Alternatively, where I’m looking to boost a specific harmonic, it’s a piece of cake to just sweep a high–resonance peaking filter around in my EQ to find the frequency I’m looking for. Even when you do need to find individual harmonics, I don’t think knowing the key makes it substantially easier - personally, I find it quicker to use a high–resolution spectrum analyser plug–in, such as Voxengo’s cross–platform freeware SPAN, because the relevant frequency peaks will usually be abundantly obvious to see (and measure) in the display. On the face if it, knowing relationships between in–key pitches and specific Hertz figures might seem potentially useful if you wanted to pick out individual note fundamentals or harmonics for surgical EQ corrections, but those kinds of EQ moves aren’t that common in the normal run of things, in my experience. SOS contributor Mike Senior replies: Broadly speaking I agree with you. If you need to do pitch–correction work while mixing, it can be handy to know which key you’re working in to reduce mistracking by the note–detection algorithm. I kind of get it: if a song is in A, you’ll have lots of 440Hz, 220Hz, 110Hz, 880Hz, and so on - but so what? What are you supposed to do with that information? And what about all the harmonics? And all the other notes in the key of A, and all their harmonics? So does knowing the key of a song actually help when mixing? Personally, I don’t think so, but I’d be happy to be corrected!
Some audio forums are really keen on pitch/frequency charts as an aid to mixing.
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