Velocity Edison NJ

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.

Nina Green
40 Meeker St
Cranford, NJ
Instruments
Piano, Theory
Styles
Classical, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$56
Years of Experience
17 Years

Data Provided by:
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

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Valeriya Tuz
161 Maplewood Ave., 3rd Fl
Maplewood, NJ
Instruments
Chorus, Composition, Conducting, Ear Training, Early Music, Electronic, Music Therapy, Piano, Recording, Theory, Voice
Styles
Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$60
Years of Experience
20 Years

Data Provided by:
Bridget H.
(877) 231-8505
W Third Street
South Orange, NJ
Subjects
Piano, Theatrical Broadway Singing, Music Performance, Speaking Voice, Opera Voice, Music Theory, Singing
Ages Taught
5 to 99
Specialties
Classical singing, Musical Theater, Jazz, music for young children, beginner piano, pop singing, audition preparation, beginning music for adults
Education
University of Windsor - Vocal Performance - 2000-2003 (Bachelor's degree received) Manhattan School of Music - Classical Voice - 2005-2007 (Master's degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Natallia K.
(877) 231-8505
101 str.,
Brooklyn, NY
Subjects
Piano, Violin, Viola
Ages Taught
5 to 99
Specialties
I am classically trained, but I have studied Suzuki method a lot by myself and I am using Suzuki violin books. I use different methods, though I prefer C.Flesh,I. Galamian and Sevcik the most.
Education
Belorussian State Academy of Music - Violin Performance - 2007-2009 (not complete) Brest College of Music - Artist of Orchestra, Violin teacher - 2002-2007 (Bachelor's degree received) Brest Music School No 2 - Violin Performance - 1995-2002 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

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Cristine Carpena
623 Southridge Woods Blvd 623 Southridge Woods Blvd
Monmouth Junction, NJ
Instruments
Ear Training, Piano, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$45
Years of Experience
13 Years

Data Provided by:
Tatyana Cherepinsky
42 Dina Ct
Staten Island, NY
Instruments
Piano, Theory
Styles
Classical
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
27 Years

Data Provided by:
Blythe L.
(877) 231-8505
Fox Run Drive
Plainsboro, NJ
Subjects
Singing, Opera Voice, Theatrical Broadway Singing, Piano, Violin
Ages Taught
5 to 99
Specialties
music, voice, Opera Voice, Classical Voice, Broadway Voice, Pop Voice, Beginner Piano, intermediate piano, Beginner Violin, intermediate violin classical training as a foundation for all other styles, basic musicianship skills fundamental to all musical training, my vocal training is based in opera and classical singing, but I teach all styles
Education
Westminster Choir College - voice pedagogy and performance - 2006-2008 (Masters Degree Received) Westminster Choir College - voice performance - 2000-2004 (Degree Received) Andover High School - - 1996-2000 (Degree Received)
Membership Organizations
TakeLessons Music Teacher

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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:
Christina M.
(877) 231-8505
Eric Trail
Sussex, NJ
Subjects
Piano
Ages Taught
5 to 99
Specialties
Focus is primarily on Classical Piano and Music Theory.
Education
Rutgers University, New Brunswick - BA in Music + BA in Economics - 2006-2010 (Bachelor'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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