I’m a tuba player and I can hear down to almost a C0 (not quite but it’s getting there). In the band I play for we have 2 tuba players and whenever we end up messing around we’ll do tuba splits on an octave which can go down to as low as Eb0
Yeah my limit is about D0, up to about C10. A tuba playing that low barely makes any fundamental anyway and as Richard said our perception of the pitch of pedal tones is based almost entirely on harmonics, so it doesn't really matter if the fundamental is infrasonic. I can perceive pitches down to C0, even though I know from tests with pure sine waves that I can't clearly hear 16Hz. I have made recordings of myself playing down to Bb0 on euphonium, and there are no actual frequencies coming out of the horn lower than about C2 (65Hz). The lower notes definitely have the overtones they should, though.
I've always wondered why orchestras never used the 32 foot octave, it's been a curiosity of mine to have the equivalent of a contrabombarde in the orchestra, cool stuff dude.
The two largest organs have real 64' stops which go down to C-1 (8 Hz). The largest and newest concert pianos of the world go down to C0 and up to B8. Well, some good quality Garklein recorders, too, can go up to Eb8 chromatically if you close the bell. There exists an even smaller recorder (piccolino recorder) which may go even higher but I never heard it yet. Even 1' organ stops rarely go above C9 (maybe E9), instead, they repeat and sound an octave lower. The same applies for Mixtur stops (the repeating cycle is usually a 5th-8ve cycle).
Alexander, regarding the octocontraalto clarinet, there are a few issues that likely impact its sound. Firstly, if I remember correctly, the only recordings of it were made using a heavily modified contrabass clarinet reed rather than an appropriately sized reed. Secondly, as a clarinet, the harmonic spectrum features heavily suppressed even harmonics. This means that even though Eb0 was the fundamental, all Ebs in the harmonic spectrum were likely inaudible. As bassoons do not have suppressed even harmonics, a subcontrabassoon playing Eb0 would have an audible Eb1, Eb2, Eb3, etc. in its spectrum. Thanks for the share and I'm glad you're enjoying the project!
Richard Bobo Can't believe I didn't know this reply existed :( But anyway, thanks for the reply. I'm pretty sure the octo would have sounded nice in person (imagine how it would have sounded in a large hall!). But with the richer harmonics of the bassoon, I can only imagine how awesome the subcontrabassoon will sound when completed. Keep it up!
I often play the tuba. If I play a Bb tuba, I can hit a Bb0 on a good day, and it should be possible to hit a B-1 if the instrument has 4 compensating valves (as most british examples do. A non-compensating 4th valve would make the note more like C0). On an Eb tuba, I can hit a Bb0 with slightly more ease, because it takes less air to fill the instrument, but the lowest possible note would be an E0. More generally, I play the euphonium or bass trombone, pitched an octave up from the Bb tuba, which I can hit a B0 on a 4-valve compensating euph with ease, but I struggle more on my independent double trigger bass trom to hit it despite technically being able to hit a Bb0 and perhaps an A0 if using both triggers. There are a couple of larger tubas, but it must be near impossible to play their notes due to having to vibrate your lips at such a low frequency.
Yes; on tubas the range is limited more by biology than by instrument legth. As you say, C0 is theoretically possible on contnrabass tuba and has even been written (at least in solo rep), but is so inaccessible for mortals that it's often replaced by flutter-tonguing. Unless we're going to start genetically engineering new tuba players, there's probably not much practical value is building larger tubas, unless someone has an odd desire to be able to have the playable partials closer together.
@@Subcontrabassoon The main reason to make a longer tuba would be that there is a big timbre shift going from the 2nd partial to the 1st, and very little fundamental is produced in the sound spectrum of a tuba playing its first partial. A subcontra tuba wouldn't be much better at playing extremely low, but would be much nicer sounding when playing around Bb0 to Bb1, for example.
Very well stated. The 20-20KHz is just engineering rounding of course. The fact is that we can perceive, if not hear as a continuous tone, all the way down to zero Hertz. Otherwise tuning would be impossible. And pedalling down the last octave of a 64' organ stop, it is only the last two or three notes that break up into individual vibrations. So the limit for continuous tones is more like 10Hz.
