, octave,
chipmunk sound, minor third, etc."
FYI, A= 440 in America, but not in Europe! They
tune higher there. The Baroque people tune
to 426, which drives me bonkers.
is not a Novice
There are probably lots of programs that do that.
I think you are talking about a pitch shifter,
right? I dont know analogx, but the other
programs, like antares, have that feature.
It will say "up or down a perfect fifth, octave,
chipmunk sound, minor third, etc."
FYI, A= 440 in America, but not in Europe! They
tune higher there. The Baroque people tune
to 426, which drives me bonkers.
pitch shifter....don't think so. there's a pedal called octave plus that i hope to find a software version of. what u described is right but a pitch shifter guitar pedal does'nt do that. did'nt know about the us/europe tuning thing but have been very curious as to the whole established structure....how they decided to put "c" where it is etc (besides human ear potentials). how did 4/4 time come about...or rather why? love to find a good book on music and metaphysics...it amazes me how even when just jamming u can hit "wrong" notes because of timing. it's like when u start a phrase a crystallization takes place and the choices seem to narrow...or is that 'cause we've been trained to recognize "real" music from chaotic stuff?
I love it! This is the stuff that I am also facinated by. I think what your saying is, say you take your perfectly tunned guitar, and then tune down one of the strings 1/4 step. Not a 1/2 step (like A to Ab), but to that tone between the A and Ab. Now ask yourself, why doesn't it sound right when you play a melody accross those 2 strings? You say "because it's out of tune", right. Well who's to say what 'in tune' means? Is it nature or nurture? Something that inherent in music, or have we been programmed since birth to expect those notes? Some might say that it has something to do with they physics of sound, that is frequency wave of an A doesn't jive with the wave of an 'A tuned down just a hair'. But Why Not?
This is not new. Since the Ancient world we have speculated that our relationship with the spiritual world is based on music relationships. As a starting point, check out this link and go from there. Go to the section called 'Celestial Harmony'
http://www.astrology-world.com/kepler.html
One thing to note, no pun intended, is that most of what we know of music is Western music. Check out the structure of Eastern music. I'm not expert, but if I remember my music theory, they differ fundementally from Western. As far as the timing thing, I think 4/4 is just comfortable for us drones. I have always wanted to work with different poly rhythms, and believe that there are rythems out there that will change your state of consciencness.
On man you got me going! As far as your choices narrowing when a tought begins, I believe 90% of that, for 90% of us, is past influence. Bits and pieces of things we've heard are in us and guide us to those notes. It's why it sounds *right* or *wrong*. I do believe, however, there are those true musical genuises who can connect with the pure stream of music. There are those who play music, and those who let the music play them. The latter group are like filters, and some can become as clear as glass, letting the music come straight through.
Did I get off topic
This is not new. Since the Ancient world we have speculated that our relationship with the spiritual world is based on music relationships. As a starting point, check out this link and go from there. Go to the section called 'Celestial Harmony'
http://www.astrology-world.com/kepler.html
One thing to note, no pun intended
, is that most of what we know of music is Western music. Check out the structure of Eastern music. I'm not expert, but if I remember my music theory, they differ fundementally from Western. As far as the timing thing, I think 4/4 is just comfortable for us drones. I have always wanted to work with different poly rhythms, and believe that there are rythems out there that will change your state of consciencness.On man you got me going! As far as your choices narrowing when a tought begins, I believe 90% of that, for 90% of us, is past influence. Bits and pieces of things we've heard are in us and guide us to those notes. It's why it sounds *right* or *wrong*. I do believe, however, there are those true musical genuises who can connect with the pure stream of music. There are those who play music, and those who let the music play them. The latter group are like filters, and some can become as clear as glass, letting the music come straight through.
Did I get off topic
I've gotten halfway through that book a few times. It is awesome. I haven't finished it yet, but it definently has a spot on my bookshelf. It's packed with so much detail that I go off on tangents everytime I start it. Now that I'm done with school, I'll have to start it again. The amount of research he must have done to write that is amazing. Excellent book for sure.
Roel
That SMART guy.
Oech. Heavy topic.
What sounds 'in tune' or not is culture specific. Just depends with what you grow up.
In our western music, we tune the concert a at 440 HZ. (also in Europe, as far as I know...) Now you have to know that Hz is a linear measure, and an octave is logarithmic.
