Complete equal-temperament chart, tuned to A4 = 440 Hz. Frequencies in Hz.
| Note | Octave 0 | Octave 1 | Octave 2 | Octave 3 | Octave 4 | Octave 5 | Octave 6 | Octave 7 | Octave 8 |
|---|---|---|---|---|---|---|---|---|---|
| C | 16.35 | 32.70 | 65.41 | 130.81 | 261.63 | 523.25 | 1046.5 | 2093.0 | 4186.0 |
| C# | 17.32 | 34.65 | 69.30 | 138.59 | 277.18 | 554.37 | 1108.7 | 2217.5 | 4434.9 |
| D | 18.35 | 36.71 | 73.42 | 146.83 | 293.66 | 587.33 | 1174.7 | 2349.3 | 4698.6 |
| D# | 19.45 | 38.89 | 77.78 | 155.56 | 311.13 | 622.25 | 1244.5 | 2489.0 | 4978.0 |
| E | 20.60 | 41.20 | 82.41 | 164.81 | 329.63 | 659.26 | 1318.5 | 2637.0 | 5274.0 |
| F | 21.83 | 43.65 | 87.31 | 174.61 | 349.23 | 698.46 | 1396.9 | 2793.8 | 5587.7 |
| F# | 23.12 | 46.25 | 92.50 | 185.00 | 369.99 | 739.99 | 1480.0 | 2960.0 | 5919.9 |
| G | 24.50 | 49.00 | 98.00 | 196.00 | 392.00 | 783.99 | 1568.0 | 3136.0 | 6271.9 |
| G# | 25.96 | 51.91 | 103.83 | 207.65 | 415.30 | 830.61 | 1661.2 | 3322.4 | 6644.9 |
| A | 27.50 | 55.00 | 110.00 | 220.00 | 440.00 | 880.00 | 1760.0 | 3520.0 | 7040.0 |
| A# | 29.14 | 58.27 | 116.54 | 233.08 | 466.16 | 932.33 | 1864.7 | 3729.3 | 7458.6 |
| B | 30.87 | 61.74 | 123.47 | 246.94 | 493.88 | 987.77 | 1975.5 | 3951.1 | 7902.1 |
The formula, if you want it: each semitone multiplies frequency by 2^(1/12) (≈1.0595). One octave doubles it.
Why a mixer needs this chart
This isn’t music theory trivia. It’s a targeting system.
Finding resonances by key. A boomy note in the bass isn’t random – it’s a specific pitch, which is a specific frequency. Song in E? A resonance around 41 Hz or 82 Hz is the E fundamental and its octave fighting your room or your arrangement. The chart turns “somewhere down low” into a number you can dial in.
Kick and bass relationships. When kick and bass fight, the battle happens at specific fundamentals. Knowing the bass sits on, say, A at 55 Hz tells you exactly where to carve the kick’s pocket – and where not to. Guesswork EQ in the bottom octave is how mixes turn to mud.
Tuning your processing to the song. Resonant filters, sub drops, distortion emphasis – anchoring them to the song’s key instead of a generic preset frequency is the difference between processing that belongs and processing that’s bolted on.
The chart gives you the where. Understanding the why behind each move is the actual skill – every one of these numbers is only useful in the context of a decision.
This kind of frequency-first thinking – knowing exactly where a problem lives instead of guessing – is the whole approach behind the Level Up Pro Mixing System.
All the Mix Artistry calculators, including the frequency reference, live at free tools.
Mix Artistry – learn to mix commercial-quality music by understanding the why, not the formula. Free tools + the Level Up Pro Mixing System at https://www.mixartistry.com. Get it right at the source.