What's the status on this project? I really want to use this in my composition. I already experimented with your "Bassoon Extensions", and made a subcontra solo, but I need a readily available instrument to validate my attempt. Thank you so much for advancing music so greatly. I really look forward to the completion of this :)
I enjoyed this video, and learned several things from it. A comment I would like to make about the highest notes is that 20K is probably only heard by children--as people age, they lose the upper range of their hearing. A few years ago, when I was 68, I tried to determine how how I could hear, and under ideal conditions I could hear 11.3K--I don't know if I could hear this now. BTW, I play Eb contra-alto clarinet, BBb tuba, double bass, and bass guitar, so I'm used to thinking and hearing in the contrabass range. I've always noticed that the lowest notes on a piano never sound very musical--I've thought if they were plucked in the middle, they would sound better.
Necro Moment. Hey Richard. Not all sounds have harmonics that fall within the whole number division harmonic series. 1/2 1/3 1/4 1/5 wavelengths do make up harmonics. But there are also harmonics in sound that do not follow this pattern. such as 1/3.3 or 1/7.6 the total wavelength. Inharmonic partials are what these are called.
Inharmonic resonances are a very minor component of an aerophone's sound, and mainly come into play at the very beginning of the sound ("attack noise"). I do touch upon inharmonicity towards the very end of the video, where I discuss the limitations of the piano as a subcontrabass instrument.
Fun fact, I've tested my hearing range, my higher range suffers, I cannot hear 20k, I'm pretty sure mine stops at 12k, but I can hear down to 13 Hz and on my studio headphones I could faintly hear that low low rumble of that A -1 sine wave you played. Cool shit
I could barely hear that low rumble of 16-17, maybe 15 Hz. Below that, I would have to be in an anechoic chamber to distinguish it from silence. On the other end, I cannot hear 14khz at 0 dB, of course, but if I crank up the volume I can still hit that 16kHz despite being 40+. Well, the sound of a reed instrument is no pure sine wave so it feels something like a metronome below C0. This also applies to the Diaphone-Dulzian 64' organ stop.
People who say it's too low clearly don't understand timbre. It creates an effect that composers should seek for specific situations. I already wrote a subcontra solo on Noteflight, and it works so well.
The tuba can quite easily go to an A0 (im a bass trombonist, and the lowest possible note on a bass trombone is a Bb 0) a C or Bb tuba if including pedal tones, can theoretically play a B-1 if my math is correct. Thats not includinf if the tubas have 5 or 6 valves as well, so probably even lower
What would you say is the lowest discernable fundamental? What is the lowest pitch that is reliably recognizable for the average person? What is the lowest pitch that is musically applicable?
Good catch! Though, to be honest, I doubt my woefully inadequate bow technique meets "French grip" standards either. I really have no excuse other than being too cheap to buy a new bow and too busy to learn a new grip.
There are TH-cam videos of the full length 64-foot Diaphones of the great pipe organ at Atlantic City, the world's largest pipe organ. They sound like your two octave down A0 at 6'40".
I figured out the numbers many years ago and your explanation seems to differ from the numbers I got. I got the lowest note on the piano as A 27.5 and the highest is 4186.01 This is all easily figured by doubling or halving A 440 and looking at a piano chart. I question your method unless you are somehow using some sort of harmonic method.
Lawrence Rhodes I think we're using the same numbers, but just stating them in different ways. I don't think I ever directly stated the frequency of A0 or C8 in hertz, but I did note the frequency of A-1 and C9 as 13.75Hz and 8372Hz (which are half 27.5Hz and twice 4186Hz respectively, consistent with both our numbers). In describing 20,000Hz as E10, I do seem to have erred slightly, however. 20,000Hz is actually an only-slightly-sharp Eb10. I seem to have left the flat out when first preparing the graphics and forgot to add it back in. I'll try to fix it soon. 20Hz is also ever-so-slightly closer to Eb0 than E0, but I felt it was more honest to report the lowest musical pitch that is within the "textbook" hearing range rather than round it down to a pitch that is outside of that range. Was there anything else you noticed?
Lawrence Rhodes I did a similar thing for a project as well. I remember using the 12th root of 2. I think the difference is that using this method assumes even temperament, instead of just temperament.
Alexander Sabater I spoke with Lawrence and we got everything cleared up. The miscommunication stemmed from the graphics I used that made it look like the range of the piano exceeded human hearing.
On a modern bass trombone with two triggers, the lowest pedal is Bb0. Anything below would be a false tone. However, tuba absolutely can play pedals below A0; theoretically all the way down to C0. But with tuba in the subcontrabass register, it's not about what it theoretically could do, but rather what's effective and reliable for orchestral performance. Tuba players may love blatting out some G0s as part of their warmup, but few would want to have to play a long, exposed G0 in performance, yet alone a G0 that required careful tuning and dynamic contrast. And below G0, the tuba rapidly drops off in reliability due to the biologically-constrained construction of its "reed": the player's lips
With the lowest note of the Subcontrabassoon, is it odd that I could easily notice that the note was being played and I don't have anything that bass boosts a sound?
