Reading Time: 11 minutes October 14, 2014

WHY USING A LOWER PITCH THEN THE STANDARD OF A4=440HZ?

There would be various subjective reasons I could give, like that it sounds and feels better to me, but that might just be a matter of taste … I could also quote various authors that shared philosophical and/or “spiritual” point of views, but you could set that aside as a form of belief, superstition or religion … or even “pseudo-science” … right?

So, I will share some general information about sound, vibration and resonance in this blog article and will try to explain what the possible results can be when changing the pitch, on both instrument sound and the surroundings (room acoustics).
I this article the following topics:

• SOUND, VIBRATION, RESONANCE AND HEARING – INFORMATION
• VIBRATION AND RESONANCE OF ACOUSTIC AND ELECTRIC STRING INSTRUMENTS – INFORMATION
• VIBRATION OF THE VOCAL FOLDS – INFORMATION
• VIBRATION AND RESONANCE OF WIND INSTRUMENTS – INFORMATION
• ELECTRONIC INSTRUMENTS AND PITCH CHANGE – INFORMATION
• SO, WHY LOWER THE CONCERT PITCH? – CONCLUSION

SOUND, VIBRATION, RESONANCE AND HEARING

The human ear can nominally hear sounds in the range 20Hz to 20,000Hz (20kHz). The upper limit tends to decrease with age; most adults are unable to hear above 17 kHz. The lowest frequency that has been identified as a musical tone is 12Hz (under ideal laboratory conditions). Tones between 4 and 16 Hz can be perceived via the body’s “sense of touch“.

Higher frequencies tend to be more directional than lower frequencies. Low frequencies, due to the bigger distance between the peaks and troughs of the wave tend to “bend around” objects that are in their path (sometimes maintain it’s shape). High frequencies have smaller distances between the peaks and troughs of the wave, they are very tightly packed and have the tendency to “bounce off” or get “reflected” by objects in their path.

Frequency resolution of the ear is 0.9Hz within the octave of C4=256Hz and C5=512Hz. With other words, changes in pitch larger than 0.9 Hz can be perceived by most. Musicians and sound engineers (“trained ears”) can pick up smaller pitch changes than that. Smaller pitch differences can also be perceived through other means, the interference of two pitches can often be heard as beating. 

Sound travels through air, water and solid matter, all examples of mediums for sound. Without a medium (vacuum: space) there are no particles to carry the sound waves. Particles vibrate at a specific frequency for each source, called it’s natural frequency. Steel, brass, wood, (et cetera) all have different natural frequencies. Objects vibrating at their natural frequencies will cause resonance. Most vibrating objects have multiple resonant frequencies.

The frequency of a wave refers to how often the particles of the medium vibrate when a wave passes through the medium. The frequency of a wave is measured as the number of complete back-and-forth vibrations of a particle of the medium per unit of time. As a sound wave moves through a medium, each particle of the medium vibrates at the same frequency. This is sensible since each particle vibrates due to the motion of its nearest neighbor. 

When an object is forced into resonance vibrations at one of its natural frequencies, it vibrates in a manner such that a standing wave is formed within the object. The natural frequencies of an object are merely the harmonic frequencies at which standing wave patterns are established within the object. Objects are most easily forced into resonance vibrations when disturbed at frequencies associated with these natural frequencies.

Acoustic resonance is important for hearing. For example, resonance of a stiff structural element called the basilar membrane within the cochlea of the inner ear, allows hair cells on the membrane to detect sound. Hearing is not a purely mechanical phenomenon of wave propagation, but is also a sensory and perceptual event; in other words, when a person hears something, that something arrives at the ear as a mechanical sound wave traveling through the air, but within the ear it is transformed into neural action potentials. These nerve pulses then travel to the brain where they are perceived.

The speed of sound in air is much less than that in water (and the human body is contains for a large part water).  When sound changes mediums, or enters a different material, it is bent from its original direction. This change in angle of direction is called refraction. Because of the angle, part of the wave enters the new medium first and changes speed. The difference in speeds causes the wave to bend. This means that there is an acoustic impedance difference between the air and the body.

The amount of energy that is transported past a given area of the medium per unit of time is known as the intensity of the sound wave. The greater the amplitude of vibrations of the particles of the medium, the greater the rate at which energy is transported through it, and the more intense that the sound wave is. Loudness (intensity) does primary depend on the amplitude of the wave, but it could also depend upon the frequency. If the sound is not a single frequency (sine wave), then the “loudness” depends upon the distribution of overtones of the fundamental (the ‘pitch’) as well.

Everything, even air, absorbs sound. One example of air absorbing sound waves happens during a thunderstorm. When you are very close to a storm, you hear thunder as a sharp crack. When the storm is farther away, you hear a low rumble instead. This is because air absorbs high frequencies more easily than low. By the time the thunder has reached you, all the high pitches are lost and only the low ones can be heard. The displacement in a medium of a high frequency wave is more than a lower frequency wave, more energy is lost with the higher frequency. With that energy lost, the overall amplitude of the higher frequency wave would have decreased a lot more than of a lower frequency wave.

VIBRATION AND RESONANCE OF ACOUSTIC AND ELECTRIC STRING INSTRUMENTS

When we pluck or strike a string of a string instrument this string (source) starts to vibrate. Waves of sound energy then move outward in all directions from the string. The string vibrates at all the frequencies present in the impulse (an impulsive function theoretically contains ‘all’ frequencies). Those frequencies that are not one of the resonances are quickly filtered out — they are attenuated — and all that is left is the harmonic vibrations that we hear as a musical note. Usually a vibrating string produces a sound whose frequencies in most cases are constant. 

Part of the vibrations generated by the string will transfer through the “bridge“, “tailpiece” and “pegbox” or “headstock” to the body of the instrument. With other words: the instrument itself will vibrate and resonates along with the vibrating strings. The tendency of one object to force another adjoining or interconnected object into vibrational motion is referred to as a “Forced Vibration“. In the case of the guitar string mounted to the sound box, the fact that the surface area of the sound box is greater than the surface area of the string means that more surrounding air particles will be forced into vibration. This causes an increase in the amplitude and thus loudness of the sound.

