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Note frequency chart.
Every note from C0 to B8 in hertz — and, more usefully, the other direction. Type the frequency your analyser just gave you and get the note, how far off it is in cents, which band it lives in and which key it belongs to.
What note is this frequency?
G♭1
exactly 46.25 Hz · +28 cents
That is G♭1, 28 cents sharp — audible against another tuned source and not against a drum. It is in the sub band — felt, not heard. Where a club rig sums to mono, which is why anything wide down here disappears in the room.
As a tonic, G♭ is Camelot 11A minor (18,948 tracks) or 2B major (11,552).
| Oct. | C | D♭ | D | E♭ | E | F | G♭ | G | A♭ | A | B♭ | B |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
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| 8 |
Every value is a click away from the lookup above. Octave numbering is scientific pitch, where C4 is middle C and A4 is the 440 Hz reference — one higher than the octave numbers on most synths, which is the usual source of confusion.
Where each band sits, and what lives in it
| Band | Range | Notes | What it does |
|---|---|---|---|
| Sub | 20–60 Hz | C0 – B1 | Felt, not heard. Where a club rig sums to mono, which is why anything wide down here disappears in the room. |
| Bass | 60–250 Hz | B1 – B3 | The kick body and the bassline. Two tracks with their fundamentals a semitone apart fight here and nowhere else. |
| Mid | 250–2000 Hz | B3 – B6 | Where the melody and the vocal live, and where the mix gets muddy first. |
| Presence | 2000–6000 Hz | B6 – G♭8 | Attack and intelligibility. Boost here and everything sounds closer and more tiring. |
| Air | 6000–20k Hz | G♭8 – B8 | Hats, shimmer, and the region a lossy encoder throws away first. |
The bass register
Where kicks and basslines actually live.
The two octaves where a wrong note is a mix problem rather than a taste one.
| Note | Octave 1 | Octave 2 | What happens there |
|---|---|---|---|
| C1 | 32.70 Hz | 65.41 Hz | Sub — felt, and summed to mono by the rig |
| D♭1 | 34.65 Hz | 69.30 Hz | Sub — felt, and summed to mono by the rig |
| D1 | 36.71 Hz | 73.42 Hz | Sub — felt, and summed to mono by the rig |
| E♭1 | 38.89 Hz | 77.78 Hz | Sub — felt, and summed to mono by the rig |
| E1 | 41.20 Hz | 82.41 Hz | Sub — felt, and summed to mono by the rig |
| F1 | 43.65 Hz | 87.31 Hz | Sub — felt, and summed to mono by the rig |
| G♭1 | 46.25 Hz | 92.50 Hz | Sub — felt, and summed to mono by the rig |
| G1 | 49.00 Hz | 98.00 Hz | Sub — felt, and summed to mono by the rig |
| A♭1 | 51.91 Hz | 103.83 Hz | Sub — felt, and summed to mono by the rig |
| A1 | 55.00 Hz | 110.00 Hz | Sub — felt, and summed to mono by the rig |
| B♭1 | 58.27 Hz | 116.54 Hz | Sub — felt, and summed to mono by the rig |
| B1 | 61.74 Hz | 123.47 Hz | Bass — the kick body and the bassline |
Almost every club kick has its fundamental somewhere in the first column and almost every bassline in the second. Two records whose fundamentals sit a semitone apart will fight here and nowhere else — and because a club rig sums everything under its crossover to mono, there is no stereo width to hide the collision behind.
This is the mechanical reason harmonic mixing works at all. The Camelot wheel is a shortcut for “these two records' low ends will not argue”, and the arguing happens in this table.
Notes as keys
Every note, and the keys it is home to
A note on its own is a frequency. A note as a tonic is a shelf in your library.
| Note | Octave 1 | Octave 3 | As a minor key | As a major key |
|---|---|---|---|---|
| C | 32.70 Hz | 130.81 Hz | 5A · 25,200 | 8B · 16,640 |
| D♭ | 34.65 Hz | 138.59 Hz | 12A · 13,137 | 3B · 7,594 |
| D | 36.71 Hz | 146.83 Hz | 7A · 27,389 | 10B · 18,320 |
| E♭ | 38.89 Hz | 155.56 Hz | 2A · 18,788 | 5B · 13,657 |
| E | 41.20 Hz | 164.81 Hz | 9A · 26,569 | 12B · 15,495 |
| F | 43.65 Hz | 174.61 Hz | 4A · 26,776 | 7B · 23,408 |
| G♭ | 46.25 Hz | 185.00 Hz | 11A · 18,948 | 2B · 11,552 |
| G | 49.00 Hz | 196.00 Hz | 6A · 28,977 | 9B · 20,573 |
| A♭ | 51.91 Hz | 207.65 Hz | 1A · 15,294 | 4B · 11,432 |
| A | 55.00 Hz | 220.00 Hz | 8A · 36,156 | 11B · 16,351 |
| B♭ | 58.27 Hz | 233.08 Hz | 3A · 17,554 | 6B · 10,351 |
| B | 61.74 Hz | 246.94 Hz | 10A · 17,877 | 1B · 7,324 |
Counts are public tracks in each Camelot key. The minor column is consistently the fuller one, which is what electronic music is — the scale finder prints the exact share.
Frequently asked
Common questions
What note is my kick drum?+
Find the frequency of its fundamental — the lowest strong peak, usually between 40 and 60 Hz — and type it in above. Most club kicks land between E1 (41.2 Hz) and B1 (61.7 Hz). It matters because a kick has a pitch whether or not it was tuned to one, and a kick a semitone away from the bassline of the track you are mixing into is the muddiest possible outcome in the one band a system cannot hide.
Why does the chart go down to 16 Hz if nobody can hear it?+
Because a fundamental below hearing still has harmonics inside it, and because the region is where a rig's subs are doing work you feel rather than hear. C0 at 16.35 Hz is the practical floor: below that nothing reads as pitch at all, it reads as movement.
What is A4 = 440 Hz and should I change it?+
It is the reference every mixer, CDJ and synth made this century is tuned to, and unless you have a specific reason you should leave it alone. The 432 and 444 options are here because a record cut elsewhere, a tape played back a hair fast, or a sample from an old library genuinely is not at 440 — and if you are trying to work out what note something is, being 32 Hz out at the reference throws everything.
How do I convert a frequency to a note?+
The formula is 12 × log₂(frequency ÷ 440), which gives the number of semitones away from A4, then round to the nearest whole number for the note and keep the remainder as the cents. Type a number into the box above and it does exactly that, including the cents — because "close to F♯1" and "F♯1" are different answers and the second one is only sometimes true.
Why do the octave numbers on my synth not match this chart?+
Because there are two conventions and they are one apart. This uses scientific pitch notation, where middle C is C4 and A4 is the 440 Hz reference. A lot of hardware — Yamaha in particular — calls middle C "C3". If your synth reads one lower than this chart everywhere, that is why, and neither is wrong.
Does a note map to a key?+
As a tonic, yes — A is the tonic of A minor, which is Camelot 8A, and of A major, which is 11B. That is what turns this from a reference table into something a DJ can use: a bassline sitting on F♯ is telling you the track is probably in 11A or 2B, and the chart links straight through to what we hold in each.
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