You shouldn't have heard the A-1 sine wave I played at 5:50. You SHOULD have heard the "subcontrabassoon" note (actually a recorded contrabassoon A0 played twice as slow) I played at 6:10.
@@Subcontrabassoon What I meant by it was me noticing the vibrations of the note that was played. I can notice a note being played at those incrdibly low frequencies due to the feeling of the vibrations. I never said that I heard it. That is the best I can explain it XD
OK - this is weird - SENNHEISER headphones - I could not discern the dropping of the fundamental (here is where it is weird) - but I could hear it when you brought it back in?
Concerning the subcontrabass range of the tuba, all tubas theoretically should have access to Gb0 (should they be 5-valves or 4-valve compensating if they're F or Eb tubas). Contrabass tubas will have an easier time reaching the Gb0 or beyond, myself being capable of reaching the E0,but I'm sure other tubists could take it lower.
Mr. Incredible we wouldn’t hear that note because it would have no audible harmonics. The note E-4 is the lowest possible note humans can hear because that note with the harmonics would sound the same as E0 with no harmonics.
@@danhobson24 That is not exactly true. The series of harmonics is in theory infinite. So even a C-1000 would eventually go into the audible range. Obviously the amplitude drops off and it heavily depends on how the note is produced (and then practical limits have to be considered and so forth). So its very well possible that a -2nd or -3rd octave note is inaudible if its way too fundamental heavy. But its just aswell possible that a -5th, -6th or even -7th octave note is still audible if it produces enough overtones. There is not really a hard limit of what low notes one can hear. The frequency is just one factor which can be counteracted by other things.
@@felixplaystuba6937 I can hit G0-A0-B0 vocally with subharmonics. Can't go lower than D#1 for chest voice though. Everyone has their range and limits...maybe that's why I really like these contra- and subcontra- instruments.
Sure, you can “hear” the note, but if you can’t even tell what note it is (can you hum it and still have it be the right note when the note is played within the human hearing range) then it’s useless. There’s a different between noise and pitch. If there’s no discernible pitch, it’s useless (percussion excepted)
Brent Breault That's not a sufficient test. It has to be in tune with the rest of a chord. Play a wrong note on a 64' organ pedal stop with a chord on the manuals: you will hear the error.
My subwoofer rattled my desk when you played that A-2. Well done.
WTF?
yes
A-2 kinda sounds like a BF1 machine gun
6:00 I'm using headphones and I hear a flapping similar to a helicopter.
I’m a tuba player and I can hear down to almost a C0 (not quite but it’s getting there). In the band I play for we have 2 tuba players and whenever we end up messing around we’ll do tuba splits on an octave which can go down to as low as Eb0
Damn son
Imagine what you can do with a subcontrabass tuba.
Yeah my limit is about D0, up to about C10. A tuba playing that low barely makes any fundamental anyway and as Richard said our perception of the pitch of pedal tones is based almost entirely on harmonics, so it doesn't really matter if the fundamental is infrasonic. I can perceive pitches down to C0, even though I know from tests with pure sine waves that I can't clearly hear 16Hz. I have made recordings of myself playing down to Bb0 on euphonium, and there are no actual frequencies coming out of the horn lower than about C2 (65Hz). The lower notes definitely have the overtones they should, though.
contrabassoon ptiched down to a-2 sounds exactly like my truck at idle
Plan on writing an F-150 concerto?
@@bradleycheek8520 unfortunately I got rid of the F-150 after the transmission died
@@Purpiii That's a shame. Divertimento for starter motor?
I've always wondered why orchestras never used the 32 foot octave, it's been a curiosity of mine to have the equivalent of a contrabombarde in the orchestra, cool stuff dude.
The two largest organs have real 64' stops which go down to C-1 (8 Hz). The largest and newest concert pianos of the world go down to C0 and up to B8. Well, some good quality Garklein recorders, too, can go up to Eb8 chromatically if you close the bell. There exists an even smaller recorder (piccolino recorder) which may go even higher but I never heard it yet.
Even 1' organ stops rarely go above C9 (maybe E9), instead, they repeat and sound an octave lower. The same applies for Mixtur stops (the repeating cycle is usually a 5th-8ve cycle).
