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 Cynthia Kaelberer Piano Studio
Valdosta, GA
 
Betsy Fitzgerald
5243 Riverside Drive No. 2004
Macon, GA
Instruments
Chorus, Conducting, Ear Training, Early Music, Harp, Music Business, Musicology, Piano, Theory, Voice
Styles
Classical, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
16 Years

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The Music Box Piano Studio
Valdosta, GA
 
Nathan S.
(877) 231-8505
Ormewood Ave SE
Atlanta, GA
Subjects
Music Theory, Piano, Bass Guitar, Guitar
Ages Taught
5 to 99
Specialties
Can teach classical piano, rock or r&b bass and guitar. I tend to include non-performance aspects in my lessons such as theory and songwriting.
Education
Florida State University - Piano Performance and Pedagogy - Fall 2000 - Fall 2004 (Bachelor's degree received) North Carolina School of the Arts - Music Composition - Fall 1997 - Fall 1999 (not complete)
Membership Organizations
TakeLessons Music Teacher

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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

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Diane's Piano Studio
(770) 506-4166
258 Clarkdell Drive
Stockbridge, GA
 
Judy Huang
203 Rocky Creek Drive
Griffin, GA
Instruments
Composition, Ear Training, Early Music, Electronic, Musicology, Other, Piano, Recording, Theory
Styles
Classical, Electronic, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$32
Years of Experience
6 Years

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:
Cedar Park Music School
Watkinsville, 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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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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