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.

Jonathan Baker
31 West 69th Street 31 West 69th Street
New York City, NY
Instruments
Conducting, Ear Training, Musicology, Piano, Theory
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
20 Years

Data Provided by:
Isaac J.
(877) 231-8505
East 87th Street
New York, NY
Subjects
Guitar, Music Theory, Songwriting, Bass Guitar, Upright Bass, Piano, Music Performance, Music Recording
Ages Taught
5 to 99
Specialties
When teaching children, I prefer Alfred's method books for their accessibility and simplicity. I have a very deep knowledge of jazz and jazz history from classic new orleans to the most contemporary styles. I also teach classical music on the upright bass and piano and have students playing Beethoven and Bach regularly. I have a thorough knowledge of Western classical music history and as a composer, am an expert theoretician. I have taught rock and pop guitar for many years and have always f…
Education
New York University - Jazz Performance - 2005-2009 (Bachelor's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
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

Data Provided by:
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:
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

Data Provided by:
Karen H.
(877) 231-8505
Riverside Dr
New York, NY
Subjects
Music Performance, Piano
Ages Taught
5 to 99
Specialties
I specialize in classical music focusing on all levels. I also teach composition lessons and harpsichord lessons.
Education
University of Utah - piano/composition - 2002-2006 (Bachelor's degree received) University of Utah - piano - 2006-2008 (Master's degree received) Mannes College of Music - piano - 2008-2010 (Degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Patrice Jackson
40 West 135th Street Apt. #14G
New York, NY
Instruments
Cello, Piano, Violin
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$80
Years of Experience
6 Years

Data Provided by:
Helen B.
(877) 231-8505
EAGLE STREET
Spring Valley, NY
Subjects
Piano, Music Theory
Ages Taught
5 to 35
Specialties
Classical piano teaching; Suzuki piano method; popular and Broadway music.
Education
Daugavpils Pedagogical Academy Musical depertment - general music teacher ,choir condactor, piano performer - 1980-1985 (Master's degree received) Europe Kiev University philosophy department - estetic in philosophy - 1986-1990 (Bachelor's degree received) Spring valley Eurythmy school ny - music in movment - 2004-2010 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
David Phillips
1453 Prospect Place 1G
Brooklyn, NY
Instruments
Composition, Conducting, Ear Training, Music Therapy, Musicology, Piano, Theory
Styles
Classical, Jazz
Experience Levels
Advanced, Beginner, Intermediate
Rate
$200
Years of Experience
35 Years

Data Provided by:
Chris M.
(877) 231-8505
Riverside Drive
New York, NY
Subjects
Saxophone, Music Theory, Music Recording, Clarinet, Piano, Flute
Ages Taught
5 to 99
Specialties
Specializing in Jazz Improvisation, Composition, and Theory
Education
University of North Florida - Jazz Performance - 2004-2008 (Bachelor's degree received) SUNY Purchase - Jazz Performance - 2008-2010 (Master's degree received)
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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