Alexander, regarding the octocontraalto clarinet, there are a few issues that likely impact its sound. Firstly, if I remember correctly, the only recordings of it were made using a heavily modified contrabass clarinet reed rather than an appropriately sized reed. Secondly, as a clarinet, the harmonic spectrum features heavily suppressed even harmonics. This means that even though Eb0 was the fundamental, all Ebs in the harmonic spectrum were likely inaudible. As bassoons do not have suppressed even harmonics, a subcontrabassoon playing Eb0 would have an audible Eb1, Eb2, Eb3, etc. in its spectrum. Thanks for the share and I'm glad you're enjoying the project!
Richard Bobo Can't believe I didn't know this reply existed :( But anyway, thanks for the reply. I'm pretty sure the octo would have sounded nice in person (imagine how it would have sounded in a large hall!). But with the richer harmonics of the bassoon, I can only imagine how awesome the subcontrabassoon will sound when completed. Keep it up!
There is a guy who makes a video on the whole family of the clarinets and he had an octocontraalto clarinet and he plays a little etude on it.
I often play the tuba. If I play a Bb tuba, I can hit a Bb0 on a good day, and it should be possible to hit a B-1 if the instrument has 4 compensating valves (as most british examples do. A non-compensating 4th valve would make the note more like C0). On an Eb tuba, I can hit a Bb0 with slightly more ease, because it takes less air to fill the instrument, but the lowest possible note would be an E0.
More generally, I play the euphonium or bass trombone, pitched an octave up from the Bb tuba, which I can hit a B0 on a 4-valve compensating euph with ease, but I struggle more on my independent double trigger bass trom to hit it despite technically being able to hit a Bb0 and perhaps an A0 if using both triggers.
There are a couple of larger tubas, but it must be near impossible to play their notes due to having to vibrate your lips at such a low frequency.
Yes; on tubas the range is limited more by biology than by instrument legth. As you say, C0 is theoretically possible on contnrabass tuba and has even been written (at least in solo rep), but is so inaccessible for mortals that it's often replaced by flutter-tonguing. Unless we're going to start genetically engineering new tuba players, there's probably not much practical value is building larger tubas, unless someone has an odd desire to be able to have the playable partials closer together.
@@Subcontrabassoon The main reason to make a longer tuba would be that there is a big timbre shift going from the 2nd partial to the 1st, and very little fundamental is produced in the sound spectrum of a tuba playing its first partial. A subcontra tuba wouldn't be much better at playing extremely low, but would be much nicer sounding when playing around Bb0 to Bb1, for example.
Consider making an Octo Subcontrabassoon... because it would be comedically big.
Very well stated. The 20-20KHz is just engineering rounding of course. The fact is that we can perceive, if not hear as a continuous tone, all the way down to zero Hertz. Otherwise tuning would be impossible. And pedalling down the last octave of a 64' organ stop, it is only the last two or three notes that break up into individual vibrations. So the limit for continuous tones is more like 10Hz.
I love the demonstration/explanation at 4:39. Very interesting!
6:13 Is That The Sound Of A Subcontrabassoon?
Excited as hell for this to become a thing
6:44 Hey, can you grab my motorcycle?
Yes
The A-1 sounds like the dubstep of an organ's 32' stop.
This is one of my favorite videos...thank you!
FYI, a lot of audio amplifiers have high-pass filters that filter out
Great video! The keyboard is the best visual representation of timbre / overtones I've seen
This was super informative. Thank you!
It gets even more tilted to the low range if the orchestra has a 4 valve tuba because that can go down to B-1
What's the status on this project? I really want to use this in my composition. I already experimented with your "Bassoon Extensions", and made a subcontra solo, but I need a readily available instrument to validate my attempt. Thank you so much for advancing music so greatly. I really look forward to the completion of this :)
I enjoyed this video, and learned several things from it. A comment I would like to make about the highest notes is that 20K is probably only heard by children--as people age, they lose the upper range of their hearing. A few years ago, when I was 68, I tried to determine how how I could hear, and under ideal conditions I could hear 11.3K--I don't know if I could hear this now.
BTW, I play Eb contra-alto clarinet, BBb tuba, double bass, and bass guitar, so I'm used to thinking and hearing in the contrabass range. I've always noticed that the lowest notes on a piano never sound very musical--I've thought if they were plucked in the middle, they would sound better.
At the other end of the spectrum, you might be interested in pieces written for the dog whistle.
Necro Moment. Hey Richard.
Not all sounds have harmonics that fall within the whole number division harmonic series.
