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Tuning to the Human Ear
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| skyhunter |
When I produce music that is reliant on the bass and sub bass, I usually tune my basses around the E to G range. I usually go for F#, because E is the lowest note I can hear a sine at, and G# feels a little high to be my root note for my sub. Then when I use hi pitched sounds, like bells and whatnot, I do the same. I make the highest note be the highest note (or lower) I can hear.
Anyone else do this, consciously or unconsciously? Or am I just being silly? |
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| Beatflux |
| The key of G is said to "hit the spot," stimulating reproductive hormones in women, so that's what I tend to favor. |
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| derail |
I just compose, and the notes fall where they may.
However, I'm probably not qualified to answer the question, I don't compose music which is "reliant on the bass and sub bass".
Nevertheless, I find sometimes when I take a composition to the production stage that I'll need to transpose a particularly low bass note up an octave. That's my preferred way of doing it. Otherwise I could end up composing everything in the same key. |
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| JEO |
| I usually get something done first, then at some point shift the master pitch up or down to find the sweet spot, then shift all my score to that sweet spot (with the master pitch being back at 0 ofc). |
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| Pagan-za |
I always detune my master pitch by 8 cents. I prefer my A=432 hz instead of 440. I know it doesnt make much of a difference but I prefer the way it sounds and feels.
As for bass though,I often try to stick to certain notes depending on the patch itself. Some just have better resonance than others and stick out so much better. Subbasses I'm not too fussed about, They're usually way too low anyway so I cant hear much definition to them, especially when its layered with a different bass sound. I tend to try make it as subtle as possible while still boosting the extreme lows.
I love composing in the key of A though, apart from it being easy to stay in key, it allows me to move between my favourite notes quite easily. D's and G's are great for basses. But thats just the bassist in me talking. |
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| skyhunter |
| quote: | Originally posted by JEO
I usually get something done first, then at some point shift the master pitch up or down to find the sweet spot, then shift all my score to that sweet spot (with the master pitch being back at 0 ofc). |
That's something I do when I write melodies for HHC. |
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| skyhunter |
| quote: | Originally posted by Pagan-za
I always detune my master pitch by 8 cents. I prefer my A=432 hz instead of 440. I know it doesnt make much of a difference but I prefer the way it sounds and feels.
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Didn't Dimebag do something similar? |
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| DJ RANN |
| quote: | Originally posted by Pagan-za
I always detune my master pitch by 8 cents. I prefer my A=432 hz instead of 440. I know it doesnt make much of a difference but I prefer the way it sounds and feels.
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I know some engineers who'll stab you for doing such things.
And are you talking just your A, or the whole scale (in relative terms) you realise that is going to all your harmonics? |
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| EddieZilker |
| I knew a guy who's band was tuned to A435 to best tailor their sound to the lead singer's natural tuning. |
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| Inner Sanctum |
| quote: | Originally posted by EddieZilker
I knew a guy who's band was tuned to A435 to best tailor their sound to the lead singer's natural tuning. |
Was he French? IIRC A435 was the "official" standard tuning in France in the 1800s/early 1900s. |
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| EddieZilker |
| quote: | Originally posted by Inner Sanctum
Was he French? IIRC A435 was the "official" standard tuning in France in the 1800s/early 1900s. |
I don't believe so. The lead vocalist was female, perhaps of European descent but there's no way of knowing. He was a co-worker of mine, years ago, when he told me about it. They went for a couple of years never really getting the sound they wanted until she went and had her voice analyzed and then they made the conversion.
I went and saw them once. Total '80's hair band stuff, but it was decent. He was a hell of a guitar player. Probably one of three or four that I've met who I'd vouch for as far as their playing ability. |
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