You can accept the default settings in this case. In the menu item 'Transform' select 'Analysis by maker' - 'Matthias Mauch' - 'Chordino: Chord Estimate'. In Chordino, local harmonies are represented by chord symbols. This is done by comparing the local chroma distribution with corresponding harmonic patterns of a chord dictionary. The chromas can now be used to determine the local harmonies of a recording. Select 'Transform' - 'Analysis by maker' - 'Matthias Mauch' - 'NNLS Chroma: Chromagram and Bass Chromogram'.Ĭompare the result with the previous chromagram. (In the bass range, a different calculation method applies). There is also the possibility to display chromagrams for the bass range and the rest of the frequency range in parallel. Select 'Transform' - 'Analysis by maker' - 'Matthias Mauch' - 'NNLS Chroma: Chromagram'.Ĭompare the result with the previous chromagram. These already include (global or local) tuning. In the plugin package NNLS Chroma (Matthias Mauch) several chroma plugins are integrated. Tip: If you are unsure about the tuning, you can measure it with a plugin deigned by Matthias Mauch: Transform - Analysis by maker - Matthias Mauch - Tunin: Tuning… To do this, turn the wheel on the right or select an option in the field next to it ( Normalization). On the Layer tab you can choose between different color schemes as well as increase the contrast between strong and weak areas with 'Scale'. Advanced: Here you can make changes of the analysis window. You can also select a finer or coarser pitch grid here, e.g. Tuning: Here you can enter deviations of the tuning from the concert pitch 440 Hz. Range in MIDI notes: Select for the range that is relevant for the recording 60 = middle c' (= C4) a range starting from C2 = 36 Here you can select for several settings: In the menu item 'Transform' select 'Analysis by maker' - 'Queen Mary, University of London' - 'Chromagram: Chromagram.' Please load the audio file of Ray Charles 'Comeback Baby' (Audio02.mp3). Several Vamp plugins are available for this purpose. The strength of each chroma class can be measured over the course of a recording as a function of time by summing the spectral energy in the corresponding frequency bands across all octaves. Our twelve-tone (chromatic) tone system, for example, is divided into 12 chromas or 'pitch classes'. According to the two-component theory of pitch perception by Geza Revesz (1878-1955) we perceive pitch on the one hand as absolute pitch, on the other hand in cyclically recurring octave similarities, the so-called chroma.

Nnls chroma chord dictionary