1/2 1/3 1/4 1/5 wavelengths do make up harmonics. But there are also harmonics in sound that do not follow this pattern. such as 1/3.3 or 1/7.6 the total wavelength.
Inharmonic partials are what these are called.
Inharmonic resonances are a very minor component of an aerophone's sound, and mainly come into play at the very beginning of the sound ("attack noise"). I do touch upon inharmonicity towards the very end of the video, where I discuss the limitations of the piano as a subcontrabass instrument.
Fun fact, I've tested my hearing range, my higher range suffers, I cannot hear 20k, I'm pretty sure mine stops at 12k, but I can hear down to 13 Hz and on my studio headphones I could faintly hear that low low rumble of that A -1 sine wave you played. Cool shit
I could barely hear that low rumble of 16-17, maybe 15 Hz. Below that, I would have to be in an anechoic chamber to distinguish it from silence. On the other end, I cannot hear 14khz at 0 dB, of course, but if I crank up the volume I can still hit that 16kHz despite being 40+.
Well, the sound of a reed instrument is no pure sine wave so it feels something like a metronome below C0. This also applies to the Diaphone-Dulzian 64' organ stop.
Yeah 20-20K is a child's range. Mine is more like 17-17K, and among my friends that's pretty typical.
People who say it's too low clearly don't understand timbre. It creates an effect that composers should seek for specific situations. I already wrote a subcontra solo on Noteflight, and it works so well.
The e10 REALLY SCARES ME
The tuba can quite easily go to an A0 (im a bass trombonist, and the lowest possible note on a bass trombone is a Bb 0) a C or Bb tuba if including pedal tones, can theoretically play a B-1 if my math is correct. Thats not includinf if the tubas have 5 or 6 valves as well, so probably even lower
No one:
Dad's truck from the 90's: 6:41
At 6:15 it sounds like my washing machine!
7:21 contra clarinet and bass trombonist are literally crying right now
What would you say is the lowest discernable fundamental? What is the lowest pitch that is reliably recognizable for the average person? What is the lowest pitch that is musically applicable?
Was that a German bow you had? Because you were using the French bow grip
Good catch! Though, to be honest, I doubt my woefully inadequate bow technique meets "French grip" standards either. I really have no excuse other than being too cheap to buy a new bow and too busy to learn a new grip.
There are TH-cam videos of the full length 64-foot Diaphones of the great pipe organ at Atlantic City, the world's largest pipe organ. They sound like your two octave down A0 at 6'40".
What about the 64 ft organ pipe at the board walk hall auditorium organ.
Why do the lower notes like that A -1 have the shuttering sound?
AJ Perry they are infrasounds because they are below 20 hz
I figured out the numbers many years ago and your explanation seems to differ from the numbers I got. I got the lowest note on the piano as A 27.5 and the highest is 4186.01 This is all easily figured by doubling or halving A 440 and looking at a piano chart. I question your method unless you are somehow using some sort of harmonic method.
Lawrence Rhodes I think we're using the same numbers, but just stating them in different ways. I don't think I ever directly stated the frequency of A0 or C8 in hertz, but I did note the frequency of A-1 and C9 as 13.75Hz and 8372Hz (which are half 27.5Hz and twice 4186Hz respectively, consistent with both our numbers). In describing 20,000Hz as E10, I do seem to have erred slightly, however. 20,000Hz is actually an only-slightly-sharp Eb10. I seem to have left the flat out when first preparing the graphics and forgot to add it back in. I'll try to fix it soon. 20Hz is also ever-so-slightly closer to Eb0 than E0, but I felt it was more honest to report the lowest musical pitch that is within the "textbook" hearing range rather than round it down to a pitch that is outside of that range. Was there anything else you noticed?
Lawrence Rhodes I did a similar thing for a project as well. I remember using the 12th root of 2. I think the difference is that using this method assumes even temperament, instead of just temperament.
Alexander Sabater I spoke with Lawrence and we got everything cleared up. The miscommunication stemmed from the graphics I used that made it look like the range of the piano exceeded human hearing.
Tubist here. Playing A0 and going well below it is quite easy.
i played C0 on my garklein recorder
I’m pretty sure the bass trombone can play down to Ab0 with a good player.