Which means: the a above concert a is exactly at 880HZ, another octave higher is 1760Hz. Lower you get: 220Hz, 110Hz,...
Each octave is, also according to a logarithmic scale, divided into 12 parts. There are 12 notes in a western octave. Eastern music divides an octave in a different number of parts!! Which makes it sound kinda crazy...
Also, different cultures have different rythmic structures. I heard of a culture in which 5/4 was VERY common. Don't remember which.
The more primitive cultures have music that has less harmonic and melodic structure, but is more rythmic based.
And there's alot of physics involved too... Harmonics etc. By the way, did you know that the upper harmonics of the lower piano strings, due to them being not perfect bars (extremely thin), sound out of tune compared to the harmonics of the upper strings? Even on VERY expensive in tune grand piano's. My piano teacher noticed it once...
What sounds 'in tune' or not is culture specific. Just depends with what you grow up.
In our western music, we tune the concert a at 440 HZ. (also in Europe, as far as I know...) Now you have to know that Hz is a linear measure, and an octave is logarithmic.
Which means: the a above concert a is exactly at 880HZ, another octave higher is 1760Hz. Lower you get: 220Hz, 110Hz,...
Each octave is, also according to a logarithmic scale, divided into 12 parts. There are 12 notes in a western octave. Eastern music divides an octave in a different number of parts!! Which makes it sound kinda crazy...
Also, different cultures have different rythmic structures. I heard of a culture in which 5/4 was VERY common. Don't remember which.
The more primitive cultures have music that has less harmonic and melodic structure, but is more rythmic based.
And there's alot of physics involved too... Harmonics etc. By the way, did you know that the upper harmonics of the lower piano strings, due to them being not perfect bars (extremely thin), sound out of tune compared to the harmonics of the upper strings? Even on VERY expensive in tune grand piano's. My piano teacher noticed it once...
ola
Newbie
A perfectly tuned piano sounds a bit out of tune to me because it uses the "equal tempered tuning" tuning. I prefer "just tuning" but it has the downside of only sounding good in one key while instruments that use "equal tempered tuning" sould equally good/bad in all keys.
We've had a couple of good threads on music theory in the past.
https://homerecording.com/bbs/showthread.php?threadid=13055
https://homerecording.com/bbs/showthread.php?threadid=12879
"In tune", imo, is what you get used to. I grew up with "equal tempered tuning" but since I started playing folk music, I've gotten used to "just tuning" and like that more now.
What was the original question?
/Ola
We've had a couple of good threads on music theory in the past.
https://homerecording.com/bbs/showthread.php?threadid=13055
https://homerecording.com/bbs/showthread.php?threadid=12879
"In tune", imo, is what you get used to. I grew up with "equal tempered tuning" but since I started playing folk music, I've gotten used to "just tuning" and like that more now.
What was the original question?
/Ola
Ich liebe Kaos
hey, we've got some hip dudes here. as ziller said, nature or nurture...i'm keenly aware of my physiologic tendencies when jamming. sometimes i feel it's an issue of balance/imbalance concerning energies from without/within...
maybe the most evolved(?) would perceive patterns in the most chaotic noise.
the east has some rather interesting scales...not that i'm hip to any. but you would think that if sacred geometry rules that there'd be more harmony concerning each cultures interpretation.
so i wonder if we're all Growing towards some cosmic scale...like that found in Vampyric Black Metal (mmwaahahahaaa)
back on the ground. i'm Still looking for a program that can raise the tone of any given track. like what an "octaveplus" guitar pedal would do (that is, while playing both tracks back at the same time). so i don't have to play everythng twice....this harmony stuff is very cool in black metal.
hey, we've got some hip dudes here. as ziller said, nature or nurture...i'm keenly aware of my physiologic tendencies when jamming. sometimes i feel it's an issue of balance/imbalance concerning energies from without/within...
maybe the most evolved(?) would perceive patterns in the most chaotic noise.
the east has some rather interesting scales...not that i'm hip to any. but you would think that if sacred geometry rules that there'd be more harmony concerning each cultures interpretation.
so i wonder if we're all Growing towards some cosmic scale...like that found in Vampyric Black Metal (mmwaahahahaaa)
back on the ground. i'm Still looking for a program that can raise the tone of any given track. like what an "octaveplus" guitar pedal would do (that is, while playing both tracks back at the same time). so i don't have to play everythng twice....this harmony stuff is very cool in black metal.
