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→Harmonic Series
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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 HZHz. '''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 ==
{|class="wikitable"
! Harmonic Order !! Pitch !! Note!! Interval
|-
| 1 || 110 hZ Hz || A || Unison
|-
| 2 || 220 hZ Hz || A || Octave
|-
| 3 || 330 hZ Hz || E || Perfect 5th
|-
| 4 || 440 hZ Hz || A || Octave
|-
| 5 || 550 hZ Hz || C{{s}}|| Major 3rd
|-
| 6 || 660 hZHz|| E || Perfect 5th
|-
| 7 || 770 hZHz|| G || Minor 7th
|-
| 8 || 880 hZHz|| A || Octave
|}
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 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.
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