KVR Audio

seamoss · Post by **seamoss** » Tue Mar 22, 2005 11:41 pm

nice work

your efforts are appreciated

peter01 · Post by **peter01** » Wed Mar 23, 2005 12:12 am

The original Carnegie Hall hand drawn chart (courtesy of digido.com):

tkmattson · Post by **tkmattson** » Wed Mar 23, 2005 1:19 am

Glad everyone's enjoying - and improving on the chart - which I provided, but cannot take credit for. The book I found the chart in is by Bruce & Jenny Bartlett.

lebaron · Post by **lebaron** » Wed Mar 23, 2005 1:30 am

Thanks, McLilith, for that clear explanation of harmonics. That helps alot.

How does this relate to using the harmonics column where it shows a frequency range? Is this the general range in which one can expect to hear some higher tones, possibly unwanted sounds, when using that particular instrument? And if so, how can I use this in improving my eq'ing, for instance?

Thanks.

Bob

McLilith · Post by **McLilith** » Wed Mar 23, 2005 1:54 am

lebaron wrote:How does this relate to using the harmonics column where it shows a frequency range? Is this the general range in which one can expect to hear some higher tones, possibly unwanted sounds, when using that particular instrument?

If you are talking about the sort of chart I think you're talking about, the harmonics range would represent the treble component of that instrument's sound. If you were to EQ this region of frequencies away, you would be left with less treble in the instrument's sound, and it might possibly become very dark and muddy, depending on the instrument.

I can't really give you advice on how to EQ your mixes. That topic is far too big, and it involves a huge amount of personal taste. Ask ten different experts how to effectively use EQ in your mixes, and you will probably get at least 20 different answers.

take care,
McLilith

Stone · Post by **Stone** » Wed Mar 23, 2005 3:42 am

glad everyone's finding the chart usefull. i appreciate the initial poster's data from the book that i was able to incorperate. i have it set as my desktop picture for quick reference

rpc9943 · Post by **rpc9943** » Wed Mar 23, 2005 5:18 am

should we bandpass each instrument then?
...?

RonC

Stone · Post by **Stone** » Wed Mar 23, 2005 5:32 am

Nah, i wouldn't bandpass each instrument. might work for a nice effect here and there, but for the most part, you want to just make them all fit in with each other like a puzzle.. not completely eliminate all frequencies except harmonic and fundamentals.

mmdejonge · Post by **mmdejonge** » Wed Mar 23, 2005 6:04 am

McLilith wrote:Those are some handy charts. I've been working on compiling a master chart of all the instrument tunings I can find. For example, it would show the frequency in Hertz of every fret on a guitar, for each string on the guitar, and it would also have listings in the same chart for every instrument I can find tuning data for. It would also translate that frequency data into MIDI note numbers, complete with octave numbers and note letters, and perhaps to another system of tuning information as well.

I just don't have the silly chart ready yet. I'll let everyone know when it's done.

take care,
McLilith

Great effort! Really looking forward to your chart

egbert · Post by **egbert** » Wed Mar 23, 2005 7:55 am

McLilith wrote:I can give you an example of harmonics.

If you play an A-440 note on the piano, the dominant frequency of that note is 440 Hz. However, there is a lot more actually being played than a pure 440 Hz pitch (which would be a pure 440 Hz sine wave.) In addition to the dominant 440 Hz pitch, you are also producing the following pitches:

440 x 1 = 440 Hz
440 x 2 = 880 Hz
440 x 3 = 1,320 Hz
440 x 4 = 1,760 Hz
440 x 5 = 2,200 Hz
440 x 6 = 2,640 Hz
440 x 7 = 3,080 Hz
440 x 8 = 3,520 Hz
...and it keeps going far beyond this point.

Actually, I simplified the exact pitches of the piano note's harmonics. In reality, they aren't perfect integer multiples of the fundamental pitch. They're actually a bit sharper, or higher in pitch, than the values above suggest.

Harmonics are those additional distinct frequencies which occur above the fundamental frequency of a particular note.

The pitches you quote are correctly referred to as harmonics. It is their simple integer ratios with the fundamental that make them "harmonic".

The sharp overtones (or higher partials) in piano tones are strictly speaking "inharmonic". This sharpness is caused by the fact that the string departs from the ideal string in being too stiff - as the bass strings get thicker, their freqency spectrum becomes less like an ideal string and more like a rod.

On something with short thick bass strings like a Yamaha CP80 a deep bass note really sounds out of tune with itself due to this effect.

Frequency Range Chart....