Overtones vs. harmonics

As the terms are defined here, the different numbering systems exist because there is a distinction between an overtone (or partial) and a harmonic. Hamonics are exact multiples of the fundamental pitch, so the fundamental counts as 1. Overtones are partial frequencies relative to the fundamental, so the fundamental is not counted.

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Replies to This Discussion

Permalink Reply by Filip Rydlo on July 22, 2008 at 1:54am

Good point!
Thanx for the explanation, Dave.

Permalink Reply by Marco Tonini on July 22, 2008 at 2:32pm

We know, Dave.

For me it is a conventional problem only. Important is understand what is the more clear, simple and obvious method. And I think that we are all agree. Or not?

Permalink Reply by Filip Rydlo on July 22, 2008 at 3:33pm

I hope You are right, Marco.

"We know" and "we all agree". I wish it is true that way.

For me it is also just a conventional problem.

Permalink Reply by Dave Seidel on July 22, 2008 at 4:19pm

I agree, it is a matter of convention. For me, numbering based on harmonics makes the most sense, but that is just the way my mind works -- I see it in mathematical and analytical terms. This is probably related to the fact that that my practical thinking about overtones/harmonics is primarily from the point of view of synthesis, rather then natural sources like voice or physical instruments. So I don't expect others to share my perspective if they are approaching it as a performer rather than as a composer of electronic music.

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