“Air resonance” plays a role as well with acoustic string instruments. The f-holes of a violin for example form the opening of a cavity resonator (sound chamber of an instrument) which in the resonance curve for the Stradivarius shown enhances frequencies close to the open string D4 at 294Hz. The larger the opening to the cavity, the higher the frequency (air can rush in and out faster). An air cavity will exhibit a single resonant frequency. A larger volume gives a lower frequency (more air needs to move out to relieve the pressure exess).

Using a different tuning system is not uncommon among guitarists. One of the most used alternative is the so called “E♭ (E‐flat) tuning or D♯ (D‐sharp) tuning“. All of the strings are lowered by one semitone (100 cents). This is where the present A4=440Hz pitch standard and the “Baroque Pitch” of A4=415Hz come together (the difference between 440Hz and 415Hz is 101 cents). The reason why various guitarists tuned this way are a heavier tone / change of timbre, the possibility to use of heavier strings without decreasing playability and/or greater string flexibility (for “pull-ups”) without losing compatibility with 440Hz tuned instruments. Some of the most famous guitarists tuned their guitar this way, like Jimi Hendrix and Stevie Ray Vaughan.

A semitone (or even whole tone) pitch change is not what this blog article is about, but is useful information for a better understanding of the effects of pitch change.

VIBRATION OF THE VOCAL FOLDS

The vocal folds, also known commonly as vocal cords or voice reeds, are composed of twin infoldings of mucous membrane stretched horizontally, from back to front, across the larynx. They vibrate, modulating the flow of air being expelled from the lungs during phonation. The perceived pitch of a person’s voice is determined by a number of different factors, most importantly the fundamental frequency of the sound generated by the larynx.

Some vocalists – who have experimented with various pitches – do seem to prefer pitches lower then 440Hz. To keep a tone stable the vocal chords (muscles) need to “hold” the tension required for that particular tone. The higher the tension on the vocal chords required, the harder it will be to hold that tension. When the pitch is lowered, the tension on the vocal chords decreases as well.

VIBRATION AND RESONANCE OF WIND INSTRUMENTS

A wind instrument contains some type of resonator (usually a tube), in which a column of air is set into vibration by the player blowing into (or over) a mouthpiece set at the end of the resonator. The resonant frequencies of air columns of wind instruments depend upon the speed of sound in air as well as the length and geometry of the air column. 

The woodwind instruments use only the first few resonances of air columns and depend upon opening holes in the sides of the air columns to ascend in pitch. 
The brass instruments employ a large number of resonances (harmonics) of their air columns and make use of valves or slides to lengthen the air columns for a downward progression of pitches.

A cylindrical air column with both ends open will vibrate with a fundamental mode such that the air column length is one half the wavelength of the sound wave. The open air column can produce all harmonics. Open cylinders are employed musically in the flute, the recorder, and the open organ pipe. 

A closed cylindrical air column will produce resonant standing waves at a fundamental frequency and at odd harmonics. The constraint of the closed end prevents the column from producing the even harmonics. The clarinet consists of an approximate closed cylinder, and this makes clarinet acoustics quite different from the other woodwind instruments.|
 
A conical air column will produce the same fundamental frequency as an open cylinder of the same length and will also produce all harmonics. Conical air columns are employed in several of the woodwind musical instruments: oboe, bassoon, saxophone, and others. 

ELECTRONIC INSTRUMENTS AND PITCH CHANGE

Changing the pitch of electronic music instruments such as (software) synthesizers and (software) samplers has less effect in comparison to that of acoustic instruments (and electric musical instruments). The physical characteristics (mass, weight, volume and density, vibratory nature of the medium, et cetera) of electronic instruments (the hardware) does not play a role in the creation of its sound itself, the “synthetic” or “sampled” sounds of the instruments will be generated with exactly the same algorhythms. 

The only effect that the change of pitch can have for electronic instruments, is when the sound becomes “airborne”, starts floating around and “collides” and “interacts” with the room and objects in it. 

!!! What is important to be aware of though, is that it is pretty useless to change the pitch with exactly one semitone (to 415Hz, the “Baroque Pitch”) if you are using electronic instruments. There is after all no change of timbre – as mentioned above – and the frequencies responding to the keys are still the same (they simply have moved a key up or down) and thus the frequency “response” of all 12 tones, the resonate with and “reflection” of the sound with the room is practically the same.

SO, WHY LOWER THE CONCERT PITCH? (CONCLUSION)

“What changes at the source?” and “How does these changes at the source effect the surrounding space?”.

CHANGES AT THE SOURCE

For some instrumentalists a lower pitch could make a performance easier. A lower pitch would mean less tension on the strings of an instrument (and vocal chords as well), there for less “energy” is required to set the source “in motion”. Lower tension on a string would also mean that you could pull a string further up, with other words you have more flexibility to pitch-up a tone. 

A lower pitch would also mean a possible difference in natural frequency response, generating difference in resonance of the instrument itself. Due to the change of resonance of the instrument the “timbre” could change as well (also depending on the material the instrument is made of and the vibratory nature of that material).

Low frequencies do not displace as much energy as high frequencies do, but they contain the energy better. By lowering the pitch the vibration and resonance (within the instrument and the air in resonators) could lasts longer (more sustain / longer decay time).

THE EFFECTS ON THE SURROUNDING SPACE

As mentioned earlier in this article we know that high frequencies tend to “bounce of” anything in their path, while lower frequencies tend to “bend around” those objects. Even though the difference between using Concert Pitch 440Hz or 432Hz is relatively small, the “reflection” of sound from the objects it is surrounded by and the room (where the the source is in) is a little less. This is most clear with the hi-end frequencies like for example hi-hats and cymbal splashes. In particular in places with a lot of hard surfaces (concrete, glass, et cetera) a (small) difference in reflection/absorption and resonance can be heard. In the open air the difference in reflection and resonance between using Concert Pitch 440Hz and 432Hz is not really detectable though.