On a modern bass trombone with two triggers, the lowest pedal is Bb0. Anything below would be a false tone. However, tuba absolutely can play pedals below A0; theoretically all the way down to C0. But with tuba in the subcontrabass register, it's not about what it theoretically could do, but rather what's effective and reliable for orchestral performance. Tuba players may love blatting out some G0s as part of their warmup, but few would want to have to play a long, exposed G0 in performance, yet alone a G0 that required careful tuning and dynamic contrast. And below G0, the tuba rapidly drops off in reliability due to the biologically-constrained construction of its "reed": the player's lips
With the lowest note of the Subcontrabassoon, is it odd that I could easily notice that the note was being played and I don't have anything that bass boosts a sound?
You shouldn't have heard the A-1 sine wave I played at 5:50. You SHOULD have heard the "subcontrabassoon" note (actually a recorded contrabassoon A0 played twice as slow) I played at 6:10.
@@Subcontrabassoon What I meant by it was me noticing the vibrations of the note that was played. I can notice a note being played at those incrdibly low frequencies due to the feeling of the vibrations. I never said that I heard it. That is the best I can explain it XD
OK - this is weird - SENNHEISER headphones - I could not discern the dropping of the fundamental (here is where it is weird) - but I could hear it when you brought it back in?
What would the fundamental be if the frequency was 1 hertz?
Fusion Tricycle... Wyoming.
I could suprisingly barely hear A -2 on my phone
3 years.. 0 dislikes
Shhhh... the trolls will hear you :-)
NOOOOO WHO DISLIKED!?!? im sorry Richard, Love your work and hope this project becomes true someday!
271 Likes 2 Dislikes. Still pretty Good!
Woooahhh
I wish I was a subcontrabassoonist :(
Dang what a long word…
You look like a young version of Crowley from Supernatural! You both like low places >:)
Concerning the subcontrabass range of the tuba, all tubas theoretically should have access to Gb0 (should they be 5-valves or 4-valve compensating if they're F or Eb tubas). Contrabass tubas will have an easier time reaching the Gb0 or beyond, myself being capable of reaching the E0,but I'm sure other tubists could take it lower.
Wait WHAT?!! Gb0? ONE semitone below what you need to channel your inner GLASGOW!!!!!!!
Great content, hey I'm the 100th comment.
now imagine hyperoctosubcontrabassoon
6:45 war flashbacks
i playing tuba and very love your chanel my lowest tone is b-2one up from your a-2
Haha I could hear 5:45 because I'm wearing skullcandy crushers.
Same lol
LOL I am too
Woah! Fancy seeing you here, Hello Severin.
My headphones have lit bass so I could here it lol
I am so sorry for you. Too much artificial bass.
Actually, some organs can produce 20kHz and above.
Not as a root note they can't.. Humans can't even hear 15k after age 35..
@@sideoutside I'm 41 and I can still hear up to barely below 16k.
@@harczymarczy "On Average"
crap that is low
My vocal is c-8 to c11
凌力 the lowest note sung on record was G-7
Mr. Incredible we wouldn’t hear that note because it would have no audible harmonics. The note E-4 is the lowest possible note humans can hear because that note with the harmonics would sound the same as E0 with no harmonics.
@@danhobson24 That is not exactly true. The series of harmonics is in theory infinite. So even a C-1000 would eventually go into the audible range. Obviously the amplitude drops off and it heavily depends on how the note is produced (and then practical limits have to be considered and so forth). So its very well possible that a -2nd or -3rd octave note is inaudible if its way too fundamental heavy. But its just aswell possible that a -5th, -6th or even -7th octave note is still audible if it produces enough overtones. There is not really a hard limit of what low notes one can hear. The frequency is just one factor which can be counteracted by other things.
I can do A0 on my bass trombone of I use reeeeealy slow air
LividPhysics bass trombones can play to a B0, Contrabass trombones can play a A0
Well then my tuner is screwed up..
LividPhysics dang
@@felixplaystuba6937 I can hit G0-A0-B0 vocally with subharmonics. Can't go lower than D#1 for chest voice though. Everyone has their range and limits...maybe that's why I really like these contra- and subcontra- instruments.
@@brianweeks87 whenever someone hums that low, doesn’t it just feel like burping internally 😂? Not sure how to explain it
5:47 I hear something and my god it's weird
Sure, you can “hear” the note, but if you can’t even tell what note it is (can you hum it and still have it be the right note when the note is played within the human hearing range) then it’s useless. There’s a different between noise and pitch. If there’s no discernible pitch, it’s useless (percussion excepted)
Brent Breault That's not a sufficient test. It has to be in tune with the rest of a chord. Play a wrong note on a 64' organ pedal stop with a chord on the manuals: you will hear the error.
Well rip woodwind players, dont play tuba...
Contrabass clarinet...