Transcriptions

Testing OverTone with a variety of instruments.

For each instrument, the original part is shown first, followed by OverTone's transcription.
OverTone's piccolo transcription was quite accurate, with only one error when an eigth note was lengthened to a quarter note. This may be because our algorithm falsely detected an additional foot tap.
OverTone perfectly transcribed the notes and rhythms for the flute scale. The quarter notes were interpreted as eigth notes and eighth rests because the musician played them in a short style.
OverTone interpreted several of the violin's quarter notes as two separate, shorter notes, possibly because the violin's sound decayed more slowly than other instruments. Additionally, one of the notes near the end was dropped down several steps, because the algorithm falsely identified a lower frequency spike.
OverTone transcribed this piano riff perfectly. The fact that we initially tuned our parameters for piano may have contributed to this high accuracy.
OverTone transcribed this sample reasonably well, with minor errors in rhythm and pitch in the first two beats. When first sampling brass instruments, we discovered that there were additional overtones we had to filter out, which we hadn't seen on piano or woodwind instruments.
OverTone had some trouble differentiating nearby notes on trombone. This may be due the instrument's tuning, as well as the reduced frequency resolution available at lower frequencies over a short time interval.
OverTone's worst performance occurs when transcribing singing. Even though we had our musician sing notes instead of words, we saw excessive variation in perceived pitch, as well as many notes in the lower range that were masked by their overtones.