When using powerful sound systems or loud acoustic instruments, a part of the vibrations generated with that sound system or instruments might find resonance in the room where the sound is generated. The natural frequencies of the matter of this this room might resonate differently. After all, lower frequencies generate less energy displacement then high frequencies do, thus a little less response in resonance from the natural frequencies of the room.

HOW LOW SHOULD YOU GO?

Well, you might like to try 435Hz (Diapason Normal) or 432Hz … or lower? I suggest you start exploring the options yourself, at the end music is about you expressing yourself the way that suits you best, right? I will though sum-up a few low pitches used in music history, you can start your own “research” from there …

THE HISTORICALLY LOWEST MENTIONED PITCH USED FOR A4 (AT 360HZ)

If we take a look at the last couple of centuries we notice pitches as low as A4=360Hz (English pitchpipe organs) have been used. To put that in perspective: 370Hz is exactly to 3 semitions (300 cents) below 440Hz.

THE “BAROQUE PITCH” (A4=415HZ)
This pitch was commonly used during the “Baroque period” (1600-1760). 415Hz is 101 cents or 1.01 semitone below the present 440Hz standard. With other words, Concert Pitch 440Hz is 415Hz transposed a semitone up. A4=415Hz as Concert Pitch might be an option when using acoustic instruments (due to differences in resonance and timbre). When using electronic instruments this pitch-shift is useless (see information earlier in this article).

THE “SCIENTIFIC PITCH” C4=256HZ (A4=430.5-432HZ)
Also known as also known as philosophical pitch, Sauveur pitch or Verdi tuning, was first proposed in 1713 by French physicist Joseph Sauveur, promoted briefly by Italian composer Giuseppe Verdi in the 19th century, then advocated by the Schiller Institute beginning in the 1980s. All the octaves of C are an exact round number in the binary system. The exact pitch of A4 depends on the Temperament you use. If you use Equal Tone Temperament we find A4 at 430.5Hz, but if you use the Pythagorean Temperament you will find A4 at 432Hz. Other Temperaments could generate different results for the exact pitch of A4 when using C4=256Hz as Concert Pitch.

THE “DIAPASON NORMAL” (A4=435HZ)
In 1859 (February 16), the French government passed a law to set the National Standard to A4=435Hz, the only official (law binding) National concert pitch in recorded history. 

ARE THERE ANY DISADVANTAGES USING A LOWER PITCH?

Unfortunately YES, there are …
The biggest disadvantage of using a lower (or higher) pitch then the present standard A4=440Hz is the tuning difficulties/issues that occur when using particular instruments. Not all instruments can change Concert Pitch!!! It is important to be aware of this when composing and producing music.

• If you intend to perform live using a different Concert Pitch, then make sure the instruments of the the musicians you invite for the gig can handle a pitch change. I the blog article “Instruments & Tuning” you can read more about this.
• If you only compose and produce in order to release music, then it is possible to change the pitch (and temperament) in post production for those instruments that do not handle the pitch change well, if all instruments were recorded on separate tracks. More info about this in the articles: “How to: Changing the Concert Pitch” and “How to: Changing the Concert Pitch + Temperament“.

Another disadvantage about using a different Concert Pitch is one for DJ’s. Mixing tracks that use different Concert Pitches does sound horrible, the dissonance can be mood-killing. Naturally DJ’s could re-pitch their whole repertoire (time consuming), or play only tracks produced using the same Concert Pitch (limits repertoire). Fixing the difference in Concert Pitch real-time is at present time (2014) no proper solution, not even with modern DJ gear such as “Traktor” or “Serato“.

AFTERWORD

Now, I do like to make clear that the difference between the present A4=440Hz pitch standard and the A4=435Hz (“Diapason Normal”) or A4=432Hz & C4=256Hz as Concert Pitch will not be a difference of “night and day”.

Using another (lower) Concert Pitch such as A4=432Hz is not like some “magic trick” that will make a piece of music suddenly sound great that if played and recorded the same way but 8Hz higher (at 440Hz) would not sound very well. The “intention” (passion, energy, et cetera) of the performers and “mastery” of both musicians and sound engineers still play the biggest role when it comes to something sounding great. 

A different pitch might create a different “perspective” … A lower pitch (then A4=440Hz) might enlarge the sensation of an extended “dimensionality” at best, but only if that dimensionality was there to begin with. 432-Tuning nor any other Concert Pitch or temperament can “create” what isn’t there to begin with … and that does start with the composition itself, the story that is going to be told, and stands or falls with the accomplishments of the total of artists involved.

Concert Pitch 432Hz is perhaps more something you could call “fingerspitzengefühl” … that is, for those who have “ear” for it. 

What really changes the way a piece of music sounds like is the change of Temperament … 

 SOURCES:

• Wikipedia (various pages)
• HyperPhysics: http://hyperphysics.phy-astr.gsu.edu/hbase/sound/soucon.html
• NDT: https://www.nde-ed.org/EducationResources/HighSchool/Sound/hs_sound_index.htm
• The Physics Classroom: http://www.physicsclassroom.com/class/waves

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Reading Time: 3 minutes June 20, 2014

432HZ OR 444Hz/528Hz… “SPECIAL” FREQUENCIES?

In this article I will share my OPINION about this matter. It is how I see it … you may agree or you may disagree, or perhaps you have a completely different idea about it all. In case you don’t agree, I would like to ask you kindly to have the decency to respect my personal point of view and treat it as such.

From my experience with sound I can say that the effect that sound has on us is often underestimated or misunderstood.

On various sites and fora “special qualities” are given to the frequency of 432Hz (432-Tuning), as well as to frequencies like 444Hz and 528Hz (another tuning concept, the “Ancient Solfeggio Tones“). Some would describe this frequency as “divine”, “mystical” or “magical” and even claims of great healing power are subscribed to it. Sound to me is not that kind of “special”, to me it’s simply part of nature, of all. I do not feel the need to place “fancy labels” on it like it’s some “sales pitch” or so. Nothing is more (or less) “special” then anything else, everything simply is.

