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Re: Robust method of fundamental frequency estimation
I've put an F0 analysis of Dan's piano tone, done by the two-way-mismatch
The two-way-mismatch program was written by Rob Maher in 1989.
>From: Dan Ellis <dpwe@xxxxxxxxxxxxxxx>
>Date: Jan 31 22:17:13 2007
>Subject: Re: [AUDITORY] Robust method of fundamental frequency estimation
>Comments: To: lazzaro <lazzaro@xxxxxxxxxxxxxxxxx>
>> I've always wondered why playing a bass line on the bottom octaves
>> of the piano can almost never serve the same sonic role as playing
>> the same bass line on a stand-up (acoustic) bass or electric bass guitar
>> (I'm talking about a popular music and jazz context here).
>I don't know the answer, but I took the FFT of the lowest note of the piano
>from the MUMS grand piano samples; it's at:
>Obviously this depends on recording setup etc., but there's no
>discernable energy at the fundamental, and almost none at the second
>harmonic. It's only at the 3rd harmonic (82.5 Hz nominal) and above that
>you really start to get energy. I would bet a double bass has better
>representation of lower harmonics.
>The plot also shows in green the expected locations of harmonics of 27.5
>The piano harmonics aren't all that close, and over this range it
>doesn't look like a simple stretching either - seems like a much more
>complex pattern of per-harmonic deviations, both above and below.