Frequency range of typical instruments

This is a very handy chart that gives you a good idea of what sounds go where...

Caleb posted this link on Facebook, and I found this information interesting:

Kick Drum
60-80Hz - Bottom;
2.5KHz - Slap.
Snare Drum
80-120 Hz - Bottom;
240Hz - Fatness;
1-3KHz - Crispness.
Hi-Hat and Cymbals
200 Hz - Clang or gong;
2-4 kHz - Stick hitting metal;
6-10 kHz - Sibilance;
7.5-10KHz - Shimmer.
Rack Toms
240 Hz - Fullness;
2-5 kHz - Attack;
8 kHz - Overtones.
Floor Toms
80 to 240Hz - Fullness;
2-4 kHz - Attack;
8 kHz - Overtones .
Conga/Bongo
200-260 Hz - Resonance;
2-4 kHz - Presence and Slap.
Bass Guitar
60-80Hz - Bottom;
700Hz-1kHz - Attack or Pluck;
2.5kHz - String Noise or Pop.
Any apparant muddiness can be rolled off around 300Hz.
Electric guitar
100-250Hz - Adds body,
250-800Hz - Muddiness area,
1-6kHz - Cuts through the mix,
2.5-3KHz - Clarity,
6-8kHz - Presence and bite.
This depends on the particular guitar sound and the actual sound mix.
Apply either cut or boost around 300Hz, depending on the song and sound.
Boost around 3kHz to add some edge to the sound, or cut to add some transparency.
Boost around 6kHz to add presence. Boost around 8 to 10kHz to add brightness.
Acoustic Guitar
80-120 Hz - Bottom;
100-250Hz - Body;
2.5-5KHz - Clarity;
6-8kHz - Presence;
8-12kHz - Brightness.
Apparant muddiness can be rolled off between 100-300Hz.
A small amount of cut around 1-3kHz can help push the image higher.
Small amounts of boost around 5kHz to add some presence.
Nylon string guitars can have slightly bell-like overtones above 6 kHz
Piano
40-60Hz - Resonance;
60-120Hz - Bottom;
100-250Hz - Upfrontness;
250-1kHz - Muddiness;
2.5-5 KHz - Presence;
6-8kHz - Adds clarity;
10KHz - Crispness.
Any apparant muddiness can be rolled off around 300Hz.
Apply a very small boost around 6kHz to add some clarity.
Honky-tonk sound at 2.5KHz boost especially with a narrow bandwidth (high "Q").
Electric Organ
80-120 Hz - Bottom.
240 Hz - Body.
2.5 kHz - Clarity.
Horns
120 to 240Hz - Fullness.
1kHz - Tinny area.
2.5-8KHz - Shrill.
Harmonica
240Hz - Fatness.
3-5KHz - Bite.
Strings.
50-100Hz - Adds bottom end (larger instruments);
100-250Hz - Adds body;
250-800Hz - Muddiness area;
1-6kHz - Sounds crunchy;
6-8kHz - Adds clarity;
7-10 kHz - Scratchiness;
8-12kHz - Adds brightness.
Vocals
100-250Hz - Fullness;
200 to 280Hz - Boominess;
250-800Hz - Muddiness area;
4-6kHz - Presence;
6-8kHz - Sibilance or clarity;
8-12kHz - Brightness;
12 to 15 KHz - Air.
To little at 3kHz is characterised by a lisping quality, and the letters "m:, "v", "b" become indistinguishable.
It does depend a lot on the mic used and the tonal qualities of the voice (and of course male or female). However... apply either cut or boost around 300Hz and apply a very small boost around 5-6kHz to add some clarity. Remember though that many vocal mics deliberately have a boost in this region (e.g. SM58), and adding to much can increase sibilance or become fatiguing.

Pitch vs Frequency

USEFUL PITCHES AND FREQUENCIES

Pitch (Note name)	Frequency (in Hz)	MIDI #	Comments:
Bass: E string (E0)	41.2	28
Bass: A string (A0)	55.0	33
Bass: D string (D1)	73.4	38
Bass: G string (G1)	98.0	43
Guitar: Low E string (E1)	82.4	40
Guitar A string (A1)	110.0	45
Guitar D string D2)	146.8	50
Guitar G string (G2)	196.0	55
Guitar B string (B2)	246.9	59
Guitar E string (E3)	329.6	64
E0	20.6	16	Fifth below lowest note on piano, nominal lower limit of hearing (20 Hz)
A0	27.5	21	Lowest note on a piano
G1	98.0	43	Closest pitch to 100 Hz
C3 (Middle C)	261.6	60	40th note from the lowest on a piano
A3	440	69	Used as a standard tuning reference
B4	987.7	83	B above treble clef; closest pitch to 1 kHz
C6	2,093.0	96	Closest pitch to 2 kHz
C7	4,186	108	Highest note on a piano
D#7	4,978	111	Minor 3rd above highest piano note, closest pitch to 5 kHz
D#8	9,956	123	Octave + m3 higher than highest piano note, closest pitch to 10 kHz
C9	19,912	NA	2 octaves + m3 higher than highest piano note, nominal upper limit of hearing (20 kHz)

Fig. 1. A table showing common musical pitches, their frequency, MIDI #’s, and comments. In the extreme upper and lower pitch ranges, the frequencies comprise the meaningful information; the pitches are less useful.
A One-octave Chromatic Scale in C

C	130.8
C#	1386
D	146.8
D#	155.6
E	164.8
F	174.6
F#	184.9
G	195.9
G#	207.7
A	220.0
A#	233.1
B	246.9
C	261.6

Fig. 2. A one-octave chromatic scale from the C below middle C to middle C. With these 12 frequencies, you can derive any pitch in the musical universe, simply by multiplying or dividing by 2 the the frequency of the desired note.
There are two ways to derive the frequency of any pitch in the chromatic scale. One is simply have handy a list of 12 notes (one octave) of the chromatic scale in any octave (see above).
You then just multiply (if ascending) or divide (if descending) by 2 successively, depending on the octave, to get the desired pitch. Or you can memorize one number: 1.059463.
That’s the 12th root of 2, which enables you to derive any pitch by simply multiplying or dividing by that number in succession.
For example, A440 times 1.059463 = Bb466.16; Bb466.16 x 1.058463=B493.87; and so on.
If you do this 12 times, you’ll arrive at the octave, A880. Divide by 1.059463, and you'll descend the chromatic scale. (Do it 12 times and you end up with A110.)
The advantage of the 12th-root method over the chart is that you can calculate a pitch from a base frequency of other than A440 — if your reference tuning note is 446, for example.
And if you lose the chart, you always have your brain — if your memory serves you, that is!

source

Quote:

---

Originally Posted by BigAl205

Caleb posted this link on Facebook, and I found this information interesting:

Kick Drum
60-80Hz - Bottom;
2.5KHz - Slap.
etc.

---

I will graph this....

This looks familiar... very great information. Will definitely help with tuning.

Quote:

---

Originally Posted by astrochex

I will graph this....

---

I don't need to, there is already this http://www.caraudiojunkies.com/showt...requency-Chart