I think pretty much everyone has experienced sound physically, for example when standing close to a sub-woofer one can not only feel the air displacement caused by the movement of the speaker, but you can actually feel the low frequencies “wobbling” in your stomach. Or what about the reflexes triggered by a sharp squeaking sound (like for example fingernails scratching over a chalkboard): goosebumps, cold shivers and pulling up your shoulders unintentionally. Sound can also effect us mentally. The sound of crashing waves on the beach, the wind gently blowing through the tree leaves, or perhaps the gentle dripping of the rain on a roof window could sooth the mind. Nervousness and irritation can be experienced with sounds that annoy us, like a neighbor drilling holes in the wall or pounding drum beats coming from the party next door. 

I think it is safe to say that the sound that we are surrounded by (or we surround ourselves with) can have a direct relationship with our well-being. The idea of “sound-healing” is thus not as strange as you might think.

BUT … I personally do not “believe” in “one size fits all”, specially when it comes to spirituality, life and the universe we live in. We are all unique beings with our own unique characteristics. We have our own unique brainwave responses (responses to external “stimuli”, together forming a “brain fingerprint”) and even features as bone density, mass, et cetera could effect the way we perceive the sound that surrounds us. Even the shape our ears plays a role in how we perceive sound. 

If our perception of sound differs, then it is logical to assume that a particular frequency could effect people differently. With other words, particular “divine”, “mystical” or “magical” frequencies do not really exist, other then in the minds of some people who wish to “believe” in something special, or perhaps do so to keep faith in life. 

That there are particular frequencies that might effect you (the individual) positively is undeniable and that within certain frequencies ranges more people seem to respond is not strange either. There are besides differences similarities as well between us human beings. Nonetheless, the proclamed “healing frequencies for all” concept seems to me like an over-simplification of nature itself and lacks the awareness and understanding of the diversity and uniqueness of every individual. 

Besides that … that someone can compose and produce music is one thing. To be able to “read” people correctly to provide a custom “piece of music” for a particular medical problem is something else. Healing is a gift … all posses it, but not all master it.

Ofcourse … this is just my opinion …

Now, just a short audio-fragment from something Abraham Hicks shared … just because it’s interesting and I like it.

https://youtu.be/IO06wKzr5tI?si=5BbYzjDC4Cu-mXKf

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Reading Time: 2 minutes February 21, 2014

HOW TO: CHANGING THE CONCERT PITCH + TEMPERAMENT (POST PROD.)

USING SOFTWARE TO CORRECT TEMPERAMENT
Antares Auto-tune / Melodyne Editor / Waves Tune

When you have the separate instrument tracks of a song, then you do have the option to re-tune and RE-TEMPER the instrument tracks individually changing not only the concert pitch but the temperament as well.

This is possible due to software like the Melodyne Editor.

The videos below provides information on how to use different Temperaments and Concert Pitches. These videos aren’t turorials about 432-tuning in particular, but 432Hz as Concert Pitch is being mentioned in the second video (03:46 – 04:00).

Other plugins that can be used to change the temperament, are Waves Tune and Antares Auto-tune. With both plugins you can select the scale, in the case of 432-Tuning we set it to Pythagorean. Now, it is important to know how to work with these plugins, so if you have never worked with them before, then I suggest you check some youtube videos and read the manuals. 

Important is that you have to make sure that you do select the correct root (Waves Tune) / key (Antares Auto-Tune) and use formant correction. Also pay attention to the range (Waves (Tune) / Input Type (Antares Auto-Tune) settings of these plugins.

     

RECORDING IN PITCH & TEMPERAMENT IS ALWAYS BETTER!

Every form of “manipulation” will cause loss of quality to a recorded sound. The better the algorithm used with the software, the smaller the loss. Nonetheless, it is always preferable to tune the instruments you like to record to the right pitch and temperament, if possible.

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Reading Time: 5 minutes February 21, 2014

HOW TO: CHANGING THE CONCERT PITCH (POST PROD.)

A blog about using software and/or plugins to change the Concert Pitch. There are various applications (sound/wave editors) and plugins that can be used for changing the Concert Pitch. I am not going to blog about every available piece of software, most applications and plugins work pretty much the same, so I’ll just write something about the most popular applications used by “members” of the “432 Community”.

NOTE: if you like to change both Concert Pitch and Temperament of recorded material then read this article …

USING AUDACITY (FREEWARE: WINDOWS, OS X, LINUX)
Website: http://audacity.sourceforge.net/download/

Audacity is probably the most popular freeware sound editor among members of the “432-Community”. This freeware application is available for all major operating systems (Windows, Mac OS X and Linux). 

Online you can find various blogs, articles and step-by-step instructions how to pitch sound files created using A4=440Hz as Concert Pitch, to the prefered A4=432Hz Concert Pitch. What I have noticed is that the option to “Change Pitch” is suggested by most. Important to mention though, is that when only changing the pitch and not the tempo, there will be resolution loss, and the upper harmonics might sound “fake”.

The better method thus would be to “Change Speed“. When you change the speed of a piece of music, both Tempo and Pitch will change. This method is the equivalent of slowing down a turntable.

HOW TO: CHANGE SPEED

Assuming you do know how to start Audacity and open a sound file, I will get straight to “business” and assume you have loaded the file-to-be-speeded-down in Audacity. So, here’s what you need to do:

STEP 1: 
Select “Change Speed …” (found under the menu topic “Effect“).

STEP 2:
Enter -1.818 at “Percent Change” (check if the “Standard Vinyl RPM” is set to “n/a“). Then press “OK” to implement the Speed Change.

Congrats, you have done it!

Don’t forget to safe and/or export the file in the prefered format (it is best to keep the original format type to prevent additional quality loss). Do check the export “Options” when you export the file to make sure the “Bitrate”, “Quality” and “Channel Mode” is the same as the original.

USING A “CHAIN” (BATCH PROCESSING)

You can make “chains” with Audacity for batch processing. This is convenient if you like to edit multiple files at once.
Scroll down to read how to make a chain yourself.

