Overtones - Revision history

Meambobbo: /* Harmonic Series */

2015-10-08T03:02:35Z

‎Harmonic Series

Meambobbo at 03:01, 8 October 2015

2015-10-08T03:01:25Z

Meambobbo: /* Applied to Synthesizers */

2015-06-26T02:20:25Z

‎Applied to Synthesizers

Meambobbo: /* Applied to Synthesizers */

2015-06-26T02:15:00Z

‎Applied to Synthesizers

Meambobbo: /* Effect on Tone */

2015-06-26T01:07:27Z

‎Effect on Tone

Meambobbo: /* Harmonic Series */

2015-06-26T01:05:11Z

‎Harmonic Series

Meambobbo at 01:01, 26 June 2015

2015-06-26T01:01:31Z

Meambobbo at 21:30, 12 April 2015

2015-04-12T21:30:17Z

Meambobbo at 22:38, 21 January 2015

2015-01-21T22:38:45Z

Meambobbo: /* Applied to Guitar */

2014-10-13T16:12:42Z

‎Applied to Guitar

@@ Line 8: / Line 8: @@
 {|class="wikitable"
-! Harmonic Order !! Pitch !! Note
+! Harmonic Order !! Pitch !! Note !! Interval
 |-
-| 1 || 110 Hz || A
+| 1 || 110 Hz || A || Unison
 |-
-| 2 || 220 Hz || A
+| 2 || 220 Hz || A || Octave
 |-
-| 3 || 330 Hz || E
+| 3 || 330 Hz || E || Perfect 5th
 |-
-| 4 || 440 Hz || A
+| 4 || 440 Hz || A || Octave
 |-
-| 5 || 550 Hz || C{{s}}
+| 5 || 550 Hz || C{{s}} || Major 3rd
 |-
-| 6 || 660 Hz|| E
+| 6 || 660 Hz|| E || Perfect 5th
 |-
-| 7 || 770 Hz|| G
+| 7 || 770 Hz|| G || Minor 7th
 |-
-| 8 || 880 Hz|| A
+| 8 || 880 Hz|| A || Octave
 |}

@@ Line 2: / Line 2: @@
 {{Sound Crumbs|2}}
-When an instrument plays a note, it is attempting to generate a specific fundamental frequency.  For example, if we play the low open A string, we expect a fundamental frequency at 110 HZ.  '''Overtones''' are pitches that are present in an instrument ''by nature of the instrument itself'' above the fundamental frequency, following the harmonic series.  [[Distortion]] will add a lot more.  Overtones are ''not'' the notes in a chord played above the bass frequency - that is simply several fundamentals played at the same time.  Each of those fundamentals will have their own overtones.
+When an instrument plays a note, it is attempting to generate a specific fundamental frequency.  For example, if we play the low open A string, we expect a fundamental frequency at 110 Hz.  '''Overtones''' are pitches that are present in an instrument ''by nature of the instrument itself'' above the fundamental frequency, following the harmonic series.  [[Distortion]] will add a lot more.  Overtones are ''not'' the notes in a chord played above the bass frequency - that is simply several fundamentals played at the same time.  Each of those fundamentals will have their own overtones.
 == Harmonic Series ==
@@ Line 10: / Line 10: @@
 ! Harmonic Order !! Pitch !! Note
 |-
-| 1 || 110 hZ || A
+| 1 || 110 Hz || A
 |-
-| 2 || 220 hZ || A
+| 2 || 220 Hz || A
 |-
-| 3 || 330 hZ || E
+| 3 || 330 Hz || E
 |-
-| 4 || 440 hZ || A
+| 4 || 440 Hz || A
 |-
-| 5 || 550 hZ || C{{s}}
+| 5 || 550 Hz || C{{s}}
 |-
-| 6 || 660 hZ|| E
+| 6 || 660 Hz|| E
 |-
-| 7 || 770 hZ|| G
+| 7 || 770 Hz|| G
 |-
-| 8 || 880 hZ|| A
+| 8 || 880 Hz|| A
 |}

@@ Line 49: / Line 49: @@
 Synths can often start by synthesizing different waveforms such as triangle or square waves.  These waveforms can be viewed as a composite of infinite number of sine waves along the fundamental frequency's harmonic series, with different relative volumes.  For instance, a triangle wave's overtones appear to be less and less prominent as frequency and harmonic order increase, while a square wave has infinite overtones of equal volume.
-Synths often have '''resonance''' and '''cutoff''' controls - these simply control a [[EQ_or_Filters#Common EQ's|low-pass filter]].  The cutoff control changes the cutoff frequency, reducing overtones beyond that point.  Resonance affects the resonance at the cutoff frequency, possibly boosting overtones near the cutoff frequency relative to the fundamental.  These controls are often automated or manipulated gradually over a repeated riff or progression to make it more interesting and/or to build energy into the next section.
+Synths often have '''resonance''' and '''cutoff''' controls - these simply control a [[EQ_or_Filters#Common EQ's|low-pass filter]].  The cutoff control changes the cutoff frequency, reducing overtones beyond that point.  "Resonance" affects the filter's resonance at the cutoff frequency, possibly boosting overtones near the cutoff frequency relative to the fundamental.  These controls are often automated or manipulated gradually over a repeated riff or progression to make it more interesting and/or to build energy into the next section.
 {{top}}

