Velocity Columbus GA

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.

The Music Box Piano Studio
Valdosta, GA
 
Jessica J.
(877) 231-8505
westfield drive
Mableton, GA
Subjects
Percussion, Piano, Music Theory
Ages Taught
1 to 20
Specialties
Specializes in teaching children. Beginning and intermediate piano, beginning and intermediate snare drum and percussion
Education
Georgia College ad Stat Universty - Early Childhood educaion wth a minor in music - 2001-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

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Ronald B.
(877) 231-8505
Hwy 41 South
Barnesville, GA
Subjects
Piano, Music Performance, Music Recording, Singing, Music Theory, Songwriting
Ages Taught
5 to 99
Specialties
I specialize in teaching pop, jazz, r&b, neo soul, hip hop, and gospel.
Education
Christopher Columbus High School - general - 9/71-9/75 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

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Diane's Piano Studio
(770) 506-4166
258 Clarkdell Drive
Stockbridge, GA
 
Norman T.
(877) 231-8505
McGinnis Ferry Road,
Suwanee, GA
Subjects
Banjo, Bass Guitar, Piano, Saxophone, Flute, Music Theory, Guitar, Classical Guitar, Clarinet
Ages Taught
5 to 99
Specialties
I have used many of the published methods for all of the instruments over the years. I am always open to any approach that will work for any given student.
Education
Columbus State University - Music Education - 9/1973-6/1977 (Bachelor's degree received) Southwestern Seminary - Pastoral Ministry - 8/1991-12/1994 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Buzz A.
(877) 231-8505
Keys Lake Dr NE
Atlanta, GA
Subjects
Music Recording, Music Theory, Songwriting, Piano, Music Performance
Ages Taught
12 to 99
Specialties
adult, beginner, child, jazz, r&b,modern
Education
Hampton University - - 1972-1974 (not complete) Lake Taylor Sr High - - 1969-1972 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Kathryn L.
(877) 231-8505
Canton Rd.
Marietta, GA
Subjects
Clarinet, Trombone, Piano, Trumpet, Music Theory, French Horn, Tuba
Ages Taught
5 to 99
Specialties
I am a classically trained musician so that is mainly what I teach. I also have experience in jazz and incorporate that into my lessons when I can, especially through improvisation.
Education
Cut Bank High School (Montana) - Core - 1981-1985 (High School diploma received) Montana State University - Music Education K-12 - 1985-1990 (Bachelor's degree received) University of Florida - Instrumental Conducting - 1990-1992 (Master's degree received) University of Florida - Music Education - 1996-2000 (PhD degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Harold B.
(877) 231-8505
Shady Maple Lane
Loganville, GA
Subjects
Piano, Music Theory, Music Recording
Ages Taught
4 to 99
Specialties
I first try to connect with the student to determine the level at which the student is on. I also try to determine the pace at which the student learns. If they would need motivation. My method is providing a comfortable gradual way for teaching the piano as well as teaching them to read the notes. I provide them with extensive music practice and ear training. Teach them to play real songs.
Education
Miami Palmetto High School - Academics - 1993-1998 (not complete) New World School of Arts - Music - 1999-2003 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Jennifer D.
(877) 231-8505
Martin Luther King, Jr. Parkway
Griffin, GA
Subjects
Piano
Ages Taught
5 to 99
Specialties
Classical, pop, church/sacred, Suzuki method, traditional methods, Yamaha keyboard music instruction; I tailor to the student.
Education
Georgia State University - piano performance - 8/85 - 5/88 (Bachelor's degree received) Georgia Southwestern State University - early childhood education - 9/92 - 8/94 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

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The Cynthia Kaelberer Piano Studio
Valdosta, GA
 
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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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