If this seems too hard for you, then you can download various chains from this website: 
440-to-432-(WAV) | 440-to-432-(MP3) | 440-to-432-(FLAC)

To download: Right-click the link(s) to safe the file(s) to your machine. Place the chain file(s) in the following folder:

• Windows 2000/XP: Documents and Settings\<user name>\Application Data\Audacity\Chains
• Windows Vista/Windows 7/Windows 8: Users\<user name>\AppData\Roaming\Audacity\Chains\
• OS X: ~/Library/Application Support/audacity/Chains/
• Linux: ~/.audacity-data/Chains

 Skip “MAKING THE CHAIN(S) YOURSELF” (below) and continue to “USING THE CHAIN(S)“.

MAKING THE CHAIN(S) YOURSELF:

• Under “File” select “Edit Chains …”.
• Click on the button “Add” (under the left column).
• Enter the name of your chain, for example: “440-to-432-MP3”.
• Click on the button “Insert” (under the right column).
• Double Click “ChangeSpeed” and click on the button “Edit Parameters”.

• Enter “-1.818” at the “Percent Change” and press “OK”.

• Click once more on “OK” button to add the Command to the chain.
• Click once more on the button “Insert” (under the right column) to add the export format to the chain.
• For this part of this “How To” we double-click “ExportMp3” and press ok. The “ExportMp3” will be added under the “ChangeSpeed” to the chain. If the “ExportMp3” ends up above the “ChangeSpeed” in the chain, then use the “Move Up” or “Move Down” button to correct the order in the chain.
• Press on the “OK” button to finish the edit and you will be ready to use it.

USING THE CHAIN(S):

• Under “File” select “Apply Chain …” to select a Chain. For this example we will use the mp3 chain, our source files were mp3, and thus exporting it as such.

• Click on “Apply to Files …” to browse to the folder containing the files, select the files and click on “Open”.
• 2 small windows will pop-up, one with the cue list with files, another one displaying the processing.
• IMPORTANT: the processed exports will be stored in a folder called “cleaned” inside the folder containing the selected (original) files. 
• When the processing has been done, select “Close” under “File“. Audacity will ask you if you like to “Safe Changes?”. Press the button “No“. The chain has already exported (and closed) the processed files, to safe an “empty session” would be useless.

SOME FOOTNOTES:

1) Close any files you might have opened before applying a chain.

2) Keep in mind that when exporting Audacity will use the settings last used for exporting a particular format.

• In order check/change the quality settings, you should load a file and click on “Export …” (Shift+Control+E).
• A window will pop-up where you can select the format. Under the “pull-down” format menu you can find the “Options …” button. This button will trigger a small window to appear, where you can set/change the “setup” for format(s) you like to use. After you have modified the setup, press “Ok” to close the small window.
• “Cancel” the “Export Window”, after all, we did not need to export anything, just check/change the settings.
• Close the loaded file (without saving)

3) Chose the same format to safe the piece with as the original, conversion between different formats requires additional processing and can cause loss of sound quality. There is no use to convert a lower quality format to a higher quality format. If the original was MP3, then there is no use to select the 440 to 432 Flac or Wave chain, you would only change the size of the file, but not the sound quality.

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Reading Time: 2 minutes January 26, 2014

432 & CYMATICS

Cymatics is the study of visible sound and vibration. Typically the surface of a plate, diaphragm, or membrane is vibrated, and regions of maximum and minimum displacement are made visible in a thin coating of particles, paste, or liquid.
[ Read More ] ►

Why is this of importance? Well, we do know that sound has an effect on how we feel. Not just emotional, but physically as well. It is there for interesting to see what effect particular tones (frequencies) have on matter.

In the video below on the left you see a Cymatic experiment with various tones (frequencies), both when A4=432Hz is used as Concert Pitch, as well as A4=440Hz is used. The video on the right displays various tones (fequencies) related to (or very close to) tone frequencies in 432 Tuning generated with the Software Tonoscope*.

IMPORTANT NOTE:
The thickness and type of metal used, as well as the size of the grains are of influence in the relationship of frequency and pattern. If a different kind of metal is used and/or a plate of different size and thickness and/or another type of “sand”, the same frequency might create different patterns or fail to generate a proper pattern.

The video below where they compare 432Hz with 440Hz is thus NOT PROOF of 432Hz being “better”, it just tells us that that particular “setup” of plate and “sand” used works better with 432Hz-related frequencies then it does with 440Hz-related frequencies.

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*Footnote: 
On the website of the Software Tonoscope the “Ancient Solfeggio Frequencies” concept is supported/endorsed. I do NOT support that concept as you might have read in my blog article Myth: “The Ancient Solfeggio Frequencies”.

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Reading Time: 8 minutes January 22, 2014

⚠ MYTH: MOZART, JIMI HENDRIX, BOB MARLEY, PRINCE … 432-ARTISTS?

From time to time stories about various known artist and composers such as Bach, Mozart, Verdi, and more recent Bob Marley, Jimi Hendrix and others pop up, with claims that these artists and composers wrote and/or performed music for concert pitch 432 and/or 432-tuning. Unfortunately most of these stories are rather “speculative” … are those stories urban legends or … ?

For information about Giuseppe Verdi read this article!

About: Mozart | Bob Marley | Jimi Hendrix | Price | and others …

Q: Have the proclaimed “432 artists” and composers mentioned or noted anything themselves about using 432-Tuning?

A: In short, No (although both Verdi and Prince seem to have referred to 432Hz as reference pitch once). Most articles with these stories generally fail to provide proper references that support their claims. There are no links to interviews or documentaries nor to articles, autobiographies or memoirs by the artists in question themselves, sharing any information about the usage 432Hz as Concert Pitch and/or another Temperament then the present standard.

Q: Did the proclaimed “432 artists” and composers (always) compose for and/or perform their work using Concert Pitch A4=432Hz?

