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.

Tom H.
(877) 231-8505
West 142 Street
New York, NY
Subjects
Music Performance, Saxophone, Piano, Classical Guitar, Bass Guitar, Flute, Music Theory, Guitar, Drums
Ages Taught
5 to 99
Specialties
I have developed my own method for teaching guitar to large groups. I am a Jazz specialist and can teach improvisation and advanced harmony.
Education
CUNNY City College - Music - 1997-1999 (not complete) SUNNY Empire State - Music - 1999-2000 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Aaron Shragge
345 Eldert Street Apt 1
Brooklyn, NY
Instruments
Composition, Ear Training, Music Therapy, Other, Piano, Theory, Trumpet, World Music
Styles
Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
7 Years

Data Provided by:
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

Data Provided by:
Patrick M.
(877) 231-8505
West 148th Street
New York, NY
Subjects
Banjo, Singing, Songwriting, Music Theory, Music Performance, Piano
Ages Taught
3 to 60
Specialties
Scruggs style banjo (4 years), classical and jazz piano (10 years), voice (13 years).
Education
Sarah Lawrence College - Music Composition - 2006-2010 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Suzanne D. Grant
444 W. 46th Street 1C
New York, NY
Instruments
Chorus, Piano, Voice
Styles
Blues, Classical, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
16 Years

Data Provided by:
Juan U.
(877) 231-8505
95th street
Ozone Park, NY
Subjects
Music Theory, Percussion, Piano, Music Performance, Drums
Ages Taught
5 to 99
Specialties
I have been a Latin all-around drummer,and percussionist for the last thirty years. In my private teaching experience I use one to one method. However, nowadays after my recent student teaching experience at Dewitt Clinton High School, I am willing to teach in a classroom as well.
Education
Brooklyn college - music - 1995-05 (High School diploma 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

Data Provided by:
Matthew O.
(877) 231-8505
11th st
Astoria, NY
Subjects
Piano, Guitar
Ages Taught
4 to 99
Specialties
music, Guitar and Piano I begin with meeting the student where they are in relation to their musical experience. After establishing trust, through encouragement I empower students to recognize their potential with out pre-determined expectations or limits. I am comfortable in various genres from classical to punk.
Education
Flushing - - 1979 -1981 Queensborough - music - 1993-1995
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
jeffrey k.
(877) 231-8505
ovington ave
Brooklyn, NY
Subjects
Piano, Music Theory, Organ, Songwriting, Bass Guitar, Guitar, Music Recording, Music Performance
Ages Taught
5 to 99
Specialties
I like to find out what styles of music and songs the student is interested in learning and teach them according to that. I've found that this keeps the student interested and makes them learn faster. I have a very good ear and can play almost anything.
Education
SUNY Purchase - Music composition - 88-92 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Kay Barlow
369 West Main St.
Fredonia, NY
Instruments
Guitar, Piano, Voice
Experience Levels
Beginner
Rate
$0

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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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