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Difference between " upper bass", " mid bass" and " lower bass"

Discussion in 'Sound Science' started by chetanappu007, Aug 5, 2012.
  1. mikeaj
    Yeah, G string on cello is G2 (98 Hz), bottom line on staff for bass clef.
    Here's another chart with piano and string instrument pitches:
    those string instruments and their harmonics... somehow it's hard for me to hear the fundamental too, sometimes.
  2. NimbleTurtle
    What the hell I'm so confused now :frowning2: 
    I know my opening "A" on the Cello is A= 440 hertz. I divided that number by 2, which would give me A = 220 on the G string... but wait a min. 
    Actually now I"m starting to realize the possibility of cello A = 220 hertz, but people tune with A =440 hertz just out of convenience, since the violins  are an octave higher... that's the only possible explanation.... 
  3. Penarin
    Has anyone ever seen a web page that talks about the bass frequencies of notes in popular songs?
    Ever since I got my first sub many years ago, Going Back To Cali (LL Cool J) has always stood out to me.  Is that bass hit 40Hz?  60Hz?
    Same with The Way You Make Me Feel by MJ.  Great bassline that seems to go up and down some.
    Bone Thugs have always gone with lots of deep bass.  It would just be interesting to know some of the frequencies in these songs.
    Those songs are all put together on a drum machine, right?
  4. stv014
    You can always check it yourself with an audio editor, like it was done above [​IMG]
  5. mikeaj
    A string on cello is A3 (220 Hz).  The concertmaster plays A4 (440 Hz) on violin, or you get A4 from oboe or piano or something else, an octave higher than the cello, as you said.  Anybody else's A will sound out of tune if it's not a multiple or fraction of it—it doesn't matter whether it's A4 or something else.
    When people say A 440, they're taking about tuning A4 to be 440 Hz rather than 442 Hz or something else like some people do in Europe and elsewhere.  Not everybody's actually playing 440 Hz fundamental.
    G2 (98 Hz) is about as low as many men (tenors, untrained baritones maybe...I think) can comfortably sing with a good tone, corresponding to the starting note on the Bach cello suite.
  6. NimbleTurtle
    Aha! So my theory was right on the spot! Not that it was difficult to come up with XD 
    Personally, I hate how they have a standard pitch for everything. A = 440 is really dull sounding imo, since you're so used to hearing it yet. Same with the concept of hearing a piece in C Major. You just hear it too often. Love listening to baroque recordings at A = 415, but once again, same problem. I really love listening to multiple renditions with different pitches set to them. 
    Correct me if I'm wrong but most vocals sounds like it's around the range of 110 hertz to 1760 hertz right? People seem to label female vocals as "upper midrange", which is 2-6 khtz. I feel the majority of female vocals are below 1760 hertz. But I'm not too sure. 
  7. stv014
    The fundamental frequency is indeed normally below 1760 Hz (A6), and even C6 (~1046.5 Hz) is a relatively high pitch. But in the 2-6 kHz range there can be overtones with still significant amplitude (possibly even higher than that of the fundamental frequency).
  8. mikeaj
    I've not analyzed them and never heard about it, but I imagine that a lot of the 'sss', 'sh', 'k', 'p', etc. sounds have a lot of higher-frequency content.  The fundamental of the tones themselves are not that high really, though there is going to be significant energy in overtones.
    The famous aria by the Queen of the Night in Mozart's The Magic Flute is supposed to show off a pretty high range.  The soprano there needs to go to F6—the note at the top of the arpeggio—a fundamental of 1397 Hz.  A6 is way up there for the human voice, though of course there professionals and rare types out there that can do plenty more.
  9. NimbleTurtle
    Does the balance of the frequency response around that higher region really fundamental in the way we hear the overtones? For instance, if we heard some note at A = 440, and the headphone had extended very well into the overtone range (880, 1760, etc.) would the A at 440 sound richer? 
  10. bigshot
    Overtones are what make an oboe sound different than a flute. Accuracy always helps.
  11. mikeaj
    The frequency response affects fundamental tones just as it does overtones.  It's not like the playback gear can tell which is which.  If it's 5 dB too soft at 880, 1320, etc. compared to 440 Hz, then the balance is off whenever an A440 is played because the overtones will be too weak compared to what it's supposed to sound like.  If it's 5 dB too loud at  880, 1320, etc. compared to 440 Hz, then the balance is off whenever an A440 is played because the overtones will be too strong compared to what it's supposed to sound like.
    If overtones are emphasized, that can sound richer.  Then again, different frequencies could be fundamentals and overtones for different sounds.  Let's say that 400 Hz is too loud relative to everything else.  Then a 200 Hz (or 100 Hz, etc.) tone may sound funky, with the 400 Hz overtone too loud.  Then when a note is played with 400 Hz fundamental, then all the overtones sound too soft (so unrich? who knows).  You have problems with balance in both directions, not to mention the main issue that notes at 400 Hz sound too loud in the first place.
    Nah, it's the oboist, not to mention the dedication to the dark arts of bending reed chips in half and woodcrafting.  [​IMG]
  12. bigshot
    I've found balancing out the bass response is the hardest.

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