A: In short, No. I have not been able to find proper historical data (logs et cetera) about any artists and composer mentioned above of using A4=432Hz for (all) compositions. Perhaps the particular historical data has not been made “public”, but that would be odd, wouldn’t it? It is though rather strange (if not questionable) why some people proclaim composers did compose in 432, but can not deliver any proper historical evidence to proof their claim. Where is the hard evidence that proves their claims?

We do know that great composers – Mozart being one of them – traveled a lot (not only through all German-spoken countries, but in England, France and Italy as well) and must have come across various concert pitches used by musicians, orchestras, instrument builders and composers locally. A composer – when asked to compose a piece – had no other choice then to compose for and work with instruments with the pitch locally used. Naturally the choice of instruments used for a piece would influence the possibility and flexibility of tuning as well. A string quartet would be able to use a large range of possible concert pitches and temperaments, while a church organ would only work with the particular concert pitch it was designed for.

RECORDING METHOD

Various people have noticed that some mostly older recordings sometimes do sound a (little) bit lower (or higher) in pitch then 440Hz. Nowadays most artists record digitally, but a couple of decades ago all artist would record on tape. The “problem” with tape is that in time – when played often – tape could “stretch”. A direct result of tapes getting stretched out is that the pitch (and tempo) of a piece would drop a little. Another thing that we should keep in mind, is that the tape decks used had electrical (mechanical) motors to spin the tapes, that like any mechanical part got “worn-out” in time. Fluctuations / changes in pitch when using tape was there for not uncommon. Even using the same tapes on different tape-decks could result in a variation of pitch (and tempo).

INSTRUMENTATION

Another important thing to keep in mind is that not all instruments can change Concert Pitch. If also the Temperament needs to be changed, then some instruments like the guitar will be problematic. Almost all guitars and bass guitars have a 12-Tone Equal Tempered fret-board. Trombone is pretty much the only wind instrument that could play in any Concert Pitch and Temperament. Fretless String instruments have (generally) no problems with changing the Concert Pitch.

Most drum/percussion instruments – in particular membranophones – can be re-tuned. But some drum/percussion instruments – for example cow-bells – can not tunable, they are manufactured for a particular pitch.

Modern synthesizers have micro-tonal features that make it possible to change pitch and/or temperament. Older keyboards and synthesizers did not (always) come with these features.

Some instruments were designed to be played in 440Hz are for example: Fender Rhodes, Hammond Organ, Vibraphone and conical wind instruments like the Saxophone. If you see these instruments (original) on stage, then you can bet on it that the band is playing in 440Hz. When instruments that can’t change their pitch from 440Hz to 432Hz, then you can be pretty sure the recordings made and performances given were NOT with the use of Concert Pitch 432Hz.

More information about the Concert Pitch and Temperament capabilities of instruments can be read in the article “Instruments & Tuning“.

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The instruments used by musicians and the concert pitch they were build for would differ as well. Some instruments, like string instruments, could be tuned easily to a different concert pitch. Other instruments, like Church (pitchpipe) Organs would not have this possibility. 

You can find more information about instruments and their tuning capabilities here.

Some people have told me (through e-mail) that they have seen an authentic score from the hands of some of the great composers (like Mozart) with “A=432” written in the side-line. This might be very true (I have no reason to doubt the writers intentions). But this “evidence” has not been shared in public, so I can not deny nor confirm it’s authenticity. If it is true, why hasn’t anyone one else (then the specific individuals) have ever seen it? And why do these individuals do not share their evidence?

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In many pieces of Bob Marley instruments like a Fender Rhodes (an instrument that was build for 440Hz and has no microtonal capabilities) or an original Hammond Organ is used (some sources say a change in the power frequency could effect the pitch because the motor is speed locked to it, but this I can’t say for sure). On some of his albums and at some live performances a horn section participates. In particular when a saxophone is used (conical wind instrument), there will be intonation issues if Concert Pitch 432Hz is used instead of the Concert Pitch the instrument was build for (440Hz for most brands). With other words, when using such instruments, you have no other choice then to record (and perform) using 440Hz as concert pitch. 

You can find more information about instruments and their tuning capabilities here.

LIVE PERFORMANCES
IF Bob Marley was a 432 composer/musician, would it then not be more logical if he would perform in 432Hz as well? Why then, was 440Hz used during all the live registrations? 

CONCLUSION ABOUT BOB MARLEY AND 432-TUNING
I think it is more then clear that proclaiming that Bob Marley was a 432 artists is nothing more then a fairy tale of mythical proportion …

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Another reason why Jimi Hendrix – and for that matter many other rock artists – could sometimes sound a bit “off-pitch” – in particular in live-recordings – is that many rock artists tuned by ear. A classic rock formation (with vocals, guitars, bass and drums) is not bound by Concert Pitch (only by Temperament), unlike Rock bands that also used keys (for example Hammond Organ).

JIMI HENDRIX AND Eb TUNING
That Jimi Hendrix tuned his guitars different then most guitarists is fact though. He was one of the most known guitarists that used the so called “E♭ (E‐flat) tuning or D♯ (D‐sharp) tuning“. All of the strings are lowered by one semitone (100 cents). This is where the present A4=440Hz pitch standard and the “Baroque Pitch” of A4=415Hz come together (the difference between 440Hz and 415Hz is 101 cents). Using A4=415Hz instead of A4=440Hz does NOT really change anything though. The tone frequencies used with 440Hz as Concert Pitch are being used in both cases. You could say that all tone-names simply “shift” a semitone. A4 is no longer 440Hz, but A#/Bb is now. The reason why various guitarists tuned this way are a heavier tone / change of timbre, the possibility to use of heavier strings without decreasing playability and/or greater string flexibility (for legato and bending) without losing compatibility with 440Hz tuned instruments. 

Jimi Hendrix is known for using Eb-Tuning, not 432-Tuning.

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“Join Prince for an exclusive Q&A on Facebook right here at 12pm PT/ 3PM EST!! Submit your questions below!!!”

That post is not available on Facebook though, nor is the Prince page in question active.

Who Dee J Fogee exactly is I don’t know, the website deejfogee.org is down (at least it was when I added this info) and the last post on the Facebook profile of Dee J Fogee was done on 5 December 2015.  