I guess I listened to too much Mahavishnu Orchestra cuz 4/4 seems really strange to me now. 
This drummer I've been jamming with, we call him "real time" cuz there really isn't a basic time signature in what we play. Free music rules. My friend alec wrote a tune he said was in 5 1/2 / 8. heh... really it was like 11/8 but 5 1/2 / 8 is where the groove was. that's how he heard it. I haven't really gotten into foreign scales or semi-tones too much, but it's almost like I hear things in odd times.
Theres this song on Radioheads Kid A that has this monster 12/8 feel in it, it's like the drums and the guitar are almost in cannon as far as the time signature. It's just 12/8 but it feels way more complicated.
syncopation takes you to places unseen but very real.
but to get back on topic. It seems like a pitch shifter is what you are looking for. A digitec Whammy pedal or a BOSS Harmonist will do what you want. There are software versions, but a pedal will be much more user friendly. If it's semitones you are after though, rip all your frets out of your guitar, put on some flat wounds, angle your bridge, and lock your self in your bedroom for three years learning your new instrument.
-jhe
This drummer I've been jamming with, we call him "real time" cuz there really isn't a basic time signature in what we play. Free music rules. My friend alec wrote a tune he said was in 5 1/2 / 8. heh... really it was like 11/8 but 5 1/2 / 8 is where the groove was. that's how he heard it. I haven't really gotten into foreign scales or semi-tones too much, but it's almost like I hear things in odd times.
Theres this song on Radioheads Kid A that has this monster 12/8 feel in it, it's like the drums and the guitar are almost in cannon as far as the time signature. It's just 12/8 but it feels way more complicated.
syncopation takes you to places unseen but very real.
but to get back on topic. It seems like a pitch shifter is what you are looking for. A digitec Whammy pedal or a BOSS Harmonist will do what you want. There are software versions, but a pedal will be much more user friendly. If it's semitones you are after though, rip all your frets out of your guitar, put on some flat wounds, angle your bridge, and lock your self in your bedroom for three years learning your new instrument.
-jhe
dragonworks
Banned
Borrow a fretless bass if you havent played one, you will
find theres at leas six or seven notes, if not more notes
between e and g
find theres at leas six or seven notes, if not more notes
between e and g
zip
New member
fretless...
Getting back to what drstawl said...wouldn't there REALLY be an infinite number of notes between e and g on a fretless?? You may not be able to audibly distinguish them but couldn't you theoretically move an infinite number of times between two points???
I know - gibberish.....
zip >>
Getting back to what drstawl said...wouldn't there REALLY be an infinite number of notes between e and g on a fretless?? You may not be able to audibly distinguish them but couldn't you theoretically move an infinite number of times between two points???
I know - gibberish.....
zip >>
Wallycleaver
New member
Where could one find the hz for a standard western scale. I know a=440, what's b, c, etc
DavidK
New member
No Zip, there is not an infinite amount of notes
between e and g, there are only two, f and f-sharp
(Or g flat). If you are using the western notation
scale, that is the only possible answer.
There are an infinite array of frequencies between
the notes, however. The standard A in america
is tuned at 440 hz, but it would be possible to
play an A at 439.99 hz. You and I couldnt hear the
difference, but in theory it is possible.
However, microtuning has nothing to do with notes,
there are only twelve notes in the western notation.
Bartok has a few tunes that he indicates to play
a quarter-tone up or down ( the Violin Concerto
#2 for instance,) but one is simply playing a
D a quarter tone flat, there is no system written
that would call that a note.
between e and g, there are only two, f and f-sharp
(Or g flat). If you are using the western notation
scale, that is the only possible answer.
There are an infinite array of frequencies between
the notes, however. The standard A in america
is tuned at 440 hz, but it would be possible to
play an A at 439.99 hz. You and I couldnt hear the
difference, but in theory it is possible.
However, microtuning has nothing to do with notes,
there are only twelve notes in the western notation.
Bartok has a few tunes that he indicates to play
a quarter-tone up or down ( the Violin Concerto
#2 for instance,) but one is simply playing a
D a quarter tone flat, there is no system written
that would call that a note.