Velocity Buffalo 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.

Adam K.
(877) 231-8505
Tiemann Pl.
New York, NY
Subjects
Songwriting, Music Performance, Music Theory, Piano
Ages Taught
5 to 50
Specialties
I specialize in teaching jazz/pop/rock/improvisation. I can teach beginner/intermediate classical piano lessons as well. I teach composition/theory/ear training for all instruments.
Education
Manhattan School of Music - Jazz Piano Performance - Fall 2007-Spring 2011 (not complete)
Membership Organizations
TakeLessons Music Teacher

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Natalia Huang
Murray Hill
New York, NY
Instruments
Piano
Styles
Classical, Kids
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
12 Years

Data Provided by:
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

Data Provided by:
Suki Rae
2350 Broadway Suite 1218
New York, NY
Instruments
Flute, Guitar, Other, Piano, Recorder, Voice
Styles
Blues, Classical, Jazz, Kids, Other, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$55
Years of Experience
20 Years

Data Provided by:
Erica Q.
(877) 231-8505
Libertyville Rd.
New Paltz, NY
Subjects
Piano, Fiddle, Music Theory, Bass Guitar, Guitar, Cello, Viola, Singing, Violin, Music Performance, Songwriting, Music Recording
Ages Taught
4 to 99
Specialties
I specialize in combination lessons such as guitar and voice lessons with a focus on songwriting. I can also help violinists who wants to transfer their knowledge of theory to guitar or piano and vice versa. We can incorporate recording techniques into any lesson.
Education
Winter Park High School - music and art - 1987-1990 (High School diploma received) State University of New York at New Paltz - music and dance - 1992-1996 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Joshua K.
(877) 231-8505
E 76th St,
New York, NY
Subjects
Piano, Saxophone, Clarinet, Flute, Music Performance, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
Jazz, classical, R+B, blues, virtually any genre (as I've performed them all) Highly studied and accomplished in music theory, composition, and orchestration, ear training and arranging
Education
New School for Jazz and Contemporary Music - Jazz Performance - 9/06-5/10 (not complete)
Membership Organizations
TakeLessons Music Teacher

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Sarah B.
(877) 231-8505
Nehring Ave
Staten Island, NY
Subjects
Music Theory, Piano
Ages Taught
3 to 99
Specialties
Popular and classical piano, music theory.
Education
Rosati-Kain - general - 1996-2000 (High School diploma received) Maryville University - Music/Music Therapy - 2000-2004 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Melissa D.
(877) 231-8505
W 73rd St.
New York, NY
Subjects
Violin, Music Performance, Singing, Classical Guitar, Piano, Fiddle, Guitar, Songwriting, Mandolin, Music Theory
Ages Taught
4 to 40
Specialties
Violin- Suzuki Method and supplemental scale & theory books.. also supplemental pieces based on student's interest and goals Piano- Alfred's Basic Piano Method: Lesson book, Theory book, Ear Training.. as well as supplemental theory books, and supplemental pieces based on student's level of ability and goals Guitar- Mel Bay's Modern Guitar Method (for classical guitar and note reading on a guitar), chord sheets, pieces either charted out or written out by me. Again, also, supplemental music t…
Education
Liberty University - Music & Worship Arts - 2002-2005 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mark F.
(877) 231-8505
Richmond Terrace
Staten Island, NY
Subjects
Piano, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
Jazz,Classical,Rock,R&B.
Education
Manhattan School of Music - music theory /piano minor - 1980-1984 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
David W.
(877) 231-8505
Bedford Ave.
Brooklyn, NY
Subjects
French Horn, Trombone, Piano, Trumpet, Music Theory, Music Performance, Tuba
Ages Taught
5 to 99
Specialties
I have extensive experience in jazz, classical and Avant Garde styles of brass playing, as well as pop styles. I have experience teaching piano, solfeggio, theory and ear training.
Education
Webster University - Music Education - 2005-2007 (not complete) Brooklyn College - Music Education - 2008-present (not complete)
Membership Organizations
TakeLessons Music Teacher

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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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