Here you can find the article linked to: “Here’s Why You Should Consider Converting Your Music To A=432 Hz“.

QUESTIONS REMAIN:
Is it clear why Prince decided to post that link? How did he really feel about it? Was he serious or just creating a bit more “Controversy”? Was that post really made by Prince himself? At prince.org (the online fan community) fans are not sure what to think about it as you can read in “Q&A with Prince on Facebook today!” and “The frequency of A-432hz“.  

Prince himself did not share any more thoughts or insights on this topic after that Facebook Q&A event. And we might never know the “truth” about this story, Price passed away on the 21th of April 2016.

NO RELEASES IN 432HZ
The albums he made – including those released after that Facebook posts – are not tuned to 432Hz, nor did he perform using 432Hz as concert pitch. For his music he used the standard 440Hz! 

Many (recording) artists and composers leave unfinished and unreleased work behind when they die. Often work they were not completely satisfied about yet or had not found the right moment for to release it. Perhaps in the near future some 432Hz tuned pieces pop-up from his “vault”, who knows. But, for the time being there is no evidence nor proper reason to proclaim Prince used 432Hz for his music.

YOUTUBE AND 432HZ MUSIC VIDEOS

You might have come across videos of famous artists and bands such as Bob Marley, Jimi Hendrix, Pink Floyd, Enya, Coldplay, The Doors, John Lennon / The Beatles, Dire Straits, Jamiroqui … and many more that are available tuned to 432Hz. Important to keep in mind, is that those pieces were not uploaded by the bands, their management or label, but by fans of their music. These fans have down-pitched their music before uploading it onto Youtube. 

! Only 432-tuned tracks available through the official Youtube Channel of artists/bands and/or their label are authentic. All other are not official (proper) representations of the works by those artists.

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Reading Time: 7 minutes January 21, 2014

REAL-TIME 432 AUTO-PITCHING MUSIC PLAYERS

(For: Windows, Mac OS X, Linux, iPhone, Android) 

GENERAL INFORMATION:
For all who have some difficulties working with sound editors, maybe a music player with real-time pitch control provides the solution. If you just like to listen to your music from your PC or Laptop, iPhone and Android, using one of the applications listed below will provide the easiest method to get in tune with Concert Pitch 432Hz!

IMPORTANT! – Keep in mind that the players mentioned in this article will not detect the Concert Pitch of the source. When another Concert Pitch is used then the 440Hz standard, the music will nonetheless be pitched in the same way as if it was in 440Hz. The real-time auto-pitching instructions as mentioned in this blog article only work for 440Hz tuned/pitched audio files. 

NOTE! – Do keep in mind that the change of Concert Pitch alone is not “432 Tuning”. 
432-Tuning is Concert Pitch A4=432Hz + “Pythagorean Temperament”. With most Western music (and instruments played) the “Twelve Tone Equal Temperament” (12-TET) is used. These players will NOT be able to make real-time changes to the temperament! If you like to read more about the difference between “Concert Pitch” and “Tuning System” then you can find more info here.

With some players (VLC and Foobar) there is the option to adjust the rate. If you can adjust the rate, then use this option instead of pitching down. With the “adjust rate” option you change the speed (both pitch and tempo) so there will be no resolution loss. This method is the equivalent of slowing down a turntable and preferable over the pitch-change option! 

The optimal speed (rate) is set to 0.981818 (VLC) or changed with -1.818% (Foobar). If the player/plugin you use can not use more then 2 digits behind the decimal point, then use a rate of -1.82% (A4=431.998Hz) or -1.81% (A4=432,036Hz), a “neglectable difference” (a difference that most people won’t be able to hear, actually). -1.8% will set A4 to 432,080Hz, less then 0.1Hz difference, still very close.

Players / plugins, that use cents or semitones should be set to pitched down with: -31.76665363342977 cents or -0.3176665363342977 semitones. If case you need to “round it off”, use as many digits behind the decimal point as possible. The smaller the number of digits behind the decimal point, the less accurate the result. If for for example use -31 cents / -0.31 semitones, then A4 becomes 432,191Hz, as with -32 cents / -0.32 semitones A4 becomes 431,942Hz. 

If you are looking for a hardware auto-tuning high-end Hi-Fi music player, then do read the Roel’s World article about the EVO 432 Music Server!

PLAYERS FOR [ Windows | Mac OS X | Linux | iPhone | Android ]

PLAYERS FOR WINDOWS

#1: VLC PLAYER – Sets A4=432Hz (freeware)

I think the best freeware video and audio player available for all platforms (Windows, OSX and Linux) is the VLC player. 

Read more about it in this Roel’s World article!

432 PLAYER “432HZ” FOR WINDOWS 7 (freeware) – by Ophir

Ophir used the Open Source code by Alambic WPF Music Player, and modified it change the Concert Pitch to A=432Hz.

More information & Download at: http://ophirpaztao.wix.com/432player 
(bottom of the website, click on the player image to download).

FOOBAR 2000 (freeware)

NOTE: Personally I would recommend the VLC player instead though, it is more accurate and simply sounds better!

Foobar use to be the preferred software to use several years back. It was one of the first players for Windows that made listening to music pitched down to 432Hz in real-time relatively easy in reasonable sound quality. You did not needed to use sound editors anymore to manually pitch-shift your music collection anymore, a huge time-saver for most people.

INTERESTING FEATURE: You can install this application also on a portable device, like for example a Flash Drive. Then you can play the music on another PC/Laptop, without having to install the program on another PC/Laptop first.

But, for those who do prefer using Foobar, follow these instructions: 

• Download the player install here: http://www.foobar2000.org/
• Download the “SoundTouch” plugin: foo_dsp_soundtouch (source site: (HAK) server).

