Velocity Ballston Spa NY

The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect.

Jon Tario
1 Barney Rd
Clifton Park, NY
Instruments
Audio Recording, Composition, Ear Training, Electric Bass, Guitar, Mandolin, Piano, Recording
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
6 Years

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Dimitry E.
(877) 231-8505
West 136th St.
New York, NY
Subjects
Bass Guitar, Piano, Music Theory, Music Performance, Guitar
Ages Taught
5 to 99
Specialties
I specialize in jazz as well as classical theory and jazz theory.
Education
New York University - Jazz Studies - 9/2005 - 5/2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Edith Hirshtal
240 West 104th St.#2A
New York, NY
Instruments
Piano
Styles
Classical
Experience Levels
Advanced, Intermediate
Rate
$100
Years of Experience
35 Years

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Atlas International School
Stony Point, NY
 
Jed L.
(877) 231-8505
68th Avenue,
Forest Hills, NY
Subjects
Music Theory, Piano, Music Performance, Songwriting
Ages Taught
5 to 99
Specialties
Difficult question, since I use so many methods including some that I developed myself. But I sometimes use Bastien, Music for Little Mozarts, Hanon Jr., flash cards, and Finale Allegro (music notation software to create individualized sheet music for my students) for sight-reading. I also effectively utilize technology such as mp3 players, YouTube, and digital recording devices for ear training purposes. As for genres, you name it: Classical, popular, jazz, showtunes, movie and TV themes.
Education
Queens College - Sociology and Music - 2003 - 2006 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

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Kristin P.
(877) 231-8505
W. 54th St.
New York, NY
Subjects
Music Theory, Theatrical Broadway Singing, Opera Voice, Piano, Singing, Music Performance
Ages Taught
1 to 99
Specialties
Opera
Education
San Francisco Conservatory - Voice - 1999-2000 (Master's degree received) Oberlin Conservatory - Voice and Piano - 1994-1998 (Bachelor's degree received) Interlochen Arts Academy - Voice and Piano - 1993-1994 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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Michael S.
(877) 231-8505
E 3 St
New York, NY
Subjects
Music Theory, Banjo, Bass Guitar, Guitar, Ukulele, Harmonica, Piano, Mandolin, Singing, Music Performance, Songwriting, Music Recording, Speaking Voice
Ages Taught
5 to 99
Specialties
I have extensive experience in a wide variety of styles. These include classical, jazz, country, various ethnic, rock, and pop styles.
Education
St John's Prep - General - 1967-1971 (not complete) Queensborough Community College - Music - 1974-1976 (not complete) Empire State College - Music & Education - 1994-1996 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Anne M.
(877) 231-8505
29th Street
Astoria, NY
Subjects
Singing, Songwriting, Piano, Music Performance, Music Theory
Ages Taught
7 to 99
Specialties
Beginner, Intermediate Voice, Piano, Songwriting, Musicianship Emphasis on jazz techniques, rhythm, theory. Audition prep. Quality popular, standards, American Songbook and Broadway repertoire carefully chosen for each student.
Membership Organizations
TakeLessons Music Teacher

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Keith S.
(877) 231-8505
Gentian Way
Fairport, NY
Subjects
Saxophone, Clarinet, Oboe, Flute, Music Theory, Trombone, Guitar, Trumpet, Piano, Classical Guitar
Ages Taught
8 to 99
Specialties
Guitar: beg to adv Piano and sax: beg to inter I am a guitarist who specializes in rock and blues. I have classical guitar training at the college level. I have taught band methods for the past 10 years.
Education
SUNY Potsdam - Music Education - 8/95-12/97 (Master's degree received) SUNY Geneseo - Music Theory and History - 8/90-5/94 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Clementa Cazan German
641 Lowell Street
Westbury, NY
Instruments
Other, Piano
Styles
Classical, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$75
Years of Experience
25 Years

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Velocity

If you’ve ever played a piano, the process seems perfectly natural: The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect. Other keyboards, such as organs and the first generation of synthesizers, don’t respond in that way. Play lightly, play hard — it makes no difference.

Just about all synthesizer keyboards today respond the way a piano does. There will be subtle differences, but the speed with which the key travels downward is sensed by a mechanism of some sort, and the information coming from the sensor is used to affect the sound of the synth.

The speed of the key as it descends toward the keybed is called its velocity. Each key has its own velocity sensor. And because just about all keyboards transmit MIDI, the velocity data is always encoded in the form dictated by MIDI. MIDI defines messages called note-on and note-off, and each note-on message includes velocity. (Note-off velocity — the speed with which the key is allowed to rise at the end of the note — is also defined by the MIDI Specification, but it’s rarely used.)

Because the velocity is embedded in the note-on event, the velocity of a note can’t change while the note is sounding. The value transmitted by the velocity sensor remains the same from the start of a given note to its end. Manufacturers of consumer keyboards sometimes blur this distinction by referring to velocity as “pressure.” MIDI defines a separate type of data called pressure, or aftertouch. When a keyboard senses pressure (not all of them do), you can send a control signal by pressing down harder after the key has reached the keybed. But that control signal has nothing to do with velocity.

MIDI defines velocity as a data type that can have values ranging from 1 to 127. A velocity of 1 is extremely slow (produced by very light playing), and 127 is extremely fast (produced by very hard playing).

USING VELOCITY TO CONTROL SOUND

The most common use of velocity is to control the loudness of the notes. As on a piano, when you play harder, the notes will be louder. On a synthesizer, this is accomplished by using velocity to modulate the amplitude of the audio signal. If you roll up your sleeves and do a little voice programming, you’ll probably find a parameter called VEL or Velocity in the Amplifier, AMP, or VCA area of your synth. If you turn this parameter down to zero, the velocity-to-loudness effect should go away: All notes should be equally loud.

If you listen closely to a piano, you’ll hear that the louder notes also have more sound energy in the upper frequency range. In other words, they’re not only louder, they’re also brighter. This effect is modelled in most synthesizers. If your synth has analog-type lowpass filters, you’ll find a parameter with which you can control velocity modulation of the filter cutoff frequency. When the velocity value is higher, the filter cuto...

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