@@ Line 49: / Line 49: @@
 Synths can often start by synthesizing different waveforms such as triangle or square waves.  These waveforms can be viewed as a composite of infinite number of sine waves along the fundamental frequency's harmonic series, with different relative volumes.  For instance, a triangle wave's overtones appear to be less and less prominent as frequency and harmonic order increase, while a square wave has infinite overtones of equal volume.
-Synths often have ''resonance'' and ''cutoff'' controls - these simply control a [[EQ_or_Filters#Common EQ's|low-pass filter]].  The cutoff control changes the cutoff frequency, reducing overtones beyond that point.  Resonance affects the resonance at the cutoff frequency, possibly boosting overtones near the cutoff frequency relative to the fundamental.  These controls are often automated or manipulated gradually over a repeated riff or progression to make it more interesting and/or to build energy into the next section.
+Synths often have '''resonance''' and '''cutoff''' controls - these simply control a [[EQ_or_Filters#Common EQ's|low-pass filter]].  The cutoff control changes the cutoff frequency, reducing overtones beyond that point.  Resonance affects the resonance at the cutoff frequency, possibly boosting overtones near the cutoff frequency relative to the fundamental.  These controls are often automated or manipulated gradually over a repeated riff or progression to make it more interesting and/or to build energy into the next section.
 {{top}}

@@ Line 30: / Line 30: @@
 The best way to analyze the impact of overtones on the tone of a sound is to look at synthesized waveforms.  A synthesized wave adds or subtracts overtones to alter the waveform.  Since the overtones are part of the harmonic series and are divisible by the fundamental without a remainder, adding them produces a new periodic waveform at the fundamental frequency.  In other words, looking at the wave on an oscilliscope will change shape as overtones are increased or lessened.
-* Sine wave - The sine wave is just the fundamental without overtones.  It sounds very dark and dull, like using the guitar's neck pickup and reducing the tone knob to 0.  Vocally, it is similar to humming.
+* '''Sine wave''' - The sine wave is just the fundamental without overtones.  It sounds very dark and dull, like using the guitar's neck pickup and reducing the tone knob to 0.  Vocally, it is similar to humming.
-* Triangle wave - A triangle wave has progressively diminishing overtones, so the waveform is most impacted by the those closest to the fundamental.  It sounds brighter and more interesting than a pure sine wave.  Vocally it sounds like "aaaaaa".
+* '''Triangle wave''' - A triangle wave has progressively diminishing overtones, so the waveform is most impacted by the those closest to the fundamental.  It sounds brighter and more interesting than a pure sine wave.  Vocally it sounds like "aaaaaa".
-* Square wave - A square wave has perfect overtones extending out to infinity with the same volume as the fundamental.  As expected it sounds bright, but it doesn't sound shrill.  Actually it sounds quite pleasing.  Vocally it sounds like "ooooo".
+* '''Square wave''' - A square wave has perfect overtones extending out to infinity with the same volume as the fundamental.  As expected it sounds bright, but it doesn't sound shrill.  Actually it sounds quite pleasing.  Vocally it sounds like "ooooo".
 == Applied to Guitar ==

@@ Line 1: / Line 1: @@
 When an instrument plays a note, it is attempting to generate a specific fundamental frequency.  For example, if we play the low open A string, we expect a fundamental frequency at 110 HZ.  ''Overtones'' are pitches that are present in an instrument ''by nature of the instrument itself'' above the fundamental frequency, following the harmonic series.  [[Distortion]] will add a lot more.  Overtones are ''not'' the notes in a chord played above the bass frequency - that is simply several fundamentals played at the same time.  Each of those fundamentals will have their own overtones.
@@ Line 47: / Line 50: @@
 Synths often have ''resonance'' and ''cutoff'' controls - these simply control a [[EQ_or_Filters#Common EQ's|low-pass filter]].  The cutoff control changes the cutoff frequency, reducing overtones beyond that point.  Resonance affects the resonance at the cutoff frequency, possibly boosting overtones near the cutoff frequency relative to the fundamental.  These controls are often automated or manipulated gradually over a repeated riff or progression to make it more interesting and/or to build energy into the next section.
 [[Category: Sound]]
 [[Category: Overtones]]
 [[Category: Distortion]]

← Older revision		Revision as of 22:38, 21 January 2015
Line 1:		Line 1:
−	When an instrument plays a note, it is attempting to generate a specific fundamental frequency. For example, if we play the low open A string, we expect a fundamental frequency at 110 HZ. ''Overtones'' are pitches that are present in an instrument ''by nature of the instrument itself'' above the fundamental frequency, following the harmonic series. Overtones are ''not'' the notes in a chord played above the bass frequency - that is simply several fundamentals played at the same time. Each of those fundamentals will have their own overtones.	+	When an instrument plays a note, it is attempting to generate a specific fundamental frequency. For example, if we play the low open A string, we expect a fundamental frequency at 110 HZ. ''Overtones'' are pitches that are present in an instrument ''by nature of the instrument itself'' above the fundamental frequency, following the harmonic series. [[Distortion]] will add a lot more. Overtones are ''not'' the notes in a chord played above the bass frequency - that is simply several fundamentals played at the same time. Each of those fundamentals will have their own overtones.

	== Harmonic Series ==		== Harmonic Series ==