Now … 

1. Install Foobar.
2. Unzip the SoundTouch plugin and place it in the map “C:\Program Files\foobar2000\components\“.
3. After installing the player and the plugin, open under “File” > “Preferences“. A control menu will pop-up.
4. Under “Playback” you can find the “DSP manager“. Activate SoundTouch DSP (see image below).
5. Select the SoundTouch plugin and configure (button above the Active DSPs list). Select the “Rate adjust” option and move the slider -1.82% (see image below). If your mouse movements are not precise, use the arrow keys on your keyboard to get it right. 
6. Click “ok”, then on “apply” and you’re all ready to start listening.  

   

FOOBAR & YOUTUBE

For those who prefer using Foobar for watching and/or listening to Youtube videos: Foobar 2000 can be setup to deal with Youtube streams as well.

To do so you need to download the Youtube component for Foobar 2000 here: http://fy.3dyd.com/download/.  You can choose from 3 different versions, a standard version and 2 preconfigured versions (detailed information can be found on the fv.3dvd.com site). The difference is in default component settings. Standalone variant configured to play best quality from the formats which foobar2000 can play out of the box and without problems. Variant preconf_audio configured to use wider set of formats which can be played without problems only using 3rd party plugins which it contains. Variant preconf_video also has needed DirectShow filers to be able to play video without need to install them in the system.

INSTALLING THE YOUTUBE COMPONENT

1. Go to the Components page.
2. Click the “Install…” button and select the component archive, or simply drag it to the list.
3. Press “OK”, you will be prompted to restart foobar2000 in order to load the newly installed component.

WINAMP (freeware)

For WinAmp you can find a couple of plugins too. My experiences with these WinAmp plugins are less positive then the Foobar + SoundTouch plugin. I have tested 3 plugins for WinAmp, but noticed some “clicks” in the sound. Maybe those plugings work better with other version of WinAmp then I use. Nevertheless, you can give it a try if you like, here are the links:

• Chronotron: http://www.winamp.com/plugin/chronotron-v3-5a/138562
• PaceMaker: http://www.winamp.com/plugin/pacemaker/12689
• Fourier Pitch Tempo Control: http://www.winamp.com/plugin/fourier-pitch-tempo-control/130624

NOTE: I personally would strongly recommend the VLC player instead of WinAmp when using Windows!

PLAYERS FOR [ Windows | Mac OS X | Linux | iPhone | Android ]

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PLAYERS FOR OSX

#1: VLC PLAYER – Sets A4=432Hz (freeware)

The best freeware video and audio player available for all platforms (Windows, OSX and Linux) is the VLC player (in my opinion).  

Read more about it in this article!

NEUTRINO + AU PITCH

Download from: http://www.machinecodex.com/neutrino/ (30-days trial before purchase) 

In the ‘inspector’ window click the plus (+) at the bottom under ‘Fx Chain‘, choose AUPitch, click OK, then enter -31.7667 into the ‘cents’ field, click the x to close. To save this preset, click the file icon to the right of the plus (+), name your preset ‘432Hz’ or something and click OK, it is now saved. You may have to reselect this preset when Neutrino restarts (Instructions by Cole Hayley, using Mac OSX 10.6.8, Snow Leopard).

           

VOX + AU PITCH

Download from: http://www.macupdate.com/app/mac/24852/vox
NOTE: this setup worked for older versions of this player (see 4rd image above), the latest versions do not seem to have this option anymore.

PLAYERS FOR [ Windows | Mac OS X | Linux | iPhone | Android ]

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PLAYERS FOR LINUX

#1: VLC PLAYER – Sets A4=432Hz (freeware)

The best freeware video and audio player available for all platforms (Windows, OSX and Linux), for Linux users VLC Player is the best option. 

Read more about it in this article!

ALTERNATIVE APPROACH FOR LINUX

Personally I would suggest you use VLC when using Linux (it’s the most accurate player for Linux so far).

But, you can run Foobar (or WinAmp if you wish) with Linux too. This is possible due to “Wine” (a compatibility layer capable of running Windows applications). More about Wine (and dowloads) at www.winehq.org

I personally like to use “PlayOnLinux“, it’s freeware and allows you to easily install (some, not all) Windows applications. More about PlayOnLinux (and downloads) at: www.playonlinux.com. An alternative for “PlayOnLinux” is “Crossover” by “www.codeweavers.com“. This application is not for free though.

 NOW … 

1. Install Wine (and PlayOnLinux/Crossover if you like). I will not provide instructions on how to install Wine and PlayOnLinux / Crossover. If you are a Linux user, you most likely already know how to anyway. 
2. Install Foobar (standard, not portable) on a “virtual drive”.
3. Unzip the SoundTouch plugin.
4. Open the application directory of the “virtual drive” and place the SoundTouch plugin in “..\foobar2000\components\“.
5. Follow the instructions from “step 3” as described at the Foobar install for Windows. 

PLAYERS FOR [ Windows | Mac OS X | Linux | iPhone | Android ]

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PLAYERS FOR iPHONE / iPAD

432 PLAYER “432HZ” FOR IPHONE (freeware) – by Ophir

More information: http://ophirpaztao.wix.com/432player
Download from: https://itunes.apple.com/us/app/432-player/id633600716?mt=8

PLAYERS FOR [ Windows | Mac OS X | Linux | iPhone | Android ]

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PLAYERS FOR ANDROID

MAPLE PLAYER (freeware) – by SQR5

• After installing Maple Player, open the tab called “Pitch“.
• Click on the pencil icon on the top-right side to open the “pitch editor”.
• Type -0.32 (or -0.31, what ever sounds best to you) and press “ENT” (enter) to set the new pitch.
• Press the “back key” on your phone to close the “pitch editor” and you are all set to listen to your music re-pitched.

Download from: https://play.google.com/store/apps/details?id=com.sqr5.android.audioplayer
For Androind Jelly Bean download: https://play.google.com/store/apps/details?id=com.sqr5.android.player_jb 

432 PLAYER “432HZ” FOR ANDROID (freeware) – by Ophir
Ophir used the Open Source code by Alambic WPF Music Player, and modified it change the Concert Pitch to A4=432Hz.

More information & Download at: https://play.google.com/store/apps/details?id=com.